In the aftermath of the Mexican Revolution, Stridentism (estridentismo) burst on the scene in the 1920s as an avant-garde challenge to political and intellectual complacency. Led by poets Manuel Maples Arce, Germ n List Arzubide, and Salvador Gallardo, prose writer Arqueles Vela, painters Ferm n Revueltas, Ram n Alva de la Canal, Leopoldo M ndez, and Jean Charlot, and sculptor Germ n Cueto, the Stridentists rejected academic conservatism, celebrated modernity and technological novelties such as the radio, cinema and the airplane, and sought to transform not only written and visual language but also everyday life through the creation of new aesthetic spaces and new approaches to the urban environment. From 1921 to 1927, they issued manifestos, published magazines and books, organized performances, and served as a critical force in Mexican art and literature that was known and admired in intellectual circles throughout the Americas. Initially active in Mexico City and Puebla, Stridentism reached its peak in Xalapa, Veracruz, where its members collaborated with the state government to the extent that critics accused them of "stridentizing" the state. By 1928 the movement had dispersed, but its iconoclastic spirit lived on in other forms, merging into and influencing other movements of the 1930s and beyond. This book is a history of Stridentism as a multifaceted cultural movement deeply imbued with the spirit of 1920s Mexico. Bringing together original interdisciplinary research and critical analysis, it explores the ways in which the Stridentists pushed the limits of the collective imagination in an era of conflict and change.

Monografie over leven en werk van de Mexicaanse prentkunstenaar (1902-1969), met de nadruk op de jaren dertig en veertig waarin hij politiek zeer actief was. Ook de invloeden van en naar andere kunstenaars uit zijn tijd komen aan bod.

Women filmmakers in Mexico were rare until the 1980s and 1990s, when women began to direct feature films in unprecedented numbers. Their films have won acclaim at home and abroad, and the filmmakers have become key figures in contemporary Mexican cinema. In this book, Elissa Rashkin documents how and why women filmmakers have achieved these successes, as she explores how the women's movement, film studies programs, governmental film policy, and the transformation of the intellectual sector since the 1960s have all affected women's filmmaking in Mexico. After a historical overview of Mexican women's filmmaking from the 1930s onward, Rashkin focuses on the work of five contemporary directors—Marisa Sistach, Busi Cortés, Guita Schyfter, María Novaro, and Dana Rotberg. Portraying the filmmakers as intellectuals participating in the public life of the nation, Rashkin examines how these directors have addressed questions of national identity through their films, replacing the patriarchal images and stereotypes of the classic Mexican cinema with feminist visions of a democratic and tolerant society.

Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing Reggaetón, Petra R. Rivera-Rideau shows how reggaetón musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego Calderón criticize the Puerto Rican mainstream's tendency to praise black culture but neglecting and marginalizing the island's black population, while Ivy Queen, the genre's most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetón, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetón's origins and its transformation from the music of San Juan's slums into a global pop phenomenon. Reggaetón, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.

National surveys consistently reveal that an inordinate number of students report high levels of boredom, anger, and stress in school, which often leads to their disengagement from critical learning and social development. If the ultimate goal of schools is to educate young people to become responsible and critically thinking citizens who can succeed in life, understanding factors that stimulate them to become active agents in their own leaning is critical. A new field labeled "positive psychology" is one lens that can be used to investigate factors that facilitate a student’s sense of agency and active school engagement. The purposes of this groundbreaking Handbook are to 1) describe ways that positive emotions, traits, and institutions promote school achievement and healthy social/emotional development 2) describe how specific positive-psychological constructs relate to students and schools and support the delivery of school-based services and 3) describe the application of positive psychology to educational policy making. By doing so, the book provides a long-needed centerpiece around which the field can continue to grow in an organized and interdisciplinary manner. Key features include: Comprehensive – this book is the first to provide a comprehensive review of what is known about positive psychological constructs and the school experiences of children and youth. Topical coverage ranges from conceptual foundations to assessment and intervention issues to service delivery models. Intrapersonal factors (e.g., hope, life satisfaction) and interpersonal factors (e.g., positive peer and family relationships) are examined as is classroom-and-school-level influences (e.g., student-teacher and school-community relations). Interdisciplinary Focus – this volume brings together the divergent perspectives, methods, and findings of a broad, interdisciplinary community of scholars whose work often fails to reach those working in contiguous fields. Chapter Structure – to insure continuity, flow, and readability chapters are organized as follows: overview, research summary, relationship to student development, examples of real-world applications, and a summarizing table showing implications for future research and practice. Methodologies – chapters feature longitudinal studies, person-centered approaches, experimental and quasi-experimental designs and mixed methods.

This book is about the Communist Party of the Philippines (CPP) and its guerrilla army. Its objective is to offer the reader a close-up look and analysis of the revolution and serves as a case study of the inner workings of one of the most successful communist revolutionary movements.

This thrilling book explores the role of cabarets, clubs, and cafes in modern art. These creative spaces were incubators of radical thinking, in which artists could exchange provocative ideas. They were welcoming environments for artists, dancers, designers, writers, and musicians pushing the boundaries of cultural and social norms. Spanning the decades from the 1880s to the 1960s, this unique and multi-faceted illustrated history of alternative artistic spaces covers four continents and includes both famed and little-known sites of the avant-garde. Organized by city, it features painting, drawing, photography, sculpture, film, and archival material emanating from over a dozen cabarets, clubs, and bars that were home to the likes of Henri de Toulouse-Lautrec, Loie Fuller, Josef Hoffmann, Giacomo Balla, Sophie Taeuber-Arp, Theo Van Doesburg, Jeanne Mammen, Jacob Lawrence, Ramón Alva de la Canal, and Ibrahim El-Salahi. It includes photographs of the interiors of the Chat Noir in Paris, the Café L'Aubette in Strasbourg and the Mbari Club in Nigeria; a cocktail menu from the Cabaret Fledermaus in Vienna; a 1930s night club map of Harlem; posters and invitations advertising performances at the Cabaret Voltaire in Zurich and Mexico City's Café de Nadie; and countless artworks that emerged from these spaces conveying the energy and excitement of the time. A series of enlightening essays explore how each space fostered and stimulated new forms of artistic expression.

Stridentist Poems is the first English-language collection of the major works of Manuel Maples Arce, founder of Stridentism, Mexico's most radical avant-garde movement of the 1920s.Maples's Stridentist poetry appeared at a time when Mexico was the center of the avant-garde, in a milieu that included Kahlo and Rivera, Modotti and Weston. With increasingly refined precision, his books (Inner Scaffolds, CITY, and Prohibited Poems, collected here) advanced Maples's program for a revolutionary poetry. Made of the reaction between the poet's material reality and subjective emotional experience, his poems were meant to send "Chopin to the electric chair!" // "Maples Arce appears, passing out molotov cocktails to girls, waving to twenty-eight year old revolutionary generals from a speeding motorcycle, listening to Jazz with his stomach while military trains unload the wounded, telling poetry, From now on your name's Adventure." --Roberto Bolaño

In this first comprehensive study of Latin America's literary vanguards of the 1920s and 1930s, Vicky Unruh explores the movement's provocative and polemic nature. Latin American vanguardism—a precursor to the widely acclaimed work of contemporary Latin American writers—was stimulated by the European avant-garde movements of the World War I era. But as Unruh's wide-ranging study attests, the vanguards of Latin America—emerging from the continent's own historical circumstances—developed a very distinct character and voice. Through manifestos, experimental texts, and ribald public performance, the vanguardists' work intertwined art, culture, and the politics of the day to produce a powerful brand of aesthetic activism, one that sparked an entire rethinking of the meaning of art and culture throughout Latin America.

Critical study ranges from pre-Columbian times through the 20th century to explore Mexico's intrinsic association between art and religion; the role of iconography in Mexican art; and the return to native values. Unabridged reprint of the classic 1929 edition. 118 black-and-white illustrations.