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In the sixteenth century hundreds of thousands of indios—indigenous peoples from the territories of the Spanish empire—were enslaved and relocated throughout the Iberian world. Although various laws and decrees outlawed indio enslavement, several loopholes allowed the practice to continue. In Global Indios Nancy E. van Deusen documents the more than one hundred lawsuits between 1530 and 1585 that indio slaves living in Castile brought to the Spanish courts to secure their freedom. Because plaintiffs had to prove their indio-ness in a Spanish imperial context, these lawsuits reveal the difficulties of determining who was an indio and who was not—especially since it was an all-encompassing construct connoting subservience and political personhood and at times could refer to people from Mexico, Peru, or South or East Asia. Van Deusen demonstrates that the categories of free and slave were often not easily defined, and she forces a rethinking of the meaning of indio in ways that emphasize the need to situate colonial Spanish American indigenous subjects in a global context.
Filled with powerful imagery, this poem relates the tragic story of Indios, a native woman falsely accused of the death of her children. As it echoes the plight of other women like Indios—including Malinche, Pocahontas, La Llorona, and Medea—this narrative conveys the truth of a history twisted to suit the needs of a conquering power. Weaving Native American history with contemporary situations, this evocative poem focuses on the concept and consequences of the oppression of women.
The conquest and colonization of the Americas imposed new social, legal, and cultural categories upon vast and varied populations of indigenous people. The colonizers’ intent was to homogenize these cultures and make all of them “Indian.” The creation of those new identities is the subject of the essays collected in Díaz’s To Be Indio in Colonial Spanish America. Focusing on central Mexico and the Andes (colonial New Spain and Peru), the contributors deepen scholarly knowledge of colonial history and literature, emphasizing the different ways people became and lived their lives as “indios.” While the construction of indigenous identities has been a theme of considerable interest among Latin Americanists since the early 1990s, this book presents new archival research and interpretive thinking, offering new material and a new approach to the subject to both scholars of colonial Peru and central Mexico.
The story of this nation of over seven thousand islands, from ancient Malay settlements to Spanish colonization, the American occupation, and beyond. A History of the Philippines recasts various Philippine narratives with an eye for the layers of colonial and post-colonial history that have created this diverse and fascinating population. It begins with the pre-Westernized Philippines in the sixteenth century and continues through the 1899 Philippine-American War and the nation's relationship with the United States’ controlling presence, culminating with its independence in 1946 and two ongoing insurgencies, one Islamic and one Communist. Award-winning author Luis H. Francia creates an illuminating portrait that offers valuable insights into the heart and soul of the modern Filipino, laying bare the multicultural, multiracial society of contemporary times.
Fourteen-year-old Ipa struggles to survive a brutal time of change as the Spanish begin the conquest of the native people along the Texas border.
The White Indians of Mexican Cinema theorizes the development of a unique form of racial masquerade—the representation of Whiteness as Indigeneity—during the Golden Age of Mexican cinema, from the 1930s to the 1950s. Adopting a broad decolonial perspective while remaining grounded in the history of local racial categories, Mónica García Blizzard argues that this trope works to reconcile two divergent discourses about race in postrevolutionary Mexico: the government-sponsored celebration of Indigeneity and mestizaje (or the process of interracial and intercultural mixing), on the one hand, and the idealization of Whiteness, on the other. Close readings of twenty films and primary source material illustrate how Mexican cinema has mediated race, especially in relation to gender, in ways that project national specificity, but also reproduce racist tendencies with respect to beauty, desire, and protagonism that survive to this day. This sweeping survey illuminates how Golden Age films produced diverse, even contradictory messages about the place of Indigeneity in the national culture. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of Emory University and the Andrew W. Mellon Foundation. Learn more at the TOME website, available at: https://www.openmonographs.org/. It can also be found in the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/7153
A Native American cartoonist shares his journey from childhood, through struggles with alcoholism, to a spiritual awakening at Standing Rock.
In Indian Given María Josefina Saldaña-Portillo addresses current racialized violence and resistance in Mexico and the United States with a genealogy that reaches back to the sixteenth century. Saldaña-Portillo formulates the central place of indigenous peoples in the construction of national spaces and racialized notions of citizenship, showing, for instance, how Chicanos/as in the U.S./Mexico borderlands might affirm or reject their indigenous background based on their location. In this and other ways, she demonstrates how the legacies of colonial Spain's and Britain's differing approaches to encountering indigenous peoples continue to shape perceptions of the natural, racial, and cultural landscapes of the United States and Mexico. Drawing on a mix of archival, historical, literary, and legal texts, Saldaña-Portillo shows how los indios/Indians provided the condition of possibility for the emergence of Mexico and the United States.
This important book is the first complete seventeenth-century treatise on Native Americans to be introduced, annotated, and translated into English. Presented in a parallel text translation, it brings the work of the controversial and powerful Bishop Juan de Palafox to non-Spanish speakers for the first time. A seminal document in the history of colonial Mexico and imperial Spain, Virtues of the Indian tells us as much about the Mexican natives as about the ideas, images, and representations upon which the Spanish Empire in America was built. Taken as a whole, this book will raise questions about the Spanish empire and the governance of New Spain's Indians. Even more significantly, it will complicate the prevailing view of Spanish imperialism and colonial society as one dominated by a unified and coherent ruling elite with common goals. The deeply-informed introduction, biographical essay, and annotations that accompany this vivid translation further explore the thoughts and actions of the dynamic and complex Palafox, contributing to a better knowledge of a key figure in the history of Spanish colonialism in the New World.