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Reveals the dependence of American ethnic identity on Spain and Spanish imperialism.
This work is an exploration of 'the Black Legend', the popular myth that colonial Spain and her military religious agents were brutal and unrelenting in their conquest of the Americas.
In the 1990s, 'protection', 'import substitution' and 'intervention' have become dirty words, part of the 'leyenda negra' of Latin America development in the postwar period. This book attempts a fresh look at the controversial years between the end of the Second World War and the point when, at varying dates in different countries, a discontinuity occurs in which the postwar 'style of development' ceased to play a central role in the economic evolution of the region. The analysis is based on seven case studies covering eleven countries.
In Far-Right Revisionism and the End of History: Alt/Histories, historians, sociologists, neuroscientists, lawyers, cultural critics, and literary and media scholars come together to offer an interconnected and comparative collection for understanding how contemporary far-right, neo-fascist, Alt-Right, Identitarian, and New Right movements have proposed revisions and counter-narratives to accepted understandings of history, fact and narrative. The innovative essays found here bring forward urgent questions to diverse public, academic, and politically-minded audiences interested in how historical understandings of race, gender, class, nationalism, religion, law, technology and the sciences have been distorted by these far-right movements. If scholars of the last twenty years, like Francis Fukuyama, believed that neoliberalism marked an "end of history," this volume shows how the far right is effectively threatening democracy and its institutions through the dissemination of alt-facts and histories.
This Companion aims to give an up-to-date overview of the historical context and the conceptual framework of Spanish imperial expansion during the early modern period, mostly during the 16th century. It intends to offer a nuanced and balanced account of the complexities of this historically controversial period analyzing first its historical underpinnings, then shedding light on the normative language behind imperial theorizing and finally discussing issues that arose with the experience of the conquest of American polities, such as colonialism, slavery or utopia. The aim of this volume is to uncover the structural and normative elements of the theological, legal and philosophical arguments about Spanish imperial ambitions in the early modern period. Contributors are Manuel Herrero Sánchez, José Luis Egío, Christiane Birr, Miguel Anxo Pena González, Tamar Herzog, Merio Scattola, Virpi Mäkinen, Wim Decock, Christian Schäfer, Francisco Castilla Urbano, Daniel Schwartz, Felipe Castañeda, José Luis Ramos Gorostiza, Luis Perdices de Blas, Beatriz Fernández Herrero.
Christian Texts for Aztecs: Art and Liturgy in Colonial Mexico is a cultural history of the missionary enterprise in sixteenth-century Mexico, seen primarily through the work of Catholic missionaries and the native populations, principally the Aztecs. Also known as the Mexica or Nahuas, speakers of the Nahuatl tongue, these Mesoamerican people inhabited the central plateau around Lake Texcoco and the sacred metropolis of Tenochtitlan, the site of present-day Mexico City. It was their language that the mendicant missionaries adopted as the lingua franca of the evangelization enterprise. Conceived as a continuation of his earlier, well-received City, Temple, Stage, Jaime Lara's new work addresses the inculturation of Catholic sacraments and sacramentals into an Aztec worldview in visual and material terms. He argues that Catholic liturgy--similar in some ways to pre-Hispanic worship--effectively "conquered" the religious imagination of its new Mesoamerican practitioners, thus creating the basis for a uniquely Mexican Catholicism. The sixteenth-century friars, in partnership with indigenous Christian converts, successfully translated the Christian message from an exclusively Eurocentric worldview to a system of symbols that made sense to the indigenous civilizations of Central Mexico. While Lara is interested in liturgical texts with novel or recycled metaphors, he is equally interested in visual texts such as neo-Christian architecture, mural painting, feather work, and religious images made from corn. These, he claims, were the sensorial bridges that allowed for a successful, if not wholly orthodox, inculturation of Christianity into the New World. Enriched by more than 280 color images and eleven appendices of translations from Latin and Nahuatl, Lara's study provides rich insights on the development of sacramental practice, popular piety, catechetical drama, and parish politics. Song, dance, flowers, and feathers--of utmost importance in the ancient religion of the Aztecs--were reworked in ingenious ways to serve the Christian cause. Human blood, too, found renewed importance in art and devotion when the indigenous religious leaders and the mendicant friars addressed the fundamental topic of the Man on the cross. An important work on worship, liturgy, and the visual imagination, Christian Texts for Aztecs: Art and Liturgy in Colonial Mexico is a vivid look at a unique cultural adaptation of Christianity. "I have deeply enjoyed and have been intellectually enriched by reading Jaime Lara's Christian Texts for Aztecs: Art and Liturgy in Colonial Mexico. This book will transform how we understand the process of evangelization of Mexico in the sixteenth-century. Clearly written and persuasively argued, Lara reveals how metaphor allows for cross-cultural communication as the deepest level of the Human experience, religious belief. This is demonstrated by a nuanced but richly documented history of the period. Drawing upon architecture, painting and a variety of different kinds of primary sources, this study blends a deep understanding of Aztec religious beliefs so as to articulate the very complex development of Colonial Mexican Christianity. Most importantly, Lara demonstrates how Aztec beliefs and practices were not only incorporated into Catholic teaching and ritual practice, but how they transformed that teaching and practice. Moreover, Lara makes so very evident the centrality of Music and Art in this complicated interaction." --Thomas Cummins, Dumbarton Oaks Professor of the History of Pre-Columbian and Colonial Art, Harvard University "We have seen many interpretations of the story of the faith in America; some have called it 'black,' and others 'white' or 'grey.' Whatever version one may appropriate, Jaime Lara has provided us with a unique, rich focus: the worship experience of a people called to be renewed by Christianity and the creative expressions of Christian faith in unique images and paintings. Jaime Lara's book is a treasure to cherish for many years, an addition to any personal or public Library, and a legacy that engages readers to embark on a journey in which history, liturgical theology, and good art become one's traveling companions." --Rev. Fr. Juan J. Sosa, Presidente, Instituto Nacional Hispano de Liturgia, Inc.
A little-known moment in colonial history that changed the course of America’s future. A riveting account of a brutal killing, an all-out manhunt, and the first murder trial in America, set against the backdrop of the Pequot War (between the Pequot tribe and the colonists of Massachusetts Bay) that ended this two-year war and brought about a peace that allowed the colonies to become a nation. The year: 1638. The setting: Providence, near Plymouth Colony. A young Nipmuc tribesman returning home from trading beaver pelts is fatally stabbed in a robbery in the woods near Plymouth Colony by a vicious white runaway indentured servant. The tribesman, fighting for his life, is able with his final breaths to reveal the details of the attack to Providence’s governor, Roger Williams. A frantic manhunt by the fledgling government ensues to capture the killer and his gang, now the most hunted men in the New World. With their capture, the two-year-old Plymouth Colony faces overnight its first trial—a murder trial—with Plymouth’s governor presiding as judge and prosecutor,interviewing witnesses and defendants alike, and Myles Standish, Plymouth Colony authority, as overseer of the courtroom, his sidearm at the ready. The jury—Plymouth colonists, New England farmers (“a rude and ignorant sorte,” as described by former governor William Bradford)—white, male, picked from a total population of five hundred and fifty, knows from past persecutions the horrors of a society without a jury system. Would they be tempted to protect their own—including a cold-blooded murderer who was also a Pequot War veteran—over the life of a tribesman who had fought in a war allied against them? Tobey Pearl brings to vivid life those caught up in the drama: Roger Williams, founder of Plymouth Colony, a self-taught expert in indigenous cultures and the first investigator of the murder; Myles Standish; Edward Winslow, a former governor of Plymouth Colony and the master of the indentured servant and accused murderer; John Winthrop, governor of Massachusetts Bay Colony; the men on trial for the murder; and the lone tribesman, from the last of the Woodland American Indians, whose life was brutally taken from him. Pearl writes of the witnesses who testified before the court and of the twelve colonists on the jury who went about their duties with grave purpose, influenced by a complex mixture of Puritan religious dictates, lingering medieval mores, new ideals of humanism, and an England still influenced by the last gasp of the English Renaissance. And she shows how, in the end, the twelve came to render a groundbreaking judicial decision that forever set the standard for American justice. An extraordinary work of historical piecing-together; a moment that set the precedence of our basic, fundamental right to trial by jury, ensuring civil liberties and establishing it as a safeguard against injustice.
Long before London and New York rose to international prominence, a trading route was discovered between Spanish America and China that ushered in a new era of globalisation. The Ruta de la Plata or ’Silver Way’ catalysed economic and cultural exchange, built the foundations for the first global currency and led to the rise of the first ‘world city’. And yet, for all its importance, the Silver Way is too often neglected in conventional narratives on the birth of globalisation. Gordon and Morales re-establish its fascinating role in economic and cultural history, with direct consequences for how we understand China today.