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This volume brings together 29 pieces dating from before 1932, none of which appear in her collected works and many of which are published here for the first time. Includes both fiction and essays.
Picture a throng of tiny devils and angels, or a marching band so small it can fit in the palm of your hand. In a Mixtec town in the Mexican state of Puebla, craftspeople have been weaving palm since before the Spanish Conquest, but over the past forty years that art has become more finely tuned and has won national acceptance in a market nostalgic for an authentic Indian past. In this book, Katrin Flechsig offers the first in-depth ethnographic and historical examination of the miniature palm craft industry, taking readers behind the scenes of craft production in order to explain how and why these folk arts have undergone miniaturization over the past several decades. In describing this "Lilliputization of Mexico," she discusses the appeal of miniaturization, revealing how such factors as tourism and the construction of national identity have contributed to an ongoing demand for the tiny creations. She also contrasts the playfulness of the crafts with the often harsh economic and political realities of life in the community. Flechsig places the crafts of Chigmecatitlán within the contexts of manufacturing, local history, religion, design and technique, and selling. She tells how innovation is introduced into the craft, such as through the modification of foreign designs in response to market demands. She also offers insights into capitalist penetration of folk traditions, the marketing of folk arts, and economic changes in modern Mexico. And despite the fact that the designations "folk" and "Indian" help create a romantic fiction surrounding the craft, Flechsig dispels common misperceptions of the simplicity of this folk art by revealing the complexities involved in its creation. More than thirty illustrations depict not only finished miniatures but also the artists and their milieu. Today miniatures serve not only the tourist market; middle-class Mexicans also collect miniatures to such an extent that it has been termed a national pastime. Flechsig’s work opens up this miniature world and shows us the extent to which it has become a lasting and important facet of contemporary Mexican culture.
When the early Spanish and Mexican colonists came to settle Texas, they brought with them a rich culture, the diversity of which is nowhere more evident than in the folk art and folk craft. This first book-length publication to focus on Texas-Mexican material culture shows the richness of Tejano folk arts and crafts traditions.
This book examines how Mexican artisans and diverse actors participate in translations of aesthetics, politics, and history through the field of craft.
Today all would agree that Mexico and the United States have never been closer--that the fates of the two republics are intertwined. Mexico has become an intimate part of life in almost every community in the United States, through immigration, imported produce, business ties, or illegal drugs. It is less a neighbor than a sibling; no matter what our differences, it is intricately a part of our existence. In the fully updated second edition of Mexico: What Everyone Needs to Know®, Roderic Ai Camp gives readers the most essential information about our sister republic to the south. Camp organizes chapters around major themes--security and violence, economic development, foreign relations, the colonial heritage, and more. He asks questions that take us beyond the headlines: Why does Mexico have so much drug violence? What was the impact of the North American Free Trade Agreement? How democratic is Mexico? Who were Benito Juárez and Pancho Villa? What is the PRI (the Institutional Revolutionary Party)? The answers are sometimes surprising. Despite ratification of NAFTA, for example, Mexico has fallen behind Brazil and Chile in economic growth and rates of poverty. Camp explains that lack of labor flexibility, along with low levels of transparency and high levels of corruption, make Mexico less competitive than some other Latin American countries. The drug trade, of course, enhances corruption and feeds on poverty; approximately 450,000 Mexicans now work in this sector. Brisk, clear, and informed, Mexico: What Everyone Needs To Know® offers a valuable primer for anyone interested in the past, present, and future of our neighbor to the South. Links to video interviews with prominent Mexicans appear throughout the text. The videos can be accessed at through The Oxford Research Encyclopedia of Latin American History at http://latinamericanhistory.oxfordre.com/page/videos/
Offers a valuable primer for anyone interested in the past, present, and future of our neighbor to the South.
American and British Writers in Mexico is the study that laid the foundation upon which subsequent examinations of Mexico’s impact upon American and British letters have built. Chosen by the Mexican government to be placed, in translation, in its public libraries, the book was also referenced by Nobel Laureate Octavio Paz in an article in the New Yorker, “Reflections—Mexico and the United States.” Drewey Wayne Gunn demonstrates how Mexican experiences had a singular impact upon the development of English writers, beginning with early British explorers who recorded their impressions for Hakluyt’s Voyages, through the American Beats, who sought to escape the strictures of American culture. Among the 140 or so writers considered are Stephen Crane, Ambrose Bierce, Langston Hughes, D. H. Lawrence, Somerset Maugham, Katherine Anne Porter, Hart Crane, Malcolm Lowry, John Steinbeck, Graham Greene, Tennessee Williams, Saul Bellow, William Carlos Williams, Robert Lowell, Ray Bradbury, Allen Ginsberg, William Burroughs, and Jack Kerouac. Gunn finds that, while certain elements reflecting the Mexican experience—colors, landscape, manners, political atmosphere, a sense of the alien—are common in their writings, the authors reveal less about Mexico than they do about themselves. A Mexican sojourn often marked the beginning, the end, or the turning point in a literary career. The insights that this pioneering study provide into our complex cultural relationship with Mexico, so different from American and British authors’ encounters with Continental cultures, remain vital. The book is essential for anyone interested in understanding the full range of the impact of the expatriate experience on writers.
Addressing a perceived gap in critiques of the works of four North American women expatriate authors in 1930s Germany, Austenfeld (language and literature, North Georgia State College/State U.) analyzes their responses to fascism as part of their creative development. Exploring the theme of personal ethics, the author compares Kay Boyle's novels such as Death of a Man (1936) with Katherine Anne Porter's Ship of Fools (1962). He also discusses Jean Stafford's collected stories of Heidelberg and Lillian Hellman's play, Watch on the Rhine. c. Book News Inc.
Between 1920 and 1958 Katherine Anne Porter published more than sixty-five book review, many of which are now largely inaccessible. Although several such pieces have appeared in earlier collections of Porter's nonfiction writings, never have so many of Porter's reviews--nearly fifty--been made available in a single volume. Collectively the review reveal Porter's opinions on topics ranging from the nature of art and the place of the artist in politics and society to feminism and the role of female artists. Particularly evident in the reviews are the critical principles that guided her own work as well as her judgments of the works of other writers. In her introductory essay Darlene Harbour Unrue provides important biographical information on Porter, traces her career as a reviewer, and links critical assumptions in the reviews to the themes and techniques of Porter's fiction. Other scholars as well have regarded Porter's critical reviews as valuable tools both for analyzing the fiction and for constructing a portrait of Porter the artist, primarily because Porter produced so little fiction (three collections of short stories and novellas, Flowering Judas, The Leaning Tower, and Pale Horse, Pale Rider, and a novel, Ship of Fools). In the preface to the first collection of her nonfiction writings, The Days Before, Porter herself urged readers to look closely at her nonfiction, for there they would discover "the shape, direction, and connective tissue of a continuous, central interest and preoccupation of a lifetime." Most of the reviews--which appeared in such publications as the New York Herald Tribune, the New York Times, the Nation, and New Masses--she apparently undertook for financial reasons, but occasionally she would agree to review a friend's latest offering. She published no reviews after the success of her best-selling novel, Ship of Fools. Porter's scope as a reviewer was impressively broad. Because she lived in Mexico City during the revolution, had known Diego Rivera, and had studied "primitive" Mexican art, she was often called on to review books on Mexican art and on the revolution. Porter also reviewed many books by or about women. Her reviews of the Short Novels of Colette and Katharine Anthony's translation of Catherine the Great's memoirs are particularly noteworthy for her comments about women artists and her expression of admiration for women who flout traditional roles. These collected reviews illustrate the evolution of one of the most important American writers of the twentieth century and will interest not only Porter scholars but also anyone who appreciates her fiction.