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Tracing the evolution of Mexican literary and cultural production following the Tlatelolco massacre, this book shows its progression from a homogeneous construct set on establishing the “true” history of Tlatelolco against the version of the State, to a more nuanced and complex series of historical narratives. The initial representations of the events of 1968 were essentially limited to that of the State and that of the Consejo Nacional de Huelga (National Strike Council) and only later incorporated novels and films. Juan J. Rojo examines the manner in which films, posters, testimonios, and the Memorial del 68 expanded the boundaries of those initial articulations to a more democratic representation of key participants in the student movement of 1968.
Recognizing the fiftieth anniversary of the protests, strikes, and violent struggles that formed the political and cultural backdrop of 1968 across Europe, the United States, and Latin America, Susana Draper offers a nuanced perspective of the 1968 movement in Mexico. She challenges the dominant cultural narrative of the movement that has emphasized the importance of the October 2nd Tlatelolco Massacre and the responses of male student leaders. From marginal cinema collectives to women’s cooperative experiments, Draper reveals new archives of revolutionary participation that provide insight into how 1968 and its many afterlives are understood in Mexico and beyond. By giving voice to Mexican Marxist philosophers, political prisoners, and women who participated in the movement, Draper counters the canonical memorialization of 1968 by illustrating how many diverse voices inspired alternative forms of political participation. Given the current rise of social movements around the globe, in 1968 Mexico Draper provides a new framework to understand the events of 1968 in order to rethink the everyday existential, political, and philosophical problems of the present.
This book offers a critical look at Mexican activism that expands our understanding of social movements during the Global 1960s--Provided by publisher.
What is memory today? How can it be approached? Why does the contemporary world seem to be more and more haunted by different types of memories still asking for elaboration? Which artistic experiences have explored and defined memory in meaningful ways? How do technologies and the media have changed it? These are just some of the questions developed in this collection of essays analysing memory and memory shapes, which explores the different ways in which past time and its elaboration have been, and still are, elaborated, discussed, written or filmed, and contested, but also shared. By gathering together scholars from different fields of investigation, this book explores the cultural, social and artistic tensions in representing the past and the present, in understanding our legacies, and in approaching historical time and experience. Through the analysis of different representations of memory, and the investigation of literature, anthropology, myth and storytelling, a space of theories and discourses about the symbolic and cultural spaces of memory representation is developed.
‘This extraordinary collection is a game-changer. Featuring the cutting-edge work of over forty scholars from across the globe, The Routledge Handbook of the Global Sixties is breathtaking in its range, incisive in analyses, and revolutionary in method and evidence. Here, fifty years after that iconic "1968," Western Europe and North America are finally de-centered, if not provincialized, and we have the basis for a complete remapping, a thorough reinterpretation of the "Sixties."’ —Jean Allman, J.H. Hexter Professor in the Humanities; Director, Center for the Humanities, Washington University in St. Louis ‘This is a landmark achievement. It represents the most comprehensive effort to date to map out the myriad constitutive elements of the "Global Sixties" as a field of knowledge and inquiry. Richly illustrated and meticulously curated, this collection purposefully "provincializes" the United States and Western Europe while shifting the loci of interpretation to Africa, the Middle East, Asia, and Latin America. It will become both a benchmark reference text for instructors and a gateway to future historical research.’ —Eric Zolov, Associate Professor of History; Director, Latin American & Caribbean Studies, Stony Brook University ‘This important and wide-ranging volume de-centers West-focused histories of the 1960s. It opens up fresh and vital ground for research and teaching on Third, Second, and First World transnationalism(s), and the many complex connections, tensions, and histories involved.’ —John Chalcraft, Professor of Middle East History and Politics, Department of Government, London School of Economics and Political Science ‘This book globalizes the study of the 1960s better than any other publication. The authors stretch the standard narrative to include regions and actors long neglected. This new geography of the 1960s changes how we understand the broader transformations surrounding protest, war, race, feminism, and other themes. The global 1960s described by the authors is more inclusive and relevant for our current day. This book will influence all future research and teaching about the postwar world.’ —Jeremi Suri, Mack Brown Distinguished Chair for Leadership in Global Affairs; Professor of Public Affairs and History, The University of Texas at Austin As the fiftieth anniversary of 1968 approaches, this book reassesses the global causes, themes, forms, and legacies of that tumultuous period. While existing scholarship continues to largely concentrate on the US and Western Europe, this volume will focus on Asia, Africa, the Middle East, and Eastern Europe. International scholars from diverse disciplinary backgrounds explore the global sixties through the prism of topics that range from the economy, decolonization, and higher education, to forms of protest, transnational relations, and the politics of memory.
This Handbook brings together essays from an impressive group of well-established and emerging scholars from all around the world, to show the many different types of violence that have plagued Latin America since the pre-Colombian era, and how each has been seen and characterized in literature and other cultural mediums ever since. This ambitious collection analyzes texts from some of the region's most tumultuous time periods, beginning with early violence that was predominately tribal and ideological in nature; to colonial and decolonial violence between colonizers and the native population; through to the political violence we have seen in the postmodern period, marked by dictatorship, guerrilla warfare, neoliberalism, as well as representations of violence caused by drug trafficking and migration. The volume provides readers with literary examples from across the centuries, showing not only how widespread the violence has been, but crucially how it has shaped the region and evolved over time.
In this book Nathanial Gardner provides an insider's perspective to the study of photography in Latin America. He begins with a carefully structured introduction that lays out his unique methodology for the book, which features over eighty photographs and the insights from sixteen prominent Latin American photography scholars and historians, including Boris Kossoy, John Mraz, and Ana Mauad. The work reflects the advances of the study of photography throughout Latin America with certain emphasis on Brazil and Mexico. The author further underlines the role of important institutions and builds context by discussing influential theories and key texts that currently guide the discipline. The Study of Photography in Latin America is critical to all who want to expand their current knowledge of the subject and engage with its experts.
Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses "decolonial aesthetics," a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America--a time of cultural production that has not been studied extensively from a decolonial perspective. Ramos looks at examples of "antipoetry," unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva canción by musicians such as Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. He asserts that these different art forms should not be studied in isolation but rather brought together as a network of contributions to decolonial art. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.
This collection of essays presents a key idea or event in the making of modern Mexico through the lenses of art and history--Provided by publisher.
This book is a printed edition of the Special Issue "Glocal Religions" that was published in Religions