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Envisioning Others offers a multidisciplinary view of the relationship between race and visual culture in the Spanish- and Portuguese-speaking world, from the kingdoms of Spain and Portugal to colonial Peru and Colombia, post-Independence Mexico, and the pre-Emancipation United States. Contributed by specialists in Latin American and Iberian art history, literature, history, and cultural studies, its ten chapters take a transnational view of what ‘race’ meant, and how visual culture supported and shaped this meaning, within the Ibero-American sphere from the late Middle Ages to the modern era. Case studies and regionally-focused essays are balanced by historiographical and theoretical offerings for a fresh perspective that challenges the reader to discern broad intersections of race, color, and the visual throughout the Iberian world. Contributors are Beatriz Balanta, Charlene Villaseñor Black, Larissa Brewer-García, Ananda Cohen Suarez, Elisa Foster, Grace Harpster, Ilona Katzew, Matilde Mateo, Mey-Yen Moriuchi, and Erin Kathleen Rowe.
Pigmentocracies: Ethnicity, Race, and Color in Latin America
From the mid-nineteenth century until the 1930s, many Latin American leaders faced a difficult dilemma regarding the idea of race. On the one hand, they aspired to an ever-closer connection to Europe and North America, where, during much of this period, "scientific" thought condemned nonwhite races to an inferior category. Yet, with the heterogeneous racial makeup of their societies clearly before them and a growing sense of national identity impelling consideration of national futures, Latin American leaders hesitated. What to do? Whom to believe? Latin American political and intellectual leaders' sometimes anguished responses to these dilemmas form the subject of The Idea of Race in Latin America. Thomas Skidmore, Aline Helg, and Alan Knight have each contributed chapters that succinctly explore various aspects of the story in Brazil, Argentina, Cuba, and Mexico. While keenly alert to the social and economic differences that distinguish one Latin American society from another, each author has also addressed common issues that Richard Graham ably draws together in a brief introduction. Written in a style that will make it accessible to the undergraduate, this book will appeal as well to the sophisticated scholar.
Racism Analysis is a research series by LIT Verlag that explores racial discrimination in all its varying historical, ideological, and cultural patterns. It examines the invention of race, as well as the dimensions of modern racism, and it inquires into racism avant la lettre. Race and Blood in the Iberian World is the third volume in the Race Analysis series. This collection offers an historical approach to the topics of race and blood in the Spanish Atlantic world, with extended comparative glances toward other Iberian imperial contexts (Portuguese India) and periods (the modern). The contributions include: a proposition to analyze processes of racialization in plural before the modern period * the question of whether it is analytically appropriate to apply the concept of race to early modern Spanish and Spanish American contexts * the intricate dynamics of race and blood in Iberian discourses of otherness * an analysis of the discourse of limpieza de sangre in relation to Spain's Muslims and moriscos in New Granada * the meanings of the Spanish notions of race and its relationships with gender in colonial Mexico * the meaning of casta, raza, and limpieza de sangre in Goa * the place of Gypsies, indigenous people, and blacks within discourses of citizenship and nativeness * a discussion about how to transform colonial subjects into citizens * an exploration of the works of two scientists of the inter-war period whose research in different ways contributed to what is called blood science. (Series: Racism Analysis - Series B: Yearbooks - Vol. 3)
The role of race in politics, citizenship, and the state is one of the most perplexing puzzles of modernity. While political thought has been slow to take up this puzzle, Diego von Vacano suggests that the tradition of Latin American and Hispanic political thought, which has long considered the place of mixed-race peoples throughout the Americas, is uniquely well-positioned to provide useful ways of thinking about the connections between race and citizenship. As he argues, debates in the United States about multiracial identity, the possibility of a post-racial world in the aftermath of Barack Obama, and demographic changes owed to the age of mass migration will inevitably have to confront the intellectual tradition related to racial admixture that comes to us from Latin America. Von Vacano compares the way that race is conceived across the writings of four thinkers, and across four different eras: the Spanish friar Bartolomé de Las Casas writing in the context of empire; Simón Bolivar writing during the early republican period; Venezuelan sociologist Laureano Vallenilla Lanz on the role of race in nationalism; and Mexican philosopher José Vasconcelos writing on the aesthetic approach to racial identity during the cosmopolitan, post-national period. From this comparative and historical survey, von Vacano develops a concept of race as synthetic, fluid and dynamic -- a concept that will have methodological, historical, and normative value for understanding race in other diverse societies.
This thesis will analyze the evolution of racial identity during the colonial period in Spanish Latin America and how Casta paintings in the seventeenth century led to the creation of a society based on social stratification originating from the mixing of races. The chapters of this thesis will track the evolution of how those of mixed racial heritage have been viewed in Latin American society. I also examine how the visual identification of "mixed race" has affected the social class or social status of people of mixed races during the Colonial period. This thesis will incorporate various literature regarding the origins of Casta paintings and their multifaceted meanings. This thesis will also examine the intersectionality of visual representation of race, gender, and religion. These visual forms of racial art set forth the foundation of a new social hierarchy based on the idea of Spanish purity of blood and the mixing of races. The aim of this thesis is to reveal how those of mixed races, especially in Latin American society, have faced oppressive social standing. I argue that many mixed-race individuals face a dual identity crisis in which they do not know which group or culture they are "supposed" to identify with or belong to. This marginalization has been inscribed and reinscribed through visual representations. Often those of mixed races are not allowed to fully participate in the advantages or disadvantages of at least one of their races. Historians and scholars have deemed this the crisis of "dual identity." With this thesis, I provide insight into the daily struggles of identifying as a mixed marginalized group in a society that emphasized racial difference and hierarchy. I also explore the intersections of this hierarchy with gender. Finally, this thesis explores the difficulties of attempting to identify as one race or another and the social struggles that emerge for people of mixed race.
Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. The term 'Latinize' is introduced to connect France's early 19th-century endeavors to create “Latin America,” an expansion of the French empire into the Latin-language based Spanish and Portuguese Americas, to its perception of this population. Latin-American elites traveler to Paris in the 1840s from their newly independent nations were denigrated in representations rather than depicted as equals in a developing global economy. Darkened skin, etched onto images of Latin Americans of European descent mitigated their ability to claim the privileges of their ancestral heritage. Whitened skin, among other codes, imposed on turn-of-the-20th-century Black Latin Americans in Paris tempered their Blackness and rendered them relatively assimilatable compared to colonial Africans, Blacks from the Caribbean, and African Americans. After identifying mid-to-late 19th-century Latinizing codes, the study focuses on shifts in latinizing visuality between 1890-1933 in three case studies: the depictions of popular Cuban circus entertainer Chocolat; representations of Panamanian World Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of Black Uruguayans executed by Pedro Figari, a Uruguayan artist, during his residence in Paris between 1925-1933.
Racism in the modern nation state is based on a Continental and an American model. In the Continental model, the racist differentiates the raced individual by religion. Because this raced individual is indistinguishable from the racist, a narrative is written to see that individual. In turn, in the American model the racist differentiates the raced individual based on skin color. Because the sign of difference is obvious, no story is written to justify racist thinking. By 1550, both models form part of imperial thinking in the Iberian world system. An Eye on Race: Perspectives from Theater in Imperial Spain describes these models at work in imperial Spanish theater. The study reveals how the display of blood in drama serves the Continental model and how the display of skin color serves the American model. It also elucidates how Miguel de Cervantes celebrates a subaltern aesthetic as he discards both racial paradigms. John Beusterien is Associate Professor of Spanish at Texas Tech University.
Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. The term 'Latinize' is introduced to connect France's early 19th-century endeavors to create "Latin America," an expansion of the French empire into the Latin-language based Spanish and Portuguese Americas, to its perception of this population. 0Latin-American elites traveler to Paris in the 1840s from their newly independent nations were denigrated in representations rather than depicted as equals in a developing global economy. Darkened skin, etched onto images of Latin Americans of European descent mitigated their ability to claim the privileges of their ancestral heritage. Whitened skin, among other codes, imposed on turn-of-the-20th-century Black Latin Americans in Paris tempered their Blackness and rendered them relatively assimilatable compared to colonial Africans, Blacks from the Caribbean, and African Americans. After identifying mid-to-late 19th-century Latinizing codes, the study focuses on shifts in latinizing visuality between 1890-1933 in three case studies: the depictions of popular Cuban circus entertainer Chocolat; representations of Panamanian World Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of Black Uruguayans executed by Pedro Figari, a Uruguayan artist, during his residence in Paris between 1925-1933.