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First pub. 1950. Tale of the conquered of Mexico in 1521 and its aftermath.
Octavio Paz has long been acknowledged as Mexico's foremost writer and critic. In this international classic, Paz has written one of the most enduring and powerful works ever created on Mexico and its people, character, and culture. Compared to Ortega y Gasset's The Revolt of the Masses for its trenchant analysis, this collection contains his most famous work, "The Labyrinth of Solitude," a beautifully written and deeply felt discourse on Mexico's quest for identity that gives us an unequalled look at the country hidden behind "the mask." Also included are "The Other Mexico," "Return to the Labyrinth of Solitude," "Mexico and the United States," and "The Philanthropic Ogre," all of which develop the themes of the title essay and extend his penetrating commentary to the United States and Latin America.
A history of Mexican comic books, their readers, their producers, their critics, and their complex relations with the government and the Church that discusses cultural nationalism, popular taste, and social change.
This exquisite book is a rare jewel in the literature of Mexico and its little-known peninsula, Baja. Describing her adventures on this austere and beautiful slip of land, C. M. Mayo creates a multi-layered map of place filled with daredevil aviators, sea turtle researchers, Stone Age cave painters, and countless other colorful characters. Covering Baja from Cabo San Lucas to Tijuana, Mayo's wit and curiosity help her weave a story that seamlessly combines history, myth, art, and local color.
One of Samantha Wood's earliest childhood memories is of her grandfather giving her a wobbly rubber map of Mexico that pulled apart like a jigsaw puzzle and telling her the story of the nomadic Culúa-Mexica who became known as the Aztecs. Suddenly the wanderers were a people with a new identity, a home ...Like her ancestors, Samantha yearns to find a place she can call home. Raised on the enticing glimpses of a dark and magical land conjured up by her Mexican mother's bedtime stories what begins as a visit to her enigmatic grandmother becomes a quest to find out what it means to be Mexican. Samantha's transformation to Samantita isn't quite so simple. Sometimes much more than words get lost in the translation. But as she learns to embrace México verdadero - the real Mexico - she discovers a people who give new meaning to larger than life, the fabulous strong women who rule the roost, the colourful macho men who think they do, and the invincible bonds between family, food and the spirit world. Always an outsider, this nomad at last feels she has come home.
The Lost Cinema of Mexico is the first volume to challenge the dismissal of Mexican filmmaking during the 1960s through 1980s, an era long considered a low-budget departure from the artistic quality and international acclaim of the nation’s earlier Golden Age. This pivotal collection examines the critical implications of discovering, uncovering, and recovering forgotten or ignored films. This largely unexamined era of film reveals shifts in Mexican culture, economics, and societal norms as state-sponsored revolutionary nationalism faltered. During this time, movies were widely embraced by the public as a way to make sense of the rapidly changing realities and values connected to Mexico’s modernization. These essays shine a light on many genres that thrived in these decades: rock churros, campy luchador movies, countercultural superocheros, Black melodramas, family films, and Chili Westerns. Redefining a time usually seen as a cinematic “crisis,” this volume offers a new model of the film auteur shaped by productive tension between highbrow aesthetics, industry shortages, and national audiences. It also traces connections from these Mexican films to Latinx, Latin American, and Hollywood cinema at large. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L’Hoeste and Juan Carlos Rodríguez Contributors: Brian Price | Carolyn Fornoff | David S. Dalton | Christopher B. Conway | Iván Eusebio Aguirre Darancou | Ignacio Sánchez Prado | Dolores Tierney | Dr. Olivia Cosentino Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
A sweeping look at the complicated concept and history of Indigeneity in Mexico--Provided by publisher.
This book is an ambitious and wide-ranging social and cultural history of gender relations among indigenous peoples of New Spain, from the Spanish conquest through the first half of the eighteenth century. In this expansive account, Lisa Sousa focuses on four native groups in highland Mexico—the Nahua, Mixtec, Zapotec, and Mixe—and traces cross-cultural similarities and differences in the roles and status attributed to women in prehispanic and colonial Mesoamerica. Sousa intricately renders the full complexity of women's life experiences in the household and community, from the significance of their names, age, and social standing, to their identities, ethnicities, family, dress, work, roles, sexuality, acts of resistance, and relationships with men and other women. Drawing on a rich collection of archival, textual, and pictorial sources, she traces the shifts in women's economic, political, and social standing to evaluate the influence of Spanish ideologies on native attitudes and practices around sex and gender in the first several generations after contact. Though catastrophic depopulation, economic pressures, and the imposition of Christianity slowly eroded indigenous women's status following the Spanish conquest, Sousa argues that gender relations nevertheless remained more complementary than patriarchal, with women maintaining a unique position across the first two centuries of colonial rule.