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Conceptualism played a different role in Latin American art during the 1960s and 1970s than in Europe and the United States, where conceptualist artists predominantly sought to challenge the primacy of the art object and art institutions, as well as the commercialization of art. Latin American artists turned to conceptualism as a vehicle for radically questioning the very nature of art itself, as well as art's role in responding to societal needs and crises in conjunction with politics, poetry, and pedagogy. Because of this distinctive agenda, Latin American conceptualism must be viewed and understood in its own right, not as a derivative of Euroamerican models. In this book, one of Latin America's foremost conceptualist artists, Luis Camnitzer, offers a firsthand account of conceptualism in Latin American art. Placing the evolution of conceptualism within the history Latin America, he explores conceptualism as a strategy, rather than a style, in Latin American culture. He shows how the roots of conceptualism reach back to the early nineteenth century in the work of Símon Rodríguez, Símon Bolívar's tutor. Camnitzer then follows conceptualism to the point where art crossed into politics, as with the Argentinian group Tucumán arde in 1968, and where politics crossed into art, as with the Tupamaro movement in Uruguay during the 1960s and early 1970s. Camnitzer concludes by investigating how, after 1970, conceptualist manifestations returned to the fold of more conventional art and describes some of the consequences that followed when art evolved from being a political tool to become what is known as "political art."

Juan Rulfo is one of the most important writers of twentieth-century Mexico, though he wrote only two books—the novel Pedro Páramo (1955) and the short story collection El llano en llamas (1953). First translated into English in 1967 as The Burning Plain, these starkly realistic stories create a psychologically acute portrait of poverty and dignity in the countryside at a time when Mexico was undergoing rapid industrialization following the upheavals of the Revolution. According to Ilan Stavans, the stories' "depth seems almost inexhaustible: with a few strokes, Rulfo creates a complex human landscape defined by desolation. These stories are lessons in morality. . . . They are also astonishing examples of artistic distillation."To introduce a new generation of readers to Rulfo's unsurpassable literary talents, this new translation repositions the collection as a classic of world literature. Working from the definitive Spanish edition of El llano en llamas established by the Fundación Juan Rulfo, Ilan Stavans and co-translator Harold Augenbram present fresh translations of the original fifteen stories, as well as two more stories that have not appeared in English before—"The Legacy of Matilde Arcángel" and "The Day of the Collapse." The translators have artfully preserved the author's "peasantisms," in appreciation of the distinctive voices of his characters. Such careful, elegiac rendering of the stories perfectly suits Rulfo's Mexico, in which people on the edge of despair nonetheless retain a sense of self, of integrity that will not be taken away.

Discusses the geography, history, government, economy, people, and culture of Barbados, a small island nation in the Caribbean

Winner, A Choice Magazine Outstanding Academic BookLeopoldo Méndez (1902-1969) was one of the most distinguished printmakers of the twentieth century, as well as one of Mexico's most accomplished artists. A politically motivated artist who strongly opposed injustice, fascism, and war, Méndez helped form and actively participated in significant political and artistic groups, including the Estridentistas in the 1920s and the Liga de Escritores y Artistas Revolucionarios (LEAR) and the Taller de Gráfica Popular (TGP) in the 1930s. To champion Mexican art and artists, Méndez also founded and directed the Fondo Editorial de la Plástica Mexicana, a highly respected art book publishing company.Leopoldo Méndez is the first book-length work in English on this major Mexican artist. Profusely illustrated with over one hundred and fifty images, it examines the whole sweep of Méndez's artistic career. Deborah Caplow situates Méndez within both Mexican and international art of the twentieth century, tracing the lines of connection and influence between Méndez and such contemporaries as David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco, and printmaker José Guadalupe Posada. Caplow focuses on the period in the 1930s when Méndez and his fellow artists in LEAR and TGP played a key role in the development of a Mexican political art movement and a modern Mexican cultural identity. She also describes how Méndez created a body of powerful anti-Fascist images before and during World War II and subsequently collaborated with artists from Mexico and around the world on political printmaking, in addition to publishing books and creating prints for films by the eminent Mexican cinematographer, Gabriel Figueroa.

This volume develops G. R. Russom's contributions to early English metre and style, including his fundamental reworkings and rethinkings of accepted and oft-repeated mantras, including his word-foot theory, concern for the late medieval context for alliterative metre, and the linguistics of punctuation and translation as applied to Old English texts. Ten eminent scholars from across the field take up Russom's ideas to lead readers in new and exciting directions.

Rare in new condition. Claire Badaracco describes the history of the R.R. Donnelley Four American Books Campaign in the late 1920s. The campaign hoped to promote perceptions of American excellence in the printing of fine books, and it commissioned illustrators to select volumes to illustrate. The four books chosen were Moby Dick, Two Years Before the Mast, Walden, and The Tales of Edgar Allen Poe. The Bibliographical Society of America review writes, "Badaracco, who has had access to the Donnelley records and correspondence files, has traced the history of the campaign in admirable detail, providing a concise history of the venture and giving, in the process, useful thumbnail sketches of the persons who conceived and executed the books." Published by the Library of Congress Center for the Book, whose purpose is to promote books and literature. Includes illustrations from the published volumes as well as historical images.

This volume develops G. R. Russom's contributions to early English metre and style, including his fundamental reworkings and rethinkings of accepted and oft-repeated mantras, including his word-foot theory, concern for the late medieval context for alliterative metre, and the linguistics of punctuation and translation as applied to Old English texts. Ten eminent scholars from across the field take up Russom's ideas to lead readers in new and exciting directions.

Good condition. This is the average used book, that has all pages or leaves present, but may include writing. Book may be ex-library with stamps and stickers. 1.34

Huichol Indian yarn paintings are one of the world's great indigenous arts, sold around the world and advertised as authentic records of dreams and visions of the shamans. Using glowing colored yarns, the Huichol Indians of Mexico paint the mystical symbols of their culture—the hallucinogenic peyote cactus, the blue deer-spirit who appears to the shamans as they croon their songs around the fire in all-night ceremonies deep in the Sierra Madre mountains, and the pilgrimages to sacred sites, high in the central Mexican desert of Wirikuta.Hope MacLean provides the first comprehensive study of Huichol yarn paintings, from their origins as sacred offerings to their transformation into commercial art. Drawing on twenty years of ethnographic fieldwork, she interviews Huichol artists who have innovated important themes and styles. She compares the artists' views with those of art dealers and government officials to show how yarn painters respond to market influences while still keeping their religious beliefs.Most innovative is her exploration of what it means to say a tourist art is based on dreams and visions of the shamans. She explains what visionary experience means in Huichol culture and discusses the influence of the hallucinogenic peyote cactus on the Huichol's remarkable use of color. She uncovers a deep structure of visionary experience, rooted in Huichol concepts of soul-energy, and shows how this remarkable conception may be linked to visionary experiences as described by other Uto-Aztecan and Meso-American cultures.

The Mexican revolution of 1910–1920 gave rise to an artistic explosion that was felt most profoundly in printmaking. The left-wing government viewed art as an important vehicle for education and the promotion of revolutionary values. It established a program to cover the walls of public buildings with murals and set up numerous workshops to produce prints for wide distribution. By the 1930s, Mexico was attracting socially committed artists from all over the American continent and beyond, ready to do battle for a new aesthetic as well as a new political order. Diego Rivera, a key figure in the art of revolution, became one of the most celebrated artists in the world.Starting with works by José Guadalupe Posada, who was adopted by the revolutionaries as the archetypal printmaker for the people, Revolution on Paper features prints by thirty-five artists, including the "Three Greats" of Mexican art of the period—Rivera, José Clemente Orozco, and David Alfaro Siqueiros. The selection includes not only single-sheet artists' prints, but also posters addressing social and political issues, and illustrated books on many different subjects. Images of the revolutionary hero Emiliano Zapata, scenes of poverty, hunger, and oppression, and posters protesting against fascism and the war in Europe contrast with representations of Mexican history and idealized rural life that express what was regarded as typically "Mexican." Introductory essays by Dawn Adès and Alison McClean set Mexican printmaking in its artistic and political context. Concise biographies of the artists, a chronology, and a glossary of printmaking terms complete the book.

"Provides comprehensive information on the geography, history, wildlife, governmental structure, economy, cultural diversity, peoples, religion, and culture of Eritea"--Provided by publisher.

Bring the magic of poetry to life with R is for Rhyme: A Poetry Alphabet. From acrostics and ballads to meter and metaphor, author and poet Judy Young has written a delightful collection of poems to illustrate poetic tools, terms and techniques. Each term or technique is demonstrated in an accompanying poem so readers can see the method at work. Whether haiku or rap, sonnets or cinquain, budding writers of all ages will be inspired to put their imaginations to work crafting their own poems.Judy Young remembers showing one of her poems to her grandmother when she was about 10 years old, and she has been in love with writing poetry ever since. Judy is the author of another Sleeping Bear Press book, S is for Show Me: A Missouri Alphabet. Judy lives with her family near Springfield, Missouri. Victor Juhasz's humorous illustrations and caricatures have been commissioned by such clients as Time, Newsweek, The New Yorker, Rolling Stone, and The New York Times. He is also the illustrator of the popular D is for Democracy: A Citizen's Alphabet. Victor lives and works in Stephentown, New York.

Pap. Minor shelf wear. Else a bright, clean copy. Very Good.

Winner, Book Prize in Latin American Studies, Colonial Section of Latin American Studies Association (LASA), 2016ALAA Book Award, Association for Latin American Art/Arvey Foundation, 2016The capital of the Aztec empire, Tenochtitlan, was, in its era, one of the largest cities in the world. Built on an island in the middle of a shallow lake, its population numbered perhaps 150,000, with another 350,000 people in the urban network clustered around the lake shores. In 1521, at the height of Tenochtitlan's power, which extended over much of Central Mexico, Hernando Cortés and his followers conquered the city. Cortés boasted to King Charles V of Spain that Tenochtitlan was "destroyed and razed to the ground." But was it?Drawing on period representations of the city in sculptures, texts, and maps, The Death of Aztec Tenochtitlan, the Life of Mexico City builds a convincing case that this global capital remained, through the sixteenth century, very much an Amerindian city. Barbara E. Mundy foregrounds the role the city's indigenous peoples, the Nahua, played in shaping Mexico City through the construction of permanent architecture and engagement in ceremonial actions. She demonstrates that the Aztec ruling elites, who retained power even after the conquest, were instrumental in building and then rebuilding the city. Mundy shows how the Nahua entered into mutually advantageous alliances with the Franciscans to maintain the city's sacred nodes. She also focuses on the practical and symbolic role of the city's extraordinary waterworks—the product of a massive ecological manipulation begun in the fifteenth century—to reveal how the Nahua struggled to maintain control of water resources in early Mexico City.

Published in honour of P. R. S. Moorey, one of the foremost Near Eastern scholars of his generation, this book brings together nineteen studies on the archaeology of the ancient Near East. The volume focuses on three main themes that have been central to Moorey's extensive contributions to the field: tracking cultural transfers, understanding images, and the study of ancient materials and manufacture. Ranging widely in time and space from Egypt to Central Asia and from the Neolithic to the Sasanian period, the studies are linked by their shared methodology, namely a commitment to the crucial role played by objects in the reconstruction of past cultures and the recognition of the importance of contextual analysis in evaluating the material evidence. Topics include: the origins of pharaonic iconography, the spread of writing, stone vessels, prehistoric figurines, the iconography of seals, early metallurgy, ancient cuisine and the use of works of art in ancient societies.

Like the renowned American writer Edmund Wilson, who began to learn Hungarian at the age of 65, Richard Teleky started his study of that difficult language as an adult. Unlike Wilson, he is a third-generation Hungarian American with a strong desire to understand how his ethnic background has affected the course of his life. “Exploring my ethnicity,” he writes, “became a way of exploring the arbitrary nature of my own life. It was not so much a search for roots as for a way of understanding rootlessness - how I stacked up against another way of being.” He writes with clarity, perception, and humor about a subject of importance to many Americans - reconciling their contemporary identity with a heritage from another country.From an examination of photographer Andre Kertesz to a visit to a Hungarian American church in Cleveland, from a consideration of stereotypical treatment of Hungarians in North American fiction and film to a description of the process of translating Hungarian poetry into English, Teleky’s interests are wide-ranging. he concludes with an account of his first visit to Hungary at the end of Soviet rule.

Book is in NEW condition. 0.79

Now in its third edition, The American Culture of War presents a sweeping critical examination of every major American war since 1941: World War II, Korea, Vietnam, the First and Second Persian Gulf Wars, U.S. operations in Iraq and Afghanistan, and the war against ISIS. As he carefully considers the cultural forces that surrounded each military engagement, Adrian Lewis offers an original and provocative look at the motives, people and governments used to wage war, the discord among military personnel, the flawed political policies that guided military strategy, and the civilian perceptions that characterized each conflict. This third edition features: A new structure focused more exclusively on the character and conduct of the wars themselves Updates to account for the latest, evolving scholarship on these conflicts An updated account of American military involvement in the Middle East, including the abrupt rise of ISIS The new edition of The American Culture of War remains a comprehensive and essential resource for any student of American wartime conduct.

Thirty-one articles by students and colleagues of an individual responsible for the publication of much of the textual material which forms the basis of knowledge of Nuzi and the Hurrian civilization; there are also copies of a number of texts not published heretofore.