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Water Availability and Management in Mexico
This book presents several complex case studies related to water management and planning in the context of pollution, growing demands, and global climate change in Mexico, but which are also relevant for other countries in Latin America. These concerns are of critical importance for policymakers who are coping with multiple conflicting interests. Water availability in Mexico is polarized, with abundant rainfall and large rivers in the south, and desert-like conditions in the north. The central region, which is the most industrialized, is overpopulated. Mexico City pours millions of cubic meters of “blackwater” into the northern valley daily and receives its clean water from the south. To...
World Highways
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World Highway Report
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Official Gazette
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Bulletin
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The Jesuit Order As a Synagogue of Jews
In "The Jesuit Order as a Synagogue of Jews" the author explains how Christians with Jewish family backgrounds went within less than forty years from having a leading role in the foundation of the Society of Jesus to being prohibited from membership in it. The author works at the intersection to two important historical topics, each of which attracts considerable scholarly attention but that have never received sustained and careful attention together, namely, the early modern histories of the Jesuit order and of Iberian purity of blood concerns. An analysis of the pro- and anti-converso texts in this book (both in terms of what they are claiming and what their limits are) advance our understanding of early modern, institutional Catholicism at the intersection of early modern religious reform and the new racism developing in Spain and spreading outwards.
Son of the Laocoön
Alonso Berruguete (c. 1489?1561), the first Spanish Renaissance sculptor, spent a fruitful stint in Italy, where he came into contact with Michelangelo, Raphael, and Bramante and was influenced by their enthusiasm for ancient ideals and their attitude to art. Sarcophaguses, ruins and statues fired his imagination, especially the Laocoön: its theatrical pathos, anatomical virtuosity, and bodies dancing in space left an indelible mark on his oeuvre.0Upon his return to Castile he felt himself to be a Renaissance man, a ?new? artist willing to defy the old authorities and defend his ingenium. Drawing on this heritage, he produced works steeped in emotion and visual vehemence that reveal an obsessive preference for the sombre and ?nocturnal? brand of Renaissance art: Dionysian as opposed to Apollonian brand, characterised by tormented and exaggerated gestures, expressive frenzy and the terribilità suffered by ?Laocoön?s sons.? For Berruguete?s pulsating modernity stems from his anticlassical classicism, the importance he attaches to freedom of rhythm and anguish, and an extreme subjectivity that combines the force of the ancient with the freshness of the modern.
