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The Origins of Macho
With limited resources to contextualize masculinity in colonial Mexico, film, literature, and social history perpetuate the stereotype associating Mexican men with machismo—defined as excessive virility that is accompanied by bravado and explosions of violence. While scholars studying men’s gender identities in the colonial period have used Inquisition documents to explore their subject, these documents are inherently limiting given that the men described in them were considered to be criminals or otherwise marginal. Nineteenth- and twentieth-century resources, too, provide a limited perspective on machismo in the colonial period. The Origins of Macho addresses this deficiency by basing its study of colonial Mexican masculinity on the experiences of mainstream men. Lipsett-Rivera traces the genesis of the Mexican macho by looking at daily interactions between Mexican men in the seventeenth and eighteenth centuries. In doing so she establishes an important foundation for gender studies in Mexico and Latin America and makes a significant contribution to the larger field of masculinity studies.
Visualizing the Miraculous, Visualizing the Sacred
French historian Robert Ricard postulated a quick and facile evangelization of the native populations of central Mexico. However, evidence shows that native peoples incorporated Catholicism into their religious beliefs on their own terms, and continued to make sacrifices to their traditional deities. In particular the deities of rain (Tlaloc and Dzahui) and the fertility of the soil (Xipe Totec) continued to be important following the conquest and the beginning of the so-called spiritual conquest. This study examines visual evidence of the persistence of traditional religious practices, including embedded pre-hispanic stones placed in churches and convents, and pre-hispanic iconography in what ostensibly were Christian murals.
Phycotoxins
Phycotoxins: Chemistry and Biochemistry presents the most updated information available on phycotoxins. Major emphases are given to chemistry and biochemistry, while minor emphases are given to the aspects of origin, toxicology, or analytical methodology. The book discusses 16 phycotoxins, 7 on those affecting the nervous systems, 4 affecting other body systems; and 4 with undefined targets. An alphabetical listing of toxins presented includes: Azaspiracids; Brevetoxins; Cyanobacterial toxins; Domoic acid; Gambierols; Gymnodimines, prorocentrolides, spirolides, pinnatoxins and cyclic imines in general; Maitotoxin; Okadaic acid and dinophysistoxins; Palytoxins and ostreocins; Pectenotoxins; P...
Design and Architecture for Signal and Image Processing
This book constitutes the thoroughly refereed conference proceedings of the 16th International Workshop on Design and Architecture for Signal and Image Processing, DASIP 2023, held in Toulouse, France in January 2023. The 9 full included in the volume were carefully reviewed and selected from 17 submissions. They are organized in the following topical sections: Methods and Applications, Hardware Architectures and Implementations and others.
Sonidos Negros
How is the politics of Blackness figured in the flamenco dancing body? What does flamenco dance tell us about the construction of race in the Atlantic world? Sonidos Negros traces how, in the span between 1492 and 1933, the vanquished Moor became Black, and how this figure, enacted in terms of a minstrelized Gitano, paradoxically came to represent Spain itself. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Christian and non-Christian, White and Black worlds. This figure's subversive teetering undermines Spain's symbolic linkage of religion with race, a prime weapon of conquest. Flamenco's Sonidos Negros live in this precarious balance, amid the purposeful confusion and ruckus cloaking embodied resistance, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by enslavement and colonization.
Poemas y El Alma
Nací en Manicaragua, las Villas, descendiente de una familia humilde. Creo que mi vida comenzó cuando a los siete u ocho años me separaron de mi madre y me llevaron para La Habana, capital de Cuba. Allí mis hermanas mayores residían y empecé a estudiar los grados primarios. Ya cursando grados primarios, a los diez años empecé a escribir mis primeras composiciones e historias así como un diario que siempre cargaba con él para todos lados. Tuve mi primer maestro Juan Marquetti Lastra (de los famosos hermanos Marquetti de Alquízar-Habana, todos negros y profesionales) que marcó pautas excelentes en la que aprendí de él buenas lecciones de moral y cívica. Siempre me llevaba el con...
