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José Ortiz-Echagüe
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José Ortiz-Echagüe
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Don José, the Last Patrón
Four hundred years ago, the pioneer men and women who first came to New Mexico were forced to make their life compatible with the earth and with their isolation. The beauty that surrounded them did not sustain them, but out of reverence for the land, there appeared the chosen ones--the "curanderos" who understood the medicinal uses of herbs; the "veijitos," the old men who made folklore, history and tradition and recounted it to the younger generations. And from this same tradition came the Patrón, a man who had the ability to channel ambition and determination, and to make the land and its people yield to the law of common interest. He was a protector, a watcher of signs; he was a code mak...
Mexican Political Biographies, 1935-2009
"Teresa Lozano Long Institute of Latin American Studies."
For a Tin Star
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La Historia
Mucho se ha escrito de la Escuela Náutica de Mazatlán y referente al egregio marino "Capitán de Altura Antonio Gómez Maqueo"; un poco aquí, otro tanto más allá. La investigación del Ing. Julio Alfonso Ruiz Ramírez contabiliza abundantes horas en entrevistas con marinos de todas las edades y estratos sociales, revisión de viejas y gastadas hojas en el archivo municipal, registros de las sesiones del cabildo de antaño en busca de pistas sobre fechas, y búsquedas que dieran mayor luz a la fundación de la escuela o sobre el siempre evasivo pasado del capitán. Su pesquisa incluyó visitas a los cementerios, incluso viajes: a México y al lugar de nacimiento del marino, oriundo de Or...
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Advocates for the Oppressed
Having written about Hispano land grants and Pueblo Indian grants separately, Malcolm Ebright now brings these narratives together for the first time, reconnecting them and resurrecting lost histories.
Documenting Spain: Artists, Exhibition Culture, and the Modern Nation, 1929Ð1939
The news media have given us potent demonstrations of the ambiguity of ostensibly truthful representations of public events. Jordana Mendelson uses this ambiguity as a framework for the study of Spanish visual culture from 1929 to 1939--a decade marked, on the one hand, by dictatorship, civil war, and Franco's rise to power and, on the other, by a surge in the production of documentaries of various types, from films and photographs to international exhibitions. Mendelson begins with an examination of El Pueblo Español, a model Spanish village featured at the 1929 International Exposition in Barcelona. She then discusses Buñuel's and Dalí's documentary films, relating them not only to Fren...
