El Hombre Canción


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El Hombre Canción es una obra como ninguna otra. Terriblemente inocente y a la vez mostrando un realismo sin piedad, tan auténtico como audaz.Es una historia hermosa, y extremadamente triste. El hombre Canción es realismo mágico, un cuento inescapablemente cómico.Carcajadas y llantos. Es una novela sobre un niño que trae dentro del corazón solo amor, nobleza, curiosidad y alegría infinita para lo que es, o puede ser su mundo. El niño se encuentra, como es nuestro destino, en un mundo que sin importarle lo que debería de ser, es lo que es.Pero posiblemente el niño nos enseña algo glorioso que normalmente se encuentra más allá de nuestro horizonte... un niño con una chispita de Dios puede retar a la desgracia del mundo. Puede ser El Hombre Canción.Lee la historia del hombre canción, recordarás algo de lo que se te ha perdido. Nunca olvidarás este cuento tan trágicamente precioso.







Advocate


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ENKINDLED


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Maria Carbella Buenotanco y Valderama, a descendant of a Spanish missionary and a Malay warrior, who died a Christian, has inherited a vast fortune in landholdings and treasures of the East. But even her vaunted wealth and reputed beauty could not hide the truth of her scandalous background. When the parents of Florendo Medrano denounce his betrothal to 19-year old Carbella, whose mother refuses to grant consent, the lovers are forced to join two revolutions. Married under the seal of the Philippine Revolutionary Republic and in the belief that only the triumph of both revolutions can validate his nuptial, Florendo defies the American authorities even after orders to lay down arms are proclaimed throughout the Archipelago. Convicted of treason, only one person can save Florendo; the American officer, whose burning desire is to possess for himself the love and affection of his wife. Restored to his high social status after one of the witnesses detracts his damning testimony, he begins to dream of building a commercial empire. After amnesty is declared for all political prisoners, Don Florendo advocates statehood for the Philippines, unaware of the growing closeness between his wife and the dashing Major Stewart McQueen. Can love triumph over desire when all odds are against it?




Don Quixote


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Recuerdos


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A generation after the U.S. conquest of California, Mariano Guadalupe Vallejo set out to write the story of the land he knew so well—a history to dispel the romantic vision quickly overtaking the state’s recent past. The five-volume history he produced, published here for the first time in English translation, is the most complete account of California before the gold rush by someone who resided in California at the time. Mariano Guadalupe Vallejo (1807–90) grew up in Spanish California, became a leading military and political figure in Mexican California, and participated in some of the founding events of U.S. California, such as the Monterey Constitutional Convention and the first legislature. With his project, undertaken for historian and publisher Hubert Howe Bancroft, Vallejo sought to correct misrepresentations of California’s past, which dismissed as insignificant the pre–gold rush Spanish and Mexican periods—conflated into one “Mission era.” Instead, Vallejo’s history emphasized the role of the military in the Spanish colonization of California and argued that the missionaries after Junípero Serra, with their medieval ideas, had actually retarded the development of California until secularization in the early 1830s. Culture, he contended, was of intense interest to the Californio people, as was the education of children. His accounts of Indigenous peoples, while often sympathetic, were also characteristic of his time: he and other California military leaders, Vallejo maintained, had successfully subdued “hostile” Indians and established mutually beneficial relationships with others. Out of keeping with Bancroft’s American triumphalism, Vallejo’s monumental project was consigned to the archives. With their deft translation and commentary, Rose Marie Beebe and Robert M. Senkewicz—authors of a companion volume on Vallejo’s work—have brought to light a remarkable perspective, often firsthand, on important events in early California history. Their efforts restore a critical chapter to the story of California and the American West.




A La Sombra De La Muerte


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Temple Bar


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The Lienzo of Tlapiltepec


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In four chapters, a foreword, preface, and two appendices accompanied by detailed, full-color illustrations, scholars Arni Brownstone, Nicholas Johnson, Bas van Doesburg, Eckehard Dolinski, Michael Swanton, and Elizabeth Hill Boone describe what a lienzo is and how it was made. They also explain the particular origin, format, and content of the Lienzo of Tlapiltepec—as well as its place within the larger world of Mexican painted history. The contributors furthermore explore the artistry and visual experience of the work. A final essay documents past illustrations of the lienzo including the one rendered for this book, which employed innovative processes to recover long faded colors.




The Art of Being In-between


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In The Art of Being In-between Yanna Yannakakis rethinks processes of cultural change and indigenous resistance and accommodation to colonial rule through a focus on the Sierra Norte of Oaxaca, a rugged, mountainous, ethnically diverse, and overwhelmingly indigenous region of colonial Mexico. Her rich social and cultural history tells the story of the making of colonialism at the edge of empire through the eyes of native intermediary figures: indigenous governors clothed in Spanish silks, priests’ assistants, interpreters, economic middlemen, legal agents, landed nobility, and “Indian conquistadors.” Through political negotiation, cultural brokerage, and the exercise of violence, these fascinating intercultural figures redefined native leadership, sparked indigenous rebellions, and helped forge an ambivalent political culture that distinguished the hinterlands from the centers of Spanish empire. Through interpretation of a wide array of historical sources—including descriptions of public rituals, accounts of indigenous rebellions, idolatry trials, legal petitions, court cases, land disputes, and indigenous pictorial histories—Yannakakis weaves together an elegant narrative that illuminates political and cultural struggles over the terms of local rule. As cultural brokers, native intermediaries at times reconciled conflicting interests, and at other times positioned themselves in opposing camps over the outcome of municipal elections, the provision of goods and labor, landholding, community ritual, the meaning of indigenous “custom” in relation to Spanish law, and representations of the past. In the process, they shaped an emergent “Indian” identity in tension with other forms of indigenous identity and a political order characterized by a persistent conflict between local autonomy and colonial control. This innovative study provides fresh insight into colonialism’s disparate cultures and the making of race, ethnicity, and the colonial state and legal system in Spanish America.