By Peter Standish
This better half quantity strains the evolution of the most important artistic points of Mexican tradition from pre-Columbian occasions to the current. Dealing in flip with the cultures of Mesoamerica, the colonial interval, the onset of independence and the fashionable period, the writer explores Aztec arts, the position of the acting arts within the means of evangelisation, manifestations of cultural dependence, of the quest for nationwide id, and the fight for modernity, drawing examples from such various actions as structure, portray, tune, dance, literature, movie and media. there's additionally a short account of the unique features of Mexican Spanish. Maps, a chronology, a bibliographical essay and a long bibliography around off this finished consultant, making it an necessary learn device for these heavily drawn to Mexican tradition. Peter Standish is Professor of Spanish at one of many divisions of the collage of North Carolina approach.
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Additional resources for A Companion to Mexican Studies (Monografias A)
Since Spanish women were in relatively short supply in the colonies, it is not surprising that the mestizos grew rapidly in number. 5 One wonders whether Englishmen would have been very different in similar circumstances. The Indian population declined disastrously in the immediate wake of conquest. As indicated previously, apart from deaths by violence there were many caused by the incidental importation of European diseases to which the natives had no immunity. There are also accounts of Indians committing suicide or practising sexual abstinence rather than prolonging life under such adverse conditions.
4 For more on the Virgin of Guadalupe, see Brading (2002) and Lafaye. 34 PETER STANDISH Race, class and society The blending process took place at all levels, not least racially. We have already seen how Malinche’s son by Cortés came to symbolize the new mestizo race that would be thought of as characteristically Mexican. Since Spanish women were in relatively short supply in the colonies, it is not surprising that the mestizos grew rapidly in number. 5 One wonders whether Englishmen would have been very different in similar circumstances.
Zumaya (sometimes given as Sumaya; c. 1678–1755) was an original, Mexican-born composer whose works display great variety and who represents the culmination of the baroque style in Mexico; he was also the first person in the New World to compose an opera (Parténope, 1711). Having served as chapel master at Mexico City Cathedral from 1715 to 1738, Zumaya moved to Oaxaca, where he remained until his death. Among Zumaya’s works, his Sol-fa de Pedro, which is full of word-painting, was an examination piece written in support of his candidacy for the Mexico City post; his a capella work, the Lamentations of Jeremiah (1717), sometimes seems to echo that of Tallis, and Celebren, publiquen is an ambitious composition for double choir.
A Companion to Mexican Studies (Monografias A) by Peter Standish