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This monograph celebrates the work of Mexican architect Manuel Cervantes Caespedes (b. Mexico 1977), whose large-scale projects address urban transport issues in metropolitan areas. His firm, CC Arquitectos, draws on traits of Mexican modernism as well as on architectural traditions from pre-Hispanic settlements.
Though Cuba was among the first countries in the world to utilize rail transport, the history of its railroads has been little studied. This English translation of the prize-winning Caminos para el azucar traces the story of railroads in Cuba from their introduction in the nineteenth century through the 1959 Revolution. More broadly, the book uses the development of the Cuban rail transport system to provide a fascinating perspective on Cuban history, particularly the story of its predominant agro-industry, sugar. While railroads facilitated the sugar industry's rapid growth after 1837, the authors argue, sugar interests determined where railroads would be built and who would benefit from them. Zanetti and Garcia explore the implications of this symbiotic relationship for the technological development of the railroads, the economic evolution of Cuba, and the lives of the railroad workers. As this work shows, the economic benefits that accompanied the rise of railroads in Europe and the United States were not repeated in Cuba. Sugar and Railroads provides a poignant demonstration of the fact that technological progress alone is far from sufficient for development.
Based on previously unused primary sources, this book examines the social forces that were released and shaped by the Cuban revolutionary war. It illustrates the development of resistance methods and varieties of rebellion, and shows how individual groups became a single revolutionary movement.
A panoramic view of representative projects of contemporary architecture in Mexico from 2007-2008. The selection consists of 78 completed projects been selected that reflect the tendencies in architecture for private housing, public complexes, commercial, business and industrial developments. The features stand out in this third in the series: new teams, previously unrepresented, academic and hotels begin to appear and more small, experimental buildings. Some of the architects and collectives include: LCM, Fernando Romero with FRENTE, Juan Pablo Maza, Alberto Kalach, Isaac Broid Zajman, MAS Arquitectos, Legorreta + Legorreta, Serrano Arquitectos, TEN Arquitectos, Landa Arquitectos, Fernanda Canales with Arquitectura 911.
Among the nearly 90,000 Cubans who settled in New York City and Miami in the 1940s and 1950s were numerous musicians and entertainers, black and white, who did more than fill dance halls with the rhythms of the rumba, mambo, and cha cha cha. In her history of music and race in midcentury America, Christina D. Abreu argues that these musicians, through their work in music festivals, nightclubs, social clubs, and television and film productions, played central roles in the development of Cuban, Afro-Cuban, Latino, and Afro-Latino identities and communities. Abreu draws from previously untapped oral histories, cultural materials, and Spanish-language media to uncover the lives and broader social and cultural significance of these vibrant performers. Keeping in view the wider context of the domestic and international entertainment industries, Abreu underscores how the racially diverse musicians in her study were also migrants and laborers. Her focus on the Cuban presence in New York City and Miami before the Cuban Revolution of 1959 offers a much needed critique of the post-1959 bias in Cuban American studies as well as insights into important connections between Cuban migration and other twentieth-century Latino migrations.
A detailed yet accessibly written exploration of the history of Cuba since the Spanish conquest of 1512 that illustrates the development of the Cuban nation, and summarizes the accomplishments of Cubans since the 16th century in the arts, literature, and science.
This book examines the effects of Jewish conversions to Christianity in late medieval Spanish society. Ingram focuses on these converts and their descendants (known as conversos) not as Judaizers, but as Christian humanists, mystics and evangelists, who attempt to create a new society based on quietist religious practice, merit, and toleration. His narrative takes the reader on a journey from the late fourteenth-century conversions and the first blood purity laws (designed to marginalize conversos), through the early sixteenth-century Erasmian and radical mystical movements, to a Counter-Reformation environment in which conversos become the advocates for pacifism and concordance. His account ends at the court of Philip IV, where growing intolerance towards Madrid’s converso courtiers is subtly attacked by Spain’s greatest painter, Diego Velázquez, in his work, Los Borrachos. Finally, Ingram examines the historiography of early modern Spain, in which he argues the converso reform phenomenon continues to be underexplored.
