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It is 1842—a dramatic year in the history of Texas-Mexican relations. After five years of uneasy peace, of futile negotiations, of border raids and temporary, unofficial truces, a series of military actions upsets the precarious balance between the two countries. Once more the Mexican Army marches on Texas soil; once more the frontier settlers strengthen their strongholds for defense or gather their belongings for flight. Twice San Antonio falls to Mexican generals; twice the Texans assemble armies for the invasion of Mexico. It is 1842—a year of attack and counterattack.
This is the story that Joseph Milton Nance relates, with a definitiveness and immediacy which come from many years of meticulous research. The exciting story of 1842 is a story of emotions which had simmered through the long, insecure years and which now boil out in blustery threats and demands for vengeance. The Texans threaten to march beyond the Sierra Madres and raise their flag at Monterrey; the Mexicans promise to subdue this upstart Texas and to teach its treacherous inhabitants their place. With communications poor and imaginations fertile, rumors magnify chance banditry into military raids, military raids into full-scale invasions. Newspapers incite their readers with superdramatic, intoxicating accounts of the events. Texans and Mexicans alike respond with a kind of madness that has little or no method. Texas solicits volunteers, calls out troops, plans invasions, and assembles her armies, completely disregarding the fact that her treasury is practically empty—there is little money to buy guns. Meanwhile, in Mexico, where gold and silver are needed for other purposes, “invasions” of Texas are launched—but they are only brief forays more suitable for impressive publicity than for permanent gains.
Still, the conflicts of threat and retaliation, so often futile, are frequently dignified by idealism, friendship, courage, and determination. Both Mexicans and Texans are fighting and dying for liberty, defending their homes against foreign invaders, establishing and maintaining friendships that cross racial and national boundaries, struggling with conflicting loyalties, and—all the while—striving to wrest a living for themselves and their families from the grudging frontier.
Attack and Counterattack, continuing the account which was begun in After San Jacinto, tells from original sources the full story of Texas-Mexican relations from the time of the Santa Fe Expedition through the return of the Somervell Expedition from the Rio Grande. These books examine in great detail and with careful accuracy a period of Texas history that had not heretofore been thoroughly studied and that had seldom been given unbiased treatment. The source materials compiled in the notes and bibliography—particularly the military reports, letters, diaries, contemporary newspapers, and broadsides—will be a valuable tool for any scholar who wishes to study this or related periods.
The sixteen previously unpublished essays in this volume provide a focus for the discussion of authoritarianism and corporatism by clarifying various concepts, and by pointing to directions for future research utilizing them. The book is organized in four parts: a theoretical introduction; discussions of authoritarianism, corporatism, and the state; comparative and case studies; and conclusions and implications. The essays discuss authoritarianism and corporatism in Argentina, Bolivia, Brazil, Chile, Colombia, the Dominican Republic, Mexico, Peru, Uruguay, and Venezuela.
Automatic Religion explores an unlikely series of episodes from the end of the nineteenth century, when crucial ideas related to automatism and, in a different realm, the study of religion were both being born. Paul Christopher Johnson draws on years of archival and ethnographic research in Brazil and France to explore the crucial boundaries being drawn at the time between humans, “nearhumans,” and automata. As agency came to take on a more central place in the philosophical, moral, and legal traditions of the West, certain classes of people were excluded as less-than-human. Tracking the circulation of ideas across the Atlantic, Johnson tests those boundaries, revealing how they were constructed on largely gendered and racial foundations. In the process, he reanimates one of the most mysterious and yet foundational questions in trans-Atlantic thought: what is agency?
The Avant-Garde and Geopolitics in Latin America examines the canonical Latin American avant-garde texts of the 1920s and 1930s in novels, travel writing, journalism, and poetry, and presents them in a new light as formulators of modern Western culture and precursors of global culture. Particular focus is placed on the work of Roberto Arlt and Mário de Andrade as exemplars of the movement.
Fernando J. Rosenberg provides a theoretical historiography of Latin American literature and the role that modernity and avant-gardism played in it. He finds significant parallels between the cultural battles of the interwar years in Latin America and current debates over the role of the peripheral nation-state within the culture of globalization. Rosenberg establishes that the Latin American avant-garde evolved on its own terms, in polemic dialogue with the European movements, critiquing modernity itself and developing a global geopolitical awareness. In the process these writers created a bridge between postcolonial and postmodern culture, forming a distinct movement that continues its influence today.
The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina’s art and avant-garde during the 1960s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States. She looks at the conditions that made these projects possible—not least the Alliance for Progress, a U.S. program of “exchange” and “cooperation” meant to prevent the spread of communism through Latin America in the wake of the Cuban Revolution—as well as the strategies formulated to promote them. She describes the influence of Romero Brest, prominent art critic, supporter of abstract art, and director of the Centro de Artes Visuales del Instituto Tocuato Di Tella (an experimental art center in Buenos Aires); various group programs such as Nueva Figuración and Arte Destructivo; and individual artists including Antonio Berni, Alberto Greco, León Ferrari, Marta Minujin, and Luis Felipe Noé. Giunta’s rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition.
Scholars have long viewed histories of the Aztecs either as flawed chronologies plagued by internal inconsistencies and intersource discrepancies or as legends that indiscriminately mingle reality with the supernatural. But this new work draws fresh conclusions from these documents, proposing that Aztec dynastic history was recast by its sixteenth-century recorders not merely to glorify ancestors but to make sense out of the trauma of conquest and colonialism.
The Aztec Kings is the first major study to take into account the Aztec cyclical conception of time—which required that history constantly be reinterpreted to achieve continuity between past and present—and to treat indigenous historical traditions as symbolic statements in narrative form. Susan Gillespie focuses on the dynastic history of the Mexica of Tenochtitlan, whose stories reveal how the Aztecs used "history" to construct, elaborate, and reify ideas about the nature of rulership and the cyclical nature of the cosmos, and how they projected the Spanish conquest deep into the Aztec past in order to make history accommodate that event.
By demonstrating that most of Aztec history is nonliteral, she sheds new light on Aztec culture and on the function of history in society. By relating the cyclical structure of Aztec dynastic history to similar traditions of African and Polynesian peoples, she introduces a broader perspective on the function of history in society and on how and why history must change.
He shows how the Chicano myth of Aztlan was constructed upon earlier Mesoamerican myths, discusses representations of Mexico in texts by nineteenth- and twentieth-century writers, and analyzes the content of tourist literature, thereby revealing the economic, social, and political interests that drive the production of Mexicanness today. This original linking of seemingly incongruous discourses corrects the misconception that Mexicanness is produced only by hegemonic groups. Cooper shows how Mexico has been defined and represented, by both Mexicans and non-Mexicans, as more than a political or geographic entity, and he particularly reveals how Mexicanness has been exploited by Mexicans themselves through the promotion of tourism as a form of neocolonialism.
Cooper's work is valuable both for identifying attempts to revise and control Mexican myth, history, and culture and for defining the intricate relationship between history, historiography, and cultural nationalism. The Aztec Palimpsest extends existing analyses of Mexicanness into new theoretical realms and provides a fresh perspective on the relationship between the United States and Mexico at a time when these two nations are becoming more intimately linked.
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