Results by title

Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial.

Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.

In this special issue of the Hispanic American Historical Review, the editors stepped outside the sometimes narrow confines of technical academic writing. They sought contributors who were willing to dive into an honest, open discussion of Mexico’s cultural history. The result is a vigorous, complex, innovative, and occasionally humorous discussion of the pros and cons of a new cultural historical approach to Mexican history.
All the contributors to this issue agree on the importance and relevance of a historical study of culture in its most inclusive sense. But there is much less consensus about the promise and potential of a "new cultural history" of Mexico and Latin America. While some of the contributors celebrate new interpretive and methodological advances, others express concern about the dangers of overinterpretation, untoward speculation, and the imposition of postmodernist concepts.

Contributors and topics covered include:
Susan Deans-Smith and Gilbert M. Joseph on the Arena of Dispute
Eric Van Young on the New Cultural History
William E. French on Cultural History of Nineteenth-Century Mexico
Mary Kay Vaughan on Cultural Approaches to Peasant Politics in the Mexican Revolution
Stephen Haber on Mexico’s "New" Cultural History
Florencia E. Mallon on Cycles of Revisionism
Susan Migden Socolow on Putting the "Cult" in Culture
Claudio Lomnitz on the Politics of the "New Cultural History of Mexico"

In this concise historical analysis of the Mexican Revolution, Gilbert M. Joseph and Jürgen Buchenau explore the revolution's causes, dynamics, consequences, and legacies. They do so from varied perspectives, including those of campesinos and workers; politicians, artists, intellectuals, and students; women and men; the well-heeled, the dispossessed, and the multitude in the middle. In the process, they engage major questions about the revolution. How did the revolutionary process and its aftermath modernize the nation's economy and political system and transform the lives of ordinary Mexicans? Rather than conceiving the revolution as either the culminating popular struggle of Mexico's history or the triumph of a new (not so revolutionary) state over the people, Joseph and Buchenau examine the textured process through which state and society shaped each other. The result is a lively history of Mexico's "long twentieth century," from Porfirio Díaz's modernizing dictatorship to the neoliberalism of the present day.