The Culture of a Multi-Ethnic Colony

Author(s):  
Sonya Lipsett-Rivera

The very nature of Spanish colonization meant that New Spain brought together people from different cultures, ethnicities, religions, and attitudes. Mexico City was the meeting place of all these various populaces. Before the conquest, Tenochtitlan had neighborhoods composed of residents from various parts of the empire. Apart from the many indigenous cultures, colonization also meant the addition of Spaniards, Africans, and Asians, some of whom were enslaved and others simply migrants. The result was a culture that expressed itself both in high and popular culture with a melding of elements—a joyous cacophony that reflected its mestizo nature. This culture was played out not only in institutional settings such as the viceregal court, ceremonies, the theater, and in church but also in the streets, parks, and taverns that dotted towns and cities. Although culture, to a certain extent, reflected New Spain’s hierarchical nature, separation between high and low was never absolute. In the cathedral, as in many other institutions, popular pursuits and music infiltrated the formal singing. This pattern of cultural slippage prevailed within many areas of daily life as the colonial world of New Spain layered pastimes and pursuits from its many constituents.

1997 ◽  
Vol 7 (2) ◽  
pp. 195-223
Author(s):  
Lillian Taiz

Forty-eight hours after they landed in New York City in 1880, a small contingent of the Salvation Army held their first public meeting at the infamous Harry Hill's Variety Theater. The enterprising Hill, alerted to the group's arrival from Britain by newspaper reports, contacted their leader, Commissioner George Scott Railton, and offered to pay the group to “do a turn” for “an hour or two on … Sunday evening.” In nineteenth-century New York City, Harry Hill's was one of the best known concert saloons, and reformers considered him “among the disreputable classes” of that city. His saloon, they said, was “nothing more than one of the many gates to hell.”


Experiment ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 131-144
Author(s):  
Wendy Salmond

Abstract This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.


Societies ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 18
Author(s):  
Kateřina Valentová

The figure of the superhero has always been regarded as an iconic representative of American society. Since the birth of the first superhero, it has been shaped by the most important historical, political, and social events, which were echoed in different comic issues. In principle, in the superhero genre, there has never been a place for aging superheroes, for they stand as a symbol of power and protection for the nation. Indeed, their mythical portrayal of young and strong broad-chested men with superpowers cannot be shattered showing them fragile or disabled. The aim of this article is to delve into the complex paradigm of the passage of time in comics and to analyze one of the most famous superheroes of all times, Superman, in terms of his archetypical representation across time. From the perspective of cultural and literary gerontology, the different issues of Action Comics will be examined, as well as an alternative graphic novel Kingdom Come (2008) by Mark Waid and Alex Ross, where Superman appears as an aged man. Although it breaks the standards of the genre, in the end it does not succeed to challenge the many stereotypes embedded in society in regard to aging, associated with physical, cognitive, and emotional decline. Furthermore, this article will show how a symbolic use of the monomythical representation of a superhero may penetrate into other cultural expressions to instill a more positive and realistic portrayal of aging.


Author(s):  
Monica F Cohen

Abstract This story traces the many adventures of a title, from Edward Jenkins’s 1870 novel, Ginx’s Baby, through colonial resistance to imperial copyright law in Canada, to the photograph of a distressed baby that Charles Darwin featured in The Expression of Emotions in Man and Animals and that the art photographer Oscar Rejlander reproduced as popular cartes de visites. The reiterative use of the title across genres and oceans conjures an image of Victorian popular culture as an unregulated bazaar affording the surprising emergence of unintended creators. Copyright history, frame analysis, and name theory help explain how the title of a popular novel could lend itself to so many unrelated creative objects.


PEDIATRICS ◽  
1965 ◽  
Vol 36 (2) ◽  
pp. 159-161
Author(s):  
ALFRED M. BONGIOVANNI

A SEMINAR on Motor Handicapped Children was convened at the International Children's Center in Paris on December 7, 8, 9, 1964. and was notable for the deep concern displayed by the many representative nations for the disabled child. There appeared to be a universal expansion of the concept of the handicapped child to include many conditions beyond those of an orthopedic nature. The Children's Bureau of the United States now concerns itself with many problems including disorders of any one of the senses, epilepsy, congenital heart disease, and other congenital defects. One of the broadest definitions was that provided by Andersen of the Danish National Institute of Social Research wherein was included all individuals with a disease or defect of such degree that the afflicted person, if unskilled and without support from his surroundings "would have difficulty coping with daily life on an equal footing with others."


Author(s):  
Richard F. Kuisel

This chapter details the rise of anti-Americanism in France, in particular French socialist minister of culture Jack Lang's attack against American popular culture. Lang began by refusing to attend the American film festival at Deauville in September 1981; several months later he gave a notorious address denouncing American cultural imperialism at a UNESCO conference in Mexico City; and then he tried to organize a global “crusade” to combat cultural imports from the United States. Lang was a flamboyant young politician whose movie-star good looks, iconic pink jacket, dramatic initiatives, and hyperactive ways won him both admiration and ridicule. He presided over the Ministry of Culture from 1981 to 1986 and again from 1988 to 1993.


Author(s):  
Di Wang

This chapter brings out conflicts among neighbors, examines the role of the Residential Committee in the neighborhood, observes the responses of the municipal government and official media concerning the city’s image. Mahjong brings us face to face with changes in daily life and popular culture at the turn of the current century, as daily life moves away from communist control and “socialist morality.” It also serves my argument that these changes reflect a much broader political, economic, social, and cultural transformation in which conflicts between individual rights and the collective interests have become prominent.


Author(s):  
D.A. BRADING

This chapter demonstrates that while Spain had a clear vision of what the conquered Aztec city should be, the city of the conquistadors was relatively short for it was soon transformed by its Creole inhabitants who made their own identity pronounced on its building and culture. For 300 years, the city of Mexico was the capital of viceroyalty. It was the capital of New Spain and was the seat of the metropolitan archbishopric of Mexico. During the first decades of the seventeenth century, a generation of young Creoles entered the secular priesthood and the religious orders. They challenged the predominance of European Spaniards, affirmed their talents and identity, and started looking back to the glorious past the conquistadors had destroyed. However, the development of the city was constrained and limited by the city’s status as the viceregal capital of New Spain. Its status hence meant that the city depended on the political decisions and cultural influences emanating from the Spanish. Out of this tension, a creative process of change emerged in which different ethnic groups and cultures intermingled and conflicted to ensure that the social composition and character of Mexico City would be different from the other cities in Spanish America. However, these changes were not brought without due loss. Due to the conquest and the Old World diseases the Mexico population fell to the near brink of oblivion. These epidemics and natural calamities continued to afflict the city throughout the colonial period.


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