scholarly journals De Le livre rouge a El libro rojo: la mexicanización de un proyecto literario francés

2021 ◽  
Vol 32 (2) ◽  
pp. 11-41
Author(s):  
Alejandro Quintero Mächler ◽  
Keyword(s):  
French Text ◽  
Visual Representation ◽  
Expressive Power ◽  
Mexican History ◽  
French Model

The article peruses the influence of Le livre rouge (1863) in Vicente Riva Palacio’s and Manuel Payno’s El libro rojo (1870). It expounds how those responsible for El libro rojo, instead of just copying the French model, adapted it into a certain written and visual representation of history: violent, liberal, and providential. The article’s structure follows the Mexican version’s four innovations: martyrological hagiographies were elaborated instead of disquieting biographies; lithography, of greater expressive power, was substituted for the engraving technique; a taxonomy of violence was discarded in favor of a periodization based on the spillage of blood; lastly, the oeuvre was endowed with a liberal optimism absent from the French text. Thus, El libro rojo is situated within a context of transatlantic influences, which highlights its uniqueness, and illuminates the liberal and triumphalistic representation of Mexican history.

Beef Retail Identification Cuts

EDIS ◽  
2017 ◽  
Vol 2017 (6) ◽  
Author(s):  
Brian J. Estevez ◽  
Chad Carr ◽  
Larry F. Eubanks
Keyword(s):  
Visual Representation ◽  
Cooking Methods ◽  
Retail Cuts

  A visual representation of the beef retail cuts along with suggested cooking methods.

Music and Memory: The Tlatelolco Refrain

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Josh Kun
Keyword(s):  
State Violence ◽  
First Century ◽  
Student Movements ◽  
Octavio Paz ◽  
Mexican History ◽  
The Past ◽  
Rock Bands ◽  
To Come ◽  
Musical Memory ◽  
A Current

Ever since the 1968 student movements and the events surrounding the Tlatelolco massacre, Mexico City rock bands have openly engaged with the intersection of music and memory. Their songs offer audiences a medium through which to come to terms with the events of the past as a means of praising a broken world, to borrow the poet Adam Zagajewski’s phrase. Contemporary songs such as Saúl Hernández’s “Fuerte” are a twenty-first-century voicing of the ceaseless revolutionary spirit that John Gibler has called “Mexico unconquered,” a current of rebellion and social hunger for justice that runs in the veins of Mexican history. They are the latest additions to what we might think about as “the Mexico unconquered songbook”: musical critiques of impunity and state violence that are rooted in the weaponry of memory, refusing to focus solely on the present and instead making connections with the political past. What Octavio Paz described as a “swash of blood” that swept across “the international subculture of the young” during the events in Tlatelolco Plaza on October 2, 1968, now becomes a refrain of musical memory and political consciousness that extends across eras and generations. That famous phrase of Paz’s is a reminder that these most recent Mexican musical interventions, these most recent formations of a Mexican subculture of the young, maintain a historically tested relationship to blood, death, loss, and violence.

Speaking for Islam

2009 ◽  
Vol 26 (3) ◽  
pp. 110-127
Author(s):  
Abdoulaye Sounaye
Keyword(s):  
Common Good ◽  
The State ◽  
Institutional Transformation ◽  
The Political ◽  
Religious Authority ◽  
The Common Good ◽  
The Common ◽  
Religion And State ◽  
Islamic Values ◽  
French Model

Unexpectedly, one of the marking features of democratization in Niger has been the rise of a variety of Islamic discourses. They focus on the separation between religion and the state and, more precisely, the way it is manifested through the French model of laïcité, which democratization has adopted in Niger. For many Muslim actors, laïcité amounts to a marginalization of Islamic values and a negation of Islam. This article present three voices: the Collaborators, the Moderates, and the Despisers. Each represents a trend that seeks to influence the state’s political and ideological makeup. Although the ulama in general remain critical vis-à-vis the state’s political and institutional transformation, not all of them reject the principle of the separation between religion and state. The Collaborators suggest cooperation between the religious authority and the political one, the Moderates insist on the necessity for governance to accommodate the people’s will and visions, and the Despisers reject the underpinning liberalism that voids religious authority and demand a total re-Islamization. I argue that what is at stake here is less the separation between state and religion than the modality of this separation and its impact on religious authority. The targets, tones, and justifications of the discourses I explore are evidence of the limitations of a democratization project grounded in laïcité. Thus in place of a secular democratization, they propose a conservative democracy based on Islam and its demands for the realization of the common good.

New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne

2020 ◽  
Vol 2 ◽  
pp. 1-18
Author(s):  
Tuncay Şur ◽  
Betül Yarar
Keyword(s):  
Social Media ◽  
Visual Representation ◽  
Human Beings ◽  
The Public ◽  
Photographic Images ◽  
War Photography ◽  
New Wars ◽  
The Social ◽  
History Of ◽  
The Impact

This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence.  Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.

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