In Mexico, as elsewhere, the national space, that network of places where the people interact with state institutions, is constantly changing. How it does so, how it develops, is a historical process-a process that Claudio Lomnitz exposes and investigates in this book, which develops a distinct view of the cultural politics of nation building in Mexico. Lomnitz highlights the varied, evolving, and often conflicting efforts that have been made by Mexicans over the past two centuries to imagine, organize, represent, and know their country, its relations with the wider world, and its internal differences and inequalities. Firmly based on particulars and committed to the specificity of such thinking, this book also has broad implications for how a theoretically informed history can and should be done. An exploration of Mexican national space by way of an analysis of nationalism, the public sphere, and knowledge production, Deep Mexico, Silent Mexico brings an original perspective to the dynamics of national cultural production on the periphery. Its blending of theoretical innovation, historical inquiry, and critical engagement provides a new model for the writing of history and anthropology in contemporary Mexico and beyond. Public Worlds Series, volume 9

The history of Mexico's fearless intimacy with death--the elevation of death to the center of national identity. Death and the Idea of Mexico is the first social, cultural, and political history of death in a nation that has made death its tutelary sign. Examining the history of death and of the death sign from sixteenth-century holocaust to contemporary Mexican-American identity politics, anthropologist Claudio Lomnitz's innovative study marks a turning point in understanding Mexico's rich and unique use of death imagery. Unlike contemporary Europeans and Americans, whose denial of death permeates their cultures, the Mexican people display and cultivate a jovial familiarity with death. This intimacy with death has become the cornerstone of Mexico's national identity. Death and Idea of Mexico focuses on the dialectical relationship between dying, killing, and the administration of death, and the very formation of the colonial state, of a rich and variegated popular culture, and of the Mexican nation itself. The elevation of Mexican intimacy with death to the center of national identity is but a moment within that history--within a history in which the key institutions of society are built around the claims of the fallen. Based on a stunning range of sources--from missionary testimonies to newspaper cartoons, from masterpieces of artistic vanguards to accounts of public executions and political assassinations--Death and the Idea of Mexico moves beyond the limited methodology of traditional historiographies of death to probe the depths of a people and a country whose fearless acquaintance with death shapes the very terms of its social compact.

Theorizes the disruptions precipitated by corporate agricultural biotechnology in Mexican cultural politics.

From the dramatization of local legends to the staging of plays by Shakespeare and other canonical playwrights to the exploration of contemporary sociopolitical problems and their effects on women and children, Mayan theatre is a flourishing cultural institution in southern Mexico. Part of a larger movement to define Mayan self-identity and reclaim a Mayan cultural heritage, theatre in Mayan languages has both reflected on and contributed to a growing awareness of Mayans as contemporary cultural and political players in Mexico and on the world's stage. In this book, Tamara Underiner draws on fieldwork with theatre groups in Chiapas, Tabasco, and Yucatán to observe the Maya peoples in the process of defining themselves through theatrical performance. She looks at the activities of four theatre groups or networks, focusing on their operating strategies and on close analyses of selected dramatic texts. She shows that while each group works under the rubric of Mayan or indigenous theatre, their works are also in constant dialogue, confrontation, and collaboration with the wider, non-Mayan world. Her observations thus reveal not only how theatre is an agent of cultural self-definition and community-building but also how theatre negotiates complex relations among indigenous communities in Mayan Mexico, state governments, and non-Mayan artists and researchers.

This study is a reinterpretation of nineteenth-century Mexican American history, examining Mexico's struggle to secure its northern border with repatriates from the United States, following a war that resulted in the loss of half Mexico's territory. Responding to past interpretations, Jose Angel Hernández suggests that these resettlement schemes centred on developments within the frontier region, the modernisation of the country with loyal Mexican American settlers, and blocking the tide of migrations to the United States to prevent the depopulation of its fractured northern border. Through an examination of Mexico's immigration and colonisation policies as they developed in the nineteenth century, this book focuses primarily on the population of Mexican citizens who were 'lost' after the end of the Mexican American War of 1846–8 until the end of the century.

In October 1911 the governor of Oaxaca, Mexico, ordered a detachment of approximately 250 soldiers to take control of the town of Juchitán from Jose F. “Che” Gomez and a movement defending the principle of popular sovereignty. The standoff between federal soldiers and the Chegomistas continued until federal reinforcements arrived and violently repressed the movement in the name of democracy. In A Revolution Unfinished Colby Ristow provides the first book-length study of what has come to be known as the Chegomista Rebellion, shedding new light on a conflict previously lost in the shadows of the concurrent Zapatista uprising. The study examines the limits of democracy under Mexico’s first revolutionary regime through a detailed analysis of the confrontation between Mexico’s nineteenth-century tradition of moderate liberalism and locally constructed popular liberalism in the politics of Juchitán, Oaxaca. Couched in the context of local, state, and national politics at the beginning of the revolution, the study draws on an array of local, national, and international archival and newspaper sources to provide a dramatic day-by-day description of the Chegomista Rebellion and the events preceding it. Ristow links the events in Juchitán with historical themes such as popular politics, ethnicity, and revolutionary state formation and strips away the romanticism of previous studies of Juchitán, offering a window into the mechanics of late Porfirian state-society relations and early revolutionary governance.