Description
Book SynopsisThe official centenary commemorating the Mexican Revolution of 1910 provided scholars with an opportunity to consider memorialization and its legacies and ‘afterimages’ in the twentieth century through to the present time. This collection of new essays, commissioned from experts based in Mexico, Europe and the United States, plays on the interrelated notions of ‘revisitation’, haunting, residual traces and valediction to interrogate the Revolution’s multiple appearances, reckonings and reconfigurations in art, photography, film, narrative fiction, periodicals, travel-testimonies and poetry, examining key constituencies of creative media in Mexico that have been involved in historicizing, contesting or evading the mixed legacies of the Revolution. The interplay of themes, practices and contexts across the chapters (ranging from the 1920s through to the present day) draws on interdisciplinary thinking as well as new findings, framing the volume’s discourse with a deliberately multi-dimensional approach to an often homogenized topic. The contributors’ scholarly referencing of artists, novelists, poets, photographers, foreign correspondents, critics, filmmakers and curators is detailed and wide-ranging, creating new juxtapositions that include some rarely studied material.
Table of ContentsContents: ‘The Dead Letter’ by Simon Carnell – Erica Segre: Introduction: Cultural Memories of an Unquiet Past: Charting Ghosts of the Mexican Revolution in Mexican Literature, Film, Art and Photography – Paul-Henri Giraud: On Execution Walls, Bones, Horses and Tombs: Phantasmal Motifs and Funereal Tropes in Twentieth-Century Photography, Print and Painting in Mexico – David Craven:
The Future That Was and Yet Might Be: The Mexican Revolution at 100 and its Afterimage in the Arts – Iván Pérez Daniel: Mirages of a Second Revolution: Mexican Writers and Socialist Realism (The Case of the Magazine
Ruta, 1933-1935) – Christina Karageorgou-Bastea: Xavier Villaurrutia’s Poetics of the Flesh: Experience, Promiscuity and the Introspective Revolution, 1930s-1940s – Simon Carnell: Through ‘the Literary-Perception Scrambler’?: Lawrence, Huxley, Greene, Waugh and Lowry in Mexico between the Wars – Jesse Lerner: The Proletarian Camera: Héctor García and the Reconfiguring of the Mexican Stree – Steven Boldy: Fading Echoes of the Revolution in Carlos Fuentes’s
Cristóbal Nonato – Dolores Tierney: Residual Presences of the Revolution(ary Melodrama) in Mexico’s Contemporary Transnational Filmmaking – Oriana Baddeley: Last Rites from Frida Kahlo to Teresa Margolles: Mexicanness and Visualizing the Politics of Victimhood.
