Contemporary Colonialities in Mexico and Beyond explores the changing dynamic of coloniality by focusing on how modern cultural products connect to the foundational structures of colonialism. The book examines how these structures have perpetuated discourses of racial, ethnic, gender, and social exclusion rooted in Mexico’s history. Given the intimate relationship between coloniality and modernity, the volume addresses three central questions: How does the Mexican colonial history influence the definition of Mexico from within and outside its borders? What issues rooted in coloniality recur over time and space? And finally, how do cultural products provide a concrete and tangible way of studying coloniality, its history, and its evolution? The book analyses how literary works, movies, television series, and social media posts reconfigure colonial difference and spatialization. Supported by careful historical and cultural contextualization, these analyses will allow readers to appreciate contemporary Mexico vis-à-vis culture and borderland issues in the United States and debates on imperial memory in Spain. Ultimately, Contemporary Colonialities in Mexico and Beyond presents a handbook for readers looking to learn more about coloniality as a pervasive part of global interactions today.

Composición Arquitectónica 1: Historia y análisis del proyecto arquitectónico: de Grecia a la Edad Media. Composición Arquitectónica 2: Historia y análisis del proyecto arquitectónico: del Renacimiento al siglo de las revoluciones. Composición Arquitectónica 3: Historia y análisis del proyecto arquitectónico: de la gestación de las vanguardias a la Primera Guerra Mundial. Composición Arquitectónica 4: Historia y análisis del proyecto arquitectónico: de las revisiones de la Modernidad a las últimas tendencias. Arquitectura e Ingeniería del siglo xx: Representación y construcción de una Modernidad intermedia. Paisajes Culturales: Desarrollo del programa europeo Teruel Life+.

The public authorities have not successfully resolved the management of the traumatic memory of the wars, dictatorships and massacres to which the European project was always intended to be a counterpoint. The conflict of memories and the public discourses about the past are latent on ideological, political and cultural levels. However, if in the past the conflict concerning memories tended to develop inside the borders of countries, it has now leapt into the European arena. This has also led to the confrontation and questioning of the great narratives established in the common memory, especially with countries of the East joining the European Union. Each community, group or nation maintains common memories that do not always fit in or converge with a general overall account. The origins of the UB Solidarity Foundation’s European Observatory on Memories lie in these debates, and through this book — which includes the contributions of specialists in multiple disciplines and the speeches that were given at the first international symposium, “Memory and Power: A Transnational Perspective” — it hopes to present some of the key challenges that this conflict of memories has in store for us in the present and in the future.

Pieter Brueghel was the first important member of a family of artists who were active for four generations. Firstly a drawer before becoming a painter later, he painted religious themes, such as Babel Tower, with very bright colours. Influenced by Hieronymus Bosch, he painted large, complex scenes of peasant life and scripture or spiritual allegories, often with crowds of subjects performing a variety of acts, yet his scenes are unified with an informal integrity and often with wit. In his work, he brought a new humanising spirit. Befriending the Humanists, Brueghel composed true philosophical landscapes in the heart of which man accepts passively his fate, caught in the track of time.

Entrañable mirada ésta de la gran ciudad de México, descrita con destreza y oficio por Miriam Mabel Martínez a quien ya no le sorprende la forma en la que este monstruo de concreto ha crecido, sino la cantidad y diversidad de ópticas bajo las que puede caminarse. Con el olfato periodístico de una mujer que lo mismo puede describirnos la calle en donde se filmó Pepe El Toro, que defender los argumentos de grandes pensadores franceses contemporáneos, Miriam nos recuerda que, para bien o para mal, existen mil y un formas de vivir y escribir sobre la ciudad y sus multifacéticos personajes.