This groundbreaking volume explores how culture produced in Spain, from the nineteenth century to the present, both reflects and shapes ways of understanding the history and heritage of a nation sustained by colonialism and slavery. Akiko Tsuchiya and Aurélie Vialette bring together an outstanding group of scholars, artists, cultural producers, and activists in a range of fields—from history to literary studies, anthropology to journalism, and flamenco to film. Drawing on interdisciplinary and comparative methodologies, contributors address the legacies of slavery in the archive; in cultural memory sites; and in literature, music, and visual arts. How, they ask, do different cultural forms and institutions represent and reckon with this past and push for justice in the face of persistent racial discrimination? In its focus on collective memory and the cultural afterlives of slavery and antislavery, Cultural Legacies of Slavery in Modern Spain will appeal not only to Iberian and Latin American specialists but also readers across Afro-Hispanic, postcolonial, transatlantic, and critical race studies.

The fall of the Spanish Empire: that period in the nineteenth century when it lost its colonies in Spanish America and the Philippines. How did it happen? What did the process of the "end of empire" look like? Empire's End considers the nation's imperial legacy beyond this period, all the way up to the present moment. In addition to scrutinizing the political, economic, and social implications of this "end," these chapters emphasize the cultural impact of this process through an analysis of a wide range of representations—literature, literary histories, periodical publications, scientific texts, national symbols, museums, architectural monuments, and tourist routes—that formed the basis of transnational connections and exchange. The book breaks new ground by addressing the ramifications of Spain's imperial project in relation to its former colonies, not only in Spanish America, but also in North Africa and the Philippines, thus generating new insights into the circuits of cultural exchange that link these four geographical areas that are rarely considered together. Empire's End showcases the work of scholars of literature, cultural studies, and history, centering on four interrelated issues crucial to understanding the end of the Spanish empire: the mappings of the Hispanic Atlantic, race, human rights, and the legacies of empire.

Unsettling Colonialism illuminates the interplay of race and gender in a range of fin-de-siècle Spanish narratives of empire and colonialism, including literary fictions, travel narratives, political treatises, medical discourse, and the visual arts, across the global Hispanic world. By focusing on texts by and about women and foregrounding Spain's pivotal role in the colonization of the Americas, Africa, and Asia, this book not only breaks new ground in Iberian literary and cultural studies but also significantly broadens the scope of recent debates in postcolonial feminist theory to account for the Spanish empire and its (former) colonies. Organized into three sections: colonialism and women's migrations; race, performance, and colonial ideologies; and gender and colonialism in literary and political debates, Unsettling Colonialism brings together the work of nine scholars. Given its interdisciplinary approach and accessible style, the book will appeal to both specialists in nineteenth-century Iberian and Latin American studies and a broader audience of scholars in gender, cultural, transatlantic, transpacific, postcolonial, and empire studies.

This original collection of essays explores the work and life choices of Spanish women who, through their writings and social activism, addressed social justice, religious dogmatism, the educational system, gender inequality, and tensions in female subjectivity. It brings together writers who are not commonly associated with each other, but whose voices overlap, allowing us to foreground their unconventionality, their relationships to each other, and their relation to modernity. The objective of this volume is to explore how the idea of "queerness" played an important role in the personal lives and social activism of these writers, as well as in the unconventional and nonconformist characters they created in their work. Together, the essays demonstrate that the concept of "queer women" is useful for investigating the evolution of women’s writing and sexual identity during the period of Spain’s fitful transition to modernity in the nineteenth century. The concept of queerness in its many meanings points to the idea of non-normativity and gender dissidence that encompasses how women intellectuals experienced friendship, religion, sex, sexuality, and gender. The works examined include autobiography, poetry, memoir, salon chronicles, short and long fiction, pedagogical essays, newspaper articles, theater, and letters. In addition to exploring the significant presence of queer women in nineteenth- and twentieth-century Spanish literature and culture, the essays examine the reasons why the voices of Spanish women authors have been culturally silenced. One thrust in this collection explores generational transitions of Spanish writers from the romantics and their "hermandad lírica" ("lyrical sisterhood") through to "las Sinsombrero" ("Women Without Hats"), and finally, current Spanish writers linked to the LGBTQ+ community.

Book describes the brutal Black slave society and plantation system of Barbados and explains how this slave chattel model was perfected by the British and exported to Jamaica and South Carolina for profit. There is special emphasis on the role of the concept of white supremacy in shaping social structure and economic relations that allowed slavery to continue. The book concludes with information on how slavery was finally outlawed in Barbados, in spite of white resistance.

Dissonances of Modernity illuminates the ways in which music, as an artifact, a practice, and a discourse redefines established political, social, gender, and cultural conventions in Modern Spain. Using the notion of dissonance as a point of departure, the volume builds on the insightful approaches to the study of music and society offered by previous analyses in regards to the central position they give to identity as a socially and historically constructed concept, and continues their investigation on the interdependence of music and society in the Iberian Peninsula. While other serious studies of the intersections of music and literature in Spain have focused on contemporary usage, Dissonances of Modernity looks back across the centuries, seeking the role of music in the very formation of identity in the peninsula. The volume's historical horizon reaches from the nineteenth-century War of Africa to the Catalan working class revolutions and Enric Granados' central role in Catalan identity; from Francisco Barbieri's Madrid to the Wagnerian's influence in Benito Perez Galdos' prose; and from the predicaments surrounding national anthems to the use of the figure of Carmen in Francoist' cinema. This volume is a timely scholarly addition that contemplates not only a broad corpus that innovatively comprises popular and high culture--zarzuelas, choruses of industrial workers, opera, national anthems--but also their inter-dependence in the artists' creativity.

What's in a nineteenth-century philanthropist? Fear of an uprising. But the frightened philanthropist has a remedy. Aware that the urban surge of the working-class masses in Spain would create a state of emergency, he or she devises a means to seduce the masses away from rebellion by taking on himself or herself the role of the seducer: the capitalist intellectual hero invested in the caretaking of the unpredictable working class. Intellectual Philanthropy examines cultural practices used by philanthropists in modern Iberia. It explains the meaning and role of intellectual philanthropy by focusing on the devices and apparatuses philanthropists devised to realize their projects. Intellectual philanthropists considered themselves activists in that they aimed to impact social structures and deployed a rhetoric of the affect to convince the workers to join their philanthropic enterprise. Philanthropy, in the nineteenth century, was not necessarily linked to money. Motivations could be moral or political; they could arise from a desire to enhance social status or to acquire influence. To explicitly designate this conceptualization of the philanthropic act, the author proposes its own name: intellectual philanthropy. Intellectual philanthropy is the use of philanthropic platforms by intellectuals to deploy cultural and educational structures in which workers could acquire a cultural capital constructed and organized by the philanthropists. Vialette argues that intellectual philanthropy appeared as a reaction to the feared political and cultural organization of the working class, rather than as a process of worker emancipation. These philanthropic processes aimed at organizing the workers emotionally and rationally into what she calls micro-societies. Philanthropists used the technique of seduction and expressed love to and for a targeted class. However, this seduction prevented real communication, and created a moral and symbolic indebtedness. This process was perverse in that, through its cultural and educational structures, philanthropy would give workers cultural capital that was not just emancipatory, but also a way to restrict their agency.