Gender and Violence in Spanish Culture: From Vulnerability to Accountability articulates a construction of the victim as a subject that reflects and acts upon his/her experience and vulnerability, and also adopt perspectives that frame accountability within the representational tradition, the community and the state.

Gender-Based Violence in Latin American and Iberian Cinemas rethinks the intersection between violence and its gendered representation. This is a groundbreaking contribution to the international debate on the cinematic construction of gender-based violence. With essays from diverse cultural backgrounds and institutions, this collection analyzes a wide range of films across Latin America and the Iberian Peninsula. The volume makes use of varied perspectives including feminist, postcolonial, and queer theory to consider such issues as the visual configuration of power and inequality, the objectification and the invisibilization of women’s and LGBTQ subjects’ resistance, the role of female film-makers in transforming hegemonic accounts of violence, and the subversion of common tropes of gendered violence. This will be of significance for students and scholars in Latin American and Iberian studies, as well as in film studies, cultural studies, and gender and queer studies.

16 Identifying the male: Language, humor, and gender performance in Companyia T de Teatre's Homes! -- Index

Early modern Spain has long been viewed as having a culture obsessed with honor, where a man resorted to violence when his or his wife's honor was threatened, especially through sexual disgrace. This book--the first to closely examine honor and interpersonal violence in the era--overturns this idea, arguing that the way Spanish men and women actually behaved was very different from the behavior depicted in dueling manuals, law books, and honor plays of the period. Drawing on criminal and other records to assess the character of violence among non-elite Spaniards, historian Scott K. Taylor finds that appealing to honor was a rhetorical strategy, and that insults, gestures, and violence were all part of a varied repertoire that allowed both men and women to decide how to dispute issues of truth and reputation.

Though cinema arrived in Spain and Portugal at the end of the nineteenth century, national and industrial problems as well as the dictatorships of Salazar and Caetano (in Portugal) and Franco (in Spain) meant Iberian cinemas were isolated from European cultural trends. The strict censorship in both countries limited the themes and artistic practices adopted. A specific cinematographic language, in many cases full of metaphors and symbolism, sought alternatives to the imposed official discourse and preconceived definitions of supposed national identities. By contrast, from the 1970s onwards, Spain and Portugal experienced a great change in their societies: the arrival of democracy widened not just the panorama of film production and criticism, but also opened the film industry to women participation in areas historically assigned to men. Focusing on Portuguese and Spanish cinema, this collection brings together research about women and their status in relation to Iberian visual culture. The volume contributes to ongoing debates about the position of women in the cinemas of Portugal and Spain through a revision of feminist theory as well as new accounts of film history. It also aims to promote comparisons between Iberian cinemas and visual culture from different regions, a topic that is almost unexplored in academia, despite the similar histories of the two Iberian countries, particularly throughout the twentieth century.

Honor was everywhere in Colonial Latin America, and to understand the many ways it had an impact on people's lives is to understand the organizing principles of a society.

Dispossession describes the condition of those who have lost land, citizenship, property, and a broader belonging to the world. This thought-provoking book seeks to elaborate our understanding of dispossession outside of the conventional logic of possession, a hallmark of capitalism, liberalism, and humanism. Can dispossession simultaneously characterize political responses and opposition to the disenfranchisement associated with unjust dispossession of land, economic and political power, and basic conditions for living? In the context of neoliberal expropriation of labor and livelihood, dispossession opens up a performative condition of being both affected by injustice and prompted to act. From the uprisings in the Middle East and North Africa to the anti-neoliberal gatherings at Puerta del Sol, Syntagma and Zucchotti Park, an alternative political and affective economy of bodies in public is being formed. Bodies on the street are precarious - exposed to police force, they are also standing for, and opposing, their dispossession. These bodies insist upon their collective standing, organize themselves without and against hierarchy, and refuse to become disposable: they demand regard. This book interrogates the agonistic and open-ended corporeality and conviviality of the crowd as it assembles in cities to protest political and economic dispossession through a performative dispossession of the sovereign subject and its propriety.