A Turbulent Decade Remembered studies the 1960s--the continental moment that marked Latin America's full entry into both modernity and post-modernity in the international arena. Delving into scenes of importance for the intersection of aesthetics and politics, the book addresses the impact of the Cuban Revolution on the imagination of the decade, the student movements of 1968 in their international context, and the tragic events of Tlatelolco, memorialized in different ways by Mexico's greatest intellectuals. In examining the construction of the great novels usually identified as the "Boom," the book revises the critical tradition established since the late sixties, rethinking the oft-cited "magical realism," while considering the role of the press, prizes, gendered networks of solidarity and competition, and the emergence of a literary star system. The implications of all these forces of the republic of letters are set in dialogue with an analysis of the major novels of the decade, with particular attention to their literary craft, their manipulation of space, voice, and varied readerships.

This is an interdisciplinary study of the major cultural and political scenes of a decade marked by dramatic -and sometimes traumatic--change.

The Great Proletarian Cultural Revolution occurred in the second decade after Mao Zedong and his comrades came to power in 1949. A comprehensive narrative account of this colossal event, written by Yan Jiaqi, one of the principal leaders of China's pro-democracy movement, and his wife, Gao Gao, a noted sociologist, appeared in Hong Kong in 1986 and was quickly banned by the Communist government. Not surprisingly, censorship and restricted circulation in China resulted in underground reproduction and serialization. The work was thus widely read, coveted, and appreciated by a populace who had just freed itself from the cultural drought and political dread of the event. Yan and Gao later spent two years revising and expanding their work. The present volume, Turbulent Decade: A History of the Cultural Revolution, is based on the revised edition and has been masterfully edited and translated by D. W. Y. Kwok in consultation with the authors. Following Professor Kwok's eloquent introduction and a short foreword in which the authors analyze the basic causes of the Cultural Revolution, Part One of the narrative focuses on the years 1965-1967. In two short years, Mao managed to turn public opinion against Liu Shaoqi, president of the Republic, and launch the Cultural Revolution. The reader is introduced to the Red Guards and encounters the cult of personality, the first resistance to the Cultural Revolution, the attack on Zhou Enlai, and the persecution and death of Liu Shaoqi. Part Two examines the rise and fall of Lin Biao during the years 1959-1971. Lin's bid for power, which began with the consolidation of his personal clique in the army and mass-level persecution in the late stages of theCultural Revolution, ended in a failed coup and his death in an air crash. Part Three follows Jiang Qing from 1966 to her arrest in 1976 for her part in instigating mass violence and the persecution of key figures, including Zhou Enlai. During this period, the political fortunes of Deng Xiaoping rose and fell for a second time, the first protest at Tiananmen Square in 1976 ended in a bloody suppression, and that same year the Gang of Four were arrested. Unlike social scientific treatments of political phenomena, Turbulent Decade includes little discussion of economics, still less of international relations, and no institutional analysis. Instead, the authors' fervent belief in the truthful telling of history through its leading personalities pervades the work.

This memoir is less a chronicle of the life of a leading scholar/critic of matters French (and a key figure in the naturalization of French "theory" in English) than a series of differently angled fragments, episodes, each with its attendant surprise, in what one commentator has called his amour vache, his injured and occasionally injurious love, for France and the French.

On November 16, 2017, Pope Francis tweeted, "Poverty is not an accident. It has causes that must be recognized and removed for the good of so many of our brothers and sisters." With this statement and others like it, the first Latin American pope was associated, in the minds of many, with a stream of theology that swept the Western hemisphere in the 1960s and 70s, the movement known as liberation theology. Born of chaotic cultural crises in Latin America and the United States, liberation theology was a trans-American intellectual movement that sought to speak for those parts of society marginalized by modern politics and religion by virtue of race, class, or sex. Led by such revolutionaries as the Peruvian Catholic priest Gustavo Gutiérrez, the African American theologian James Cone, or the feminists Mary Daly and Rosemary Radford Ruether, the liberation theology movement sought to bridge the gulf between the religious values of justice and equality and political pragmatism. It combined theology with strands of radical politics, social theory, and the history and experience of subordinated groups to challenge the ideas that underwrite the hierarchical structures of an unjust society. Praised by some as a radical return to early Christian ethics and decried by others as a Marxist takeover, liberation theology has a wide-raging, cross-sectional history that has previously gone undocumented. In The World Come of Age, Lilian Calles Barger offers for the first time a systematic retelling of the history of liberation theology, demonstrating how a group of theologians set the stage for a torrent of new religious activism that challenged the religious and political status quo.

This unique volume brings together literary critics, historians, and anthropologists from around the world to offer new understandings of gender and sexuality as they were redefined during the upheaval of 1968.

Winner of the Montserrat Ordóñez Prize 2018 This book provides an original and exciting analysis of Colombian women’s writing and its relationship to feminist history from the 1970s to the present. In a period in which questions surrounding women and gender are often sidelined in the academic arena, it argues that feminism has been an important and intrinsic part of contemporary Colombian history. Focusing on understudied literary and non-literary texts written by Colombian women, it traces the particularities of Colombian feminism, showing how it has been closely entwined with left-wing politics and the country’s history of violence. This book therefore rethinks the place of feminism in Latin American history and its relationship to feminisms elsewhere, challenging many of the predominant critical paradigms used to understand Latin American literature and culture.

Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses "decolonial aesthetics," a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America--a time of cultural production that has not been studied extensively from a decolonial perspective. Ramos looks at examples of "antipoetry," unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva canción by musicians such as Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. He asserts that these different art forms should not be studied in isolation but rather brought together as a network of contributions to decolonial art. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.

Sacramental Poetics at the Dawn of Secularism asks what happened when the world was shaken by challenges to the sacred order as people had known it, an order that regulated both their actions and beliefs. When Reformers gave up the doctrine of transubstantiation (even as they held onto revised forms of the Eucharist), they lost a doctrine that infuses all materiality, spirituality, and signification with the presence of God. That presence guaranteed the cleansing of human fault, the establishment of justice, the success of communication, the possibility of union with God and another, and love. These longings were not lost but displaced, Schwartz argues, onto other cultural forms in a movement from ritual to the arts, from the sacrament to the sacramental. Investigating the relationship of the arts to the sacred, Schwartz returns to the primary meaning of "sacramental" as "sign making," noting that because the sign always points beyond itself, it participates in transcendence, and this evocation of transcendence, of mystery, is the work of a sacramental poetics.

Milton and the Post-Secular Present defines and critiques the term 'post-secular' as it appears in current thought, bringing its implications into sharp relief by comparison to the pre-secular works of John Milton.