Cover -- Half-title page -- Title page -- Copyright -- Contents -- List of figures -- Introduction -- PART I: Any Distant Archipelago (1960s-1980s) -- Chapter One: Libertarian Exit: Fear and Loathing USA -- Chapter Two: The Lure of Atlantis: Ocean, Empire, and the Minerva Reefs -- Chapter Three: Libertarian Noir: Free-Market Mercenaries of the Caribbean -- Chapter Four: From Farce to Tragedy: Decolonization and Adventure Capitalists in the New Hebrides -- PART I: IIterations of the Digirati (1980s-present) -- Chapter Five: Burning Man on the High Seas: Seasteading
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This elegant book addresses a multitude of thorny issues related to Mexican urban history, visual culture, and modernity. The title is particularly apt: from the mental anticipations of Oaxaca's ruling class, through their physical efforts to recreate urban spaces as both legible and aesthetic sites, to the photographic registries of sex workers, the book uses "vision" as an aperture through which to analyze the making (and to a lesser degree the experience) of modernity in late-nineteenth- and early-twentieth century Oaxaca City.
In 1938, eight-year-old Olga Camacho left her home in Tijuana for the corner store. She did not return. After a frenzied search of the neighborhood, her body was found. Olga had been raped, her throat slashed. A young soldier assigned to Tijuana, Juan Castillo Morales, was soon arrested and accused of the crime. He supposedly confessed and, shortly thereafter, was publicly executed by the military: taken to a cemetery, surrounded by his fellow soldiers and an angry public, he was told to run, and then shot in the back. Within weeks of the execution, residents of Tijuana began to transform the accused murderer into a martyr, from Juan Castillo Morales to Juan Soldado.
AbstractWith the so-called linguistic turn, historians have begun to study the ways in which a multitude of cultural forms are imbricated in the colonial and imperial project. In analyzing the infinite ways in which power is exercised and manifested, historians are turning a critical eye toward a myriad of cultural productions for a better understanding of how culture, politics, and power work in concert. One example is the increasing scrutiny given to geographical conceptions and representations. In Latin American colonial studies, a number of recent works have analyzed the ways in which deep, culturally rooted structures of spatial perception and representation have influenced the colonial process. This essay attempts to bring a number of those works into meaningful dialogue with one another with respect to the cultural and political facets of cartography. It also introduces work by scholars studying other regions of the world that may push the field farther and the work of the "new cultural cartographers" who have problematized traditional notions about the mimetic quality of maps and their presumed objectivity. In sum, this essay surveys recent literature pertaining to colonial cartography in Latin America, analyzes a number of comparative and theoretical studies that may broaden future research, and suggests that cartography and maps offer a fruitful avenue for further study and analysis of colonialism, imperialism, and state formation.
