McGill-Queen's Iberian and Latin American Cultures Series – serie

The attack on the US Capitol on 6 January 2021 was a tragic illustration of the existential threat that the viral spread of disinformation poses in the age of social media and twenty-four-hour news. From climate change denialism to the frenzied conspiracy theories and racist mythologies that fuel antidemocratic white nationalist movements in the United States and abroad, What Would Cervantes Do? is a lucid meditation on the key role the humanities must play in dissecting and combatting all forms of disinformation.David Castillo and William Egginton travel back to the early modern period, the first age of inflationary media, in search of historically tested strategies to overcome disinformation and shed light on our post-truth market. Through a series of critical conversations between cultural icons of the twenty-first century and those of the Spanish Golden Age, What Would Cervantes Do? provides a tour-de-force commentary on current politics and popular culture. Offering a diverse range of Cervantist comparative readings of contemporary cultural texts –movies, television shows, and infotainment – alongside ideas and issues from literary and cultural texts of early modern Spain, Castillo and Egginton present a new way of unpacking the logic of contemporary media.What Would Cervantes Do? is an urgent and timely self-help manual for literary scholars and humanists of all stripes, and a powerful toolkit for reality literacy.

Lavapiés - diverse, multicultural, and one of Madrid’s most iconic neighbourhoods - has emerged as a locus of resistance movements and of cultural flourishing. Poised at the intersection of theatre studies and cultural geography, this innovative study sketches its physical and imaginary contours.In From the Theater to the Plaza Matthew Feinberg guides readers on a journey through the development of the theatre, as both art and space, in Lavapiés. Offering a detailed analysis of dramatic texts and productions, performance spaces, urban planning documents, and the cultural activities of squatters, Feinberg sheds new light on the lead-up to Spain’s economic crisis and the emergence in 2011 of the 15-M anti-austerity protest movement. The result is a multidisciplinary account of how the spectacle of the contemporary city connects local, municipal, and global geographies.By linking the neighbourhood’s unique role as both a site and a subject of Madrid’s theatre tradition with its contemporary struggles over gentrification, From the Theater to the Plaza offers new approaches for understanding how culture and capital produce the twenty-first-century city.

The duel, and the codes of honour that governed duelling, functioned for decades in many European and Latin American countries as a shadow legal system, regulating in practice what legislators felt free to say and what journalists felt free to write. Yet the duel was also an act of potentially deadly violence and a challenge to the authority of statutory law.When duelling became widespread in early twentieth-century Uruguay, legislators facing this dilemma chose the unique and radical path of legalization. The Pen, the Sword, and the Law explores how the only country in the world to decriminalize duelling managed the tension between these informal but widely accepted “gentlemanly laws” and its own criminal code. The duel, which remained legal until 1992, was meant to ensure civility in politics and decorum in the press, but it often failed to achieve either. Drawing on rich and detailed newspaper reports of duels and challenges, parliamentary debates, legal records, private papers, and interviews, David Parker examines the role of pistols and sabres in shaping the everyday workings of a raucous public sphere. Demonstrating that the duel was no simple throwback to archaic conceptions of masculine honour and chivalry, The Pen, the Sword, and the Law illustrates how duelling went hand in hand with democracy and freedom of the press in one of South America’s most progressive nations.

Lavapiés - diverse, multicultural, and one of Madrid’s most iconic neighbourhoods - has emerged as a locus of resistance movements and of cultural flourishing. Poised at the intersection of theatre studies and cultural geography, this innovative study sketches its physical and imaginary contours.In From the Theater to the Plaza Matthew Feinberg guides readers on a journey through the development of the theatre, as both art and space, in Lavapiés. Offering a detailed analysis of dramatic texts and productions, performance spaces, urban planning documents, and the cultural activities of squatters, Feinberg sheds new light on the lead-up to Spain’s economic crisis and the emergence in 2011 of the 15-M anti-austerity protest movement. The result is a multidisciplinary account of how the spectacle of the contemporary city connects local, municipal, and global geographies.By linking the neighbourhood’s unique role as both a site and a subject of Madrid’s theatre tradition with its contemporary struggles over gentrification, From the Theater to the Plaza offers new approaches for understanding how culture and capital produce the twenty-first-century city.

Throughout the 1920s, a remarkable number of young writers and artists lived and worked in Madrid, creating an atmosphere of effervescence and an upsurge in creativity that has rarely been equalled. These young people, acquainting themselves with one another within the span of only a few years, came together to form a tightly woven network of both personal and artistic relationships.In Configurations of a Cultural Scene Andrew Anderson explores this growing community of artists and writers with a focus on how sites of face-to-face interaction in Madrid fostered creative work and forged young identities. Organizing locations into places of sociability, learning, and residence, Anderson offers five case studies that exemplify the significance of these three points of intersection: Rafael Barradas and his tertulia at the Café de Oriente; an artists’ studio located on the Pasaje de la Alhambra; women art students at the Academia de San Fernando who lodged at the Residencia de Señoritas; the artist and writer Gabriel García Maroto; and the close relationship between artist Maruja Mallo and poet Rafael Alberti. Departing from conventional approaches that foreground the trajectories of individual careers, Anderson privileges the lived experience of artists and writers in his analysis of a rich cultural scene held together by cooperation, exchange, and interpersonal connections.

Pedro de Alvarado is best known as the right-hand man of Hernando Cortés in the conquest of Mexico (1519–21) and the ruthless conqueror of Guatemala some years later. Far less known is his intent to intrude in the conquest of Peru and lay claim to Quito, a wealthy domain in the far north of the Inca Empire. To this end, Alvarado constructed a massive fleet, which sailed south from Central America to what is now Ecuador, making landfall on 25 February 1534.Engaging both the European and Indigenous contexts in which Alvarado operated, George Lovell illuminates this gap in the record, narrating a dramatic story of greed and hubris. Upon reaching Ecuador, Alvarado’s formidable entourage – some five hundred Spanish combatants and two thousand Indigenous conscripts – marched from the Pacific coast to the Andean sierra. Though Quito was his intended destination, he never made it. During a treacherous transit across the mountains, Alvarado’s party was engulfed by heavy snowfall and numbing cold, which proved the expedition’s undoing. Those who survived the ordeal discovered that other Spaniards – Diego de Almagro and Sebastián de BeLalcázar, acting in allegiance with Francisco Pizarro – had reached Quito before them, thereby claiming first right of conquest. Believing he had no option, if strife between rival sides was to be avoided, Alvarado sold his costly machinery of war – men, horses, weaponry, and ships – to those who had beaten him to the prize. All but ruined, he returned humiliated to Central America.Death in the Snow brings to light the delusions of one headstrong conquistador and mourns the loss of untold Indigenous lives, casualties of Alvarado’s lust for fame and fortune.

The ethos of poetry and its social efficacy cannot be underestimated in the quest for a fair society. The works of three contemporary Mexican poets – Abigael Bohórquez, Myriam Moscona, and Gloria Gervitz – offer models for examining important philosophical and literary questions that explore the relationship between art and the enactment of justice. Beyond Intimacy returns lyric poetry to the centre of struggles for justice within concrete historical frameworks, highlighting gender, ethnic, and cultural tensions. Through an analysis of works by these three poets, Christina Karageorgou-Bastea reveals the far-reaching social transcendence of poetry; she shows that lyric poetry invites a public dialogue where queer pariahs model citizenship, a dying language guards and transmits tradition, and the end of motherhood is the cusp in the struggle for woman's freedom. The radicalization of intimacy, the relationship par excellence between self and other on which poetic interaction is based, has the power to dismantle deeply rooted hierarchies within art and society. Karageorgou-Bastea explores poetry's potential for justice through different modes of intimacy including desire, filiation, and mourning.Meeting on the grounds of their aspiration to harmony, lyricism, and justice-making lead the way to social equity and fairness in Beyond Intimacy.

Something is rotten in the state of Spain. The uninterred corpse of a patriarchal figure populates the visual landscapes of Iberian cinemas. He is chilled, drugged, perfumed, ventilated, presumed dead, speared in the cranium, and worse.Analyzing a series of Iberian cinematic dark comedies from the 1950s to the present day, Patriarchy’s Remains argues that the cinematic trope of the patriarchal death symbolizes the lingering remains of the Francisco Franco dictatorship in Spain (1939–75). These films, created as satirical responses to persisting economic, social, and political issues, demonstrate that Spain’s transition to democracy following the Francoist period is an incomplete and ongoing process. Within the theme of patriarchal decay, the significance of the figure differs across cinematic representations, from his indispensability to his obstructionism and exploitation. Erin Hogan traces the prevalence of patriarchal death by analyzing its relationship with the surrounding characters who must depend on the deceased. Hogan demonstrates how the patriarch’s persistence in film both reveals and challenges an array of discriminations and inequalities in the cinematic grotesque tradition, in Iberian cinemas more broadly, and in Iberian society as a whole.Despite Spain’s ongoing transition towards democratic pluralism, Patriarchy’s Remains serves as a reminder that the remnants of an entrenched although not interred patriarchal culture continue to haunt Iberian society.

Across Mexico, human rights abuses take many forms, as do the strategies designed to denounce and resist them. Political street art thrives; murals, stencils, and posters challenge authorities and commemorate the missing and the disappeared.Pasting Up Protest explores the sociopolitical engagement of contemporary Mexican artists, introducing the concept of memory activism, the guiding philosophy behind their efforts to expose human rights violations such as forced disappearances and feminicides. Through her analysis of street art interventions from the collectives ASARO, URT-Arte, ARMARTE, and MuGRe over the past decade, Annik Bilodeau argues that these artists are shaping a new collective memory. By depicting real-life victims and referencing past acts of state-sponsored violence, their works create a familiar visual vocabulary that elicits empathy and compassion in the viewer. A reliance on a tradition of printmaking, a highly reproducible medium, further amplifies the emotional impact of the images.A critical examination of the role of art in creating public memory, Pasting Up Protest sheds light on how Mexican artists document crimes of the state, transforming citizens into political agents of change.