@article{garrigan_2022, title={Ink under the Fingernails: Printing Politics in Nineteenth-Century Mexico}, volume={90}, ISSN={["1553-0639"]}, DOI={10.1353/hir.2022.0040}, abstractNote={Reviewed by: Ink under the Fingernails: Printing Politics in Nineteenth-Century Mexico by Corinna Zeltsman Shelley Garrigan Keywords Printer, Political Actor, Patronage, Bourbon Reforms, Privileges, Technology, Press Freedom, Censorship, Labor, Authorship, Print Shop, Ignacio Cumplido, Inquisition, Lafragua Law, Property, Nationalization, Liberal Triumph, Porfirio Díaz, Compositor, Criminalization zeltsman, corinna. Ink under the Fingernails: Printing Politics in Nineteenth-Century Mexico. U of California P, 2021. 350 pp. Corinna Zeltsman has made a powerful contribution to Mexican studies with this detailed and profound investigation, which traces the politics of printing through the multilayered sociocultural and governmental shifts that mark the long nineteenth century in Mexico, at one point the printing hub of the Americas. Zeltsman’s investigation takes readers on a tour through the intricate debates, on-the-ground labor practices, disagreements, and laws through which printing practices evolved, traversing printing workshop floors, government offices of shifting administrations, churches, collections of official and ephemeral printed matter, jail cells, and the streets of Mexico. The effect is a persuasive invitation to consider the centrality of print culture with respect to the larger dynamics that unfold around it as the century progresses. The sheer amount and variety of archival work in this piece of scholarship is extraordinary; Zeltsman draws from a range that includes several state and municipal, notarial, and church archives, libraries, records from the 19th-century Mexican national government printing office, and a special collection of 19th-century artifacts housed at the Sutro Library of California to reconstruct a complex series of portraits of the various and evolving political dynamics in which 19th-century Mexican print culture was [End Page 637] embedded. In the introduction, the author invokes the ideas of Ángel Rama, Benedict Anderson, and Jürgen Habermas to contrast their affirmations regarding print and the public sphere in different sociopolitical contexts with Mexico, and successfully argues the case for constructing a different, more nuanced type of framework from which to assess the complexity of print dynamics in the 19th-century Mexican context. The first two chapters cover the late colonial period. Chapter one illustrates how Mexico, in the development of a nascent print culture, differed from the classic narratives of the north Atlantic in which print capitalism evolved as an independently financed venture that stood in rebellious opposition to the status quo. In Mexico, printers relied upon the vertical privileges granted by the viceregal system that operated during the era of the Bourbon reforms in order to receive permission to establish their businesses, and political actors strongly influenced the news that reached the public. In one of several gripping case studies that emerge in this investigation, Zeltsman focuses on the Gazeta de México run by Manuel Antonio Valdés, and the eventual loss of his printing privileges due to a conflict with the viceroy regarding the role of print in demonstrating individual nationalist allegiances to the Spanish Crown during the monarchical crisis of 1808. Chapter two focuses on the uneven evolution of press laws at the tail end of the colonial era, which awakened an intricate set of conflicts that would require several decades to resolve. First appearing in the Cortes of Cádiz in 1810 Spain, the laws abolishing privileges and licenses were enacted during a two-month window in Mexico in 1812, and then again during the Liberal Triennium of Spain in 1820. The vague parameters around freedom of the press required the creation of a new regulatory framework beyond the Inquisition, leading to the birth of a censorship office and a press prosecutor. The result was an abundant air of uncertainty regarding what could be printed and why. A lively published debate between two writers and the printer-heir Alejandro Valdés sheds light on how the boundaries between authors and printers were still very much in flux, and an illegal and scandalous broadside in Puebla reveals the tenuous abilities of liberal forms of print censorship to maintain social order. Chapter three, set in the 1840s, marks a shift in the historic alliance between printers and the state as officials struggled to maintain social order in an era of extreme uprisings and instability. Who, ultimately, was responsible for a given published work...}, number={4}, journal={HISPANIC REVIEW}, author={Garrigan, Shelley}, year={2022}, pages={637–641} }
 @article{garrigan_2020, title={Latin American Textualities: History, Materiality, and Digital Media.}, volume={54}, ISSN={["0034-818X"]}, DOI={10.1353/rvs.2020.0025}, abstractNote={Reviewed by: Latin American Textualities: History, Materiality, and Digital Media ed. by Heather J. Allen, and Andrew R. Reynolds Shelley Garrigan Allen, Heather J., and Andrew R. Reynolds, editors. Latin American Textualities: History, Materiality, and Digital Media. U of Arizona P, 2018. 272 pp. This timely and fresh investigation plots a compelling analogy between the complexities of Latin American regional histories and the mosaic of circumstances under which its various forms of textual cultural representation have taken shape. Building upon D. F. Mackenzie's broad definition of "text" to include a wide array of other representational mediums (including sound recordings, numbers, maps, digital media, and more), the contributors of this study offer a well-crafted update to studies on the foundational role of lettered culture in Latin America that texts from Colombus's Diarios to Rama's La ciudad letrada helped cement. In addition, the bridge to digital media and the ways in which it has transformed the production, consumption, access, and materiality of Latin American regional textualities allows for a creative concluding section that calls for an important turn toward further critical considerations of the impacts of digital culture in Latin American contexts. Titled "Reading History Through Textuality," Part I builds a case for engaging with the complex regional histories of Latin America in order to set the stage for its unique brand of textual cultural studies. In "Writing Orality," Catalina Andrango-Walker presents two intriguing cases from Peru that demonstrate the ways in which the Quechua and Aymara languages were appropriated and modified according to Latin grammatical structures as published in sixteenth- and seventeenth-century catechism and grammar manuals. As a result, these manuals played pivotal roles in altering not only the structure of the indigenous languages, but also the social identities of the communities. "Witch in the City," by Walther Maradiegue, presents a nuanced analysis of the ways in which the event of a disturbing witch burning that took place in nineteenth-century rural Peru was narrated, framed, and transmitted into a variety of writerly genres in the decades that followed: journalists, authors, and politicians transformed the episode into a metacommentary on place (urban versus rural), authority (the boundaries of scientific and indigenous knowledge), and control. In "The Sudamericana Publishing House: Catalogues as Objects of Study," José Enrique Navarro unpacks the Argentine publishing house's role in the shaping of literary history, drawing compelling inferences from publishing trends and the resulting canonization (or exclusion) of authors by closely examining and comparing the catalogues published in 1950 and 1969. "Part II: Textual Artifacts and Materialities" moves into the realm of materiality and fleshes out the connections between production processes and objects while building the case for broadening the field of inquiry for textuality and which types of objects may be associated with it. In "Guaman Poma's Library: Costume Books and the Illustrations of an Indigenous Manuscript," George Anthony Thomas argues in favor of the likelihood that Felipe Guaman Poma de Ayala consulted Renaissance-era costume books while drafting his famous seventeenth-century Nueva corónica. Delving into details regarding the various social, political, and ethnographic uses to which such costume books were put, Thomas maps out the ways [End Page 288] in which Poma's use of the pictorial image serves a set of specific rhetorical purposes in both forging parallels between pre-and post-conquest Peruvian society and defending Native Americans from trending unfavorable European depictions. The following contribution, "Rioplatense Sound, Text and Transmission in the Early Era of Sonic Reproducibility," offers several insights regarding the far-reaching effects of late nineteenth/early twentieth-century sound-based technologies (phonograph, telephone, and radio) on print culture. Setting the investigation between José Hernández's penning of Martín Fierro in the 1870s and the radio poems of the martinfierristas half a century later, author Sam Carter highlights some of the key underexplored connections between sound technologies and print cultures during this time frame, and uncovers the implications that these links have on factors that influence consumption such as transmission, storage, and ephemerality. With "The Postcard Poetics of Nicanor Parra's Artefactos," Rebecca Kosick's contribution involves an exploration of the Chilean poet's 1972 manifesto, materialized in...}, number={1}, journal={REVISTA DE ESTUDIOS HISPANICOS}, author={Garrigan, Shelley}, year={2020}, month={Mar}, pages={288–290} }
 @article{garrigan_2016, title={"Virile Thought": Dialogues Between Science and Gender in El Album de la Mujer}, volume={20}, ISSN={["2346-1691"]}, DOI={10.11144/javeriana.cl20-39.epvd}, abstractNote={El Álbum de la Mujer (1883-1890), una de las revistas literarias destinadas al público-lector femenino en México durante el siglo XIX tardío, ofrece una visión particular en cuanto al rol de la mujer de clase media en la sociedad. Entre las varias características que distinguen esta publicación de otras de la época –la dueña y directora extranjera, la inclusión de las perspectivas hispana e hispanoamericana y de grandes obras y autores literarios– la que sirve como enfoque de la presente investigación es el mercadeo del discurso científico a las mujeres decimonónicas. Una investigación detenida de la revista revela que la ciencia, lejos de sostener una única visión coherente en cuanto al lugar de la mujer en la sociedad, funcionaba como un espacio de negociación en el que coincidieron varias perspectivas inesperadas, tanto tradicionales como más resistentes y nuevas.}, number={39}, journal={CUADERNOS DE LITERATURA}, author={Garrigan, Shelley}, year={2016}, pages={131–147} }
 @article{garrigan_2016, title={The rise of cultural institutions}, DOI={10.1017/cbo9781316163207.012}, abstractNote={Although perhaps overidentified as the historical birth of liberal Mexico, 1867 was a pivotal year for the nation. It marked not only the victory spearheaded by liberal leader Benito Juárez and the capitulation of the so-called Maximilian Affair, but also the turning point of a major institutional overhaul that favored the idea of a federalist, secular, market-driven nation over the centralist, theocratic, and corporatist vision of the conservatives. Given that the patriotism espoused by midcentury liberal ideologues, journalists, and statesmen such as Francisco Zarco (1829–1869) and Ignacio Ramírez (1818–1879) had been defined for decades from a position of dissent or rebellion, the transition to a reconciled, constructive position following the 1867 triumph was both fueled by the optimism of victory and fraught with the constant challenges of creating consensus on policy overhauls.}, journal={History of Mexican Literature}, author={Garrigan, S.}, year={2016}, pages={171–187} }
 @book{garrigan_2012, title={Collecting Mexico: museums, monuments, and the creation of national identity}, DOI={10.5749/minnesota/9780816670925.001.0001}, abstractNote={This book centers on the ways in which aesthetics and commercialism intersected in officially sanctioned public collections and displays in late nineteenth-century Mexico. The book approaches questions of origin, citizenry, membership, and difference by reconstructing the lineage of institutionally collected objects around which a modern Mexican identity was negotiated. In doing so, it arrives at a deeper understanding of the ways in which displayed objects become linked with nationalistic meaning and why they exert such persuasive force. Spanning the Porfiriato period from 1867 to 1910, the text illuminates the creation and institutionalization of a Mexican cultural inheritance. Employing a wide range of examples—including the erection of public monuments, the culture of fine arts, and the representation of Mexico at the Paris World’s Fair of 1889—the text pursues two strands of thought that weave together in surprising ways: national heritage as a transcendental value and patrimony as potential commercial interest.}, publisher={Minneapolis: University of Minnesota Press}, author={Garrigan, S. E.}, year={2012} }