@article{garrigan_2024, title={La movilidad del paisaje mexicano decimonónico}, volume={6}, ISSN={2576-0947}, url={http://dx.doi.org/10.1525/lavc.2024.6.1.47}, DOI={10.1525/lavc.2024.6.1.47}, abstractNote={Nineteenth-century Mexico offers a confluence of factors that have received critical attention: visuality, public display, order, progress, consumer culture, political consolidation, and modernization. During this period, the proliferation of landscape references by institutions such as the Academy of San Carlos and the National Institute of Geography and Statistics in the form of paintings, postcards, maps, and statistics links the fields of aesthetics and science, which, in their emerging stages and shared role as agents in the creation of a modern Mexican culture, served as instruments for measuring progress at the national level and status at the international level. While the great master of Mexican landscape painting, José María Velasco, has been recognized in several studies for his creation of a visual language for Mexican landscape heritage that registers the increasing speeds associated with modernization, his works also obscure a darker reality: the privatization of Mexican land under the Porfiriato. In this article, I first explore the conceptual frameworks through which the interfaces between land and landscape can be understood as parallel representations. Next, I consider the development of a Mexican landscape aesthetic and its implications for the creation of a class of consumer-citizens who are apparently at odds with the surrenderist land policies of the Porfiriato. Finally, I explore the connection between Velasco’s works and correspondences during the Philadelphia Centennial Exposition (1876) and the World’s Columbian Exposition (1893) and the incorporation of the Mexican landscape into the surrenderist politics of national land that marked Mexico’s entry into the modern era.}, number={1}, journal={Latin American and Latinx Visual Culture}, publisher={University of California Press}, author={Garrigan, Shelley E.}, year={2024}, month={Jan}, pages={47–63} } @inbook{garrigan_2023, place={México, D.F}, title={Aplauso o censura? Mujer, medicina y el ‘feminismo conservador’ en El Álbum Ibero-Americano de Concepción Gimeno de Fláquer}, booktitle={Literatura, medicina, y escritura en Hispanoamérica y España}, publisher={El Instituto de Investigaciones Filológicas de la Universidad Nacional Autónoma de México}, author={Garrigan, Shelley}, editor={Díaz, Ana Zavala and González, José Antonio MayaEditors}, year={2023}, pages={231–253} } @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} } @misc{garrigan_2022, title={The Arithmetic of Sentiment}, ISBN={9781009169448 9781009169455 9781009169431}, url={http://dx.doi.org/10.1017/9781009169448.010}, DOI={10.1017/9781009169448.010}, abstractNote={This chapter delves into the mathematical subtexts that underlie the emotional displays that abound in Ignacio Manuel Altamirano’s (1834–93) serially published first novel Clemencia (1869), a literary keystone and expression of Mexican Romanticism that appeared in El Renacimiento following the achievement of Mexico’s liberal triumph over the Second French Intervention (1861–67).}, journal={Latin American Literature in Transition 1800–1870}, publisher={Cambridge University Press}, author={Garrigan, Shelley}, year={2022}, month={Dec}, pages={143–157} } @inbook{garrigan_2021, place={Valencia, Spain}, title={Los nudos inexorables entre la escritura, el arte y los muros fronterizos}, booktitle={Fronteras de violencia en México y Estados Unidos}, publisher={Albatros, "Serie Palabras de América}, author={Garrigan, Shelley}, editor={Estrada, OsvaldoEditor}, year={2021}, pages={67–82} } @inbook{garrigan_2021, title={World-Making in Nineteenth-Century Mexico}, ISBN={9781501374784 9781501374791 9781501374807 9781501374814}, url={http://dx.doi.org/10.5040/9781501374814.0008}, DOI={10.5040/9781501374814.0008}, booktitle={Mexican Literature as World Literature}, publisher={Bloomsbury Academic}, author={Garrigan, Shelley}, editor={Sánchez Prado, IgnacioEditor}, year={2021} } @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_2018, place={Trabzon, Turkey}, title={Painting as Performance: The Work of Cornelio Campos}, volume={6}, number={10}, journal={Journal of Narrative and Language Studies}, author={Garrigan, Shelley}, year={2018}, month={Jun}, pages={37–47} } @misc{garrigan_2017, title={Reviews: Latin America at Fin-de Siècle Universal Exhibitions: Modern Cultures of Visuality. By Alejandra Uslenghi. New York: Palgrave Macmillan, 2016. 244 pages.}, volume={44}, number={88}, journal={Latin American Literary Review}, author={Garrigan, Shelley}, year={2017}, pages={85–86} } @article{garrigan_2017, title={The Composite Identities of Jewish Mexicans in Mexican Documentary Films}, volume={10}, ISSN={1946-2522}, url={http://dx.doi.org/10.1353/jji.2017.0008}, DOI={10.1353/jji.2017.0008}, abstractNote={The Composite Identities of Jewish Mexicans in Mexican Documentary Films Shelley Garrigan (bio) A campy advertisement for the 2007 International Jewish Film Festival of Mexico (FICJM), a cultural non-governmental organization (NGO) that was established in 2004 to share Jewish topics with Mexican audiences through film, depicts a young couple trapped in busy Mexico City traffic. They are in need of a "miracle" to get to a screening on time.1 Suddenly, a ray of light pierces the vehicle, and as the camera switches from close-up to long shot, Moses appears in the background, standing atop a parked car, nearly silhouetted against the blinding light pouring in from the upper right corner of the screen. Accompanied by musical catharsis and punctuated by the exaggerated gasps of policemen and pedestrian onlookers, the iconic Jewish prophet parts the "sea" of cars, allowing the couple to navigate their way through traffic to get to the "promised land"/film festival. What calls our attention about this clip is not simply the slapstick irony with which the Mexican—Jewish intersection is treated, but the slippage between territorial frontiers that such humor permits. Viewers are initially unaware that they are stepping into a new and different experience of Mexico. While at the beginning the scene belongs specifically to Mexico City, the utterance of the word milagro (miracle) by the female passenger ("We need a miracle!") launches an unexpected grafting of the foundational Jewish story onto that context, subsuming the local urban landscape into a Jewish meta-narrative. The viewer's experience is, thus, paradoxical. There is, on the one hand, the disorientation that stems from the incongruity of the scene in which the edges of the two main pieces do not fit readily together: Is this a Jewish or a Mexican story? On the other hand, the humor of the situation as expressed through the campy costume and gestures of Moses, and the melodramatic epic music in the background, creates space for a synthesis between the two. As spectators of the advertisement, we step into a question that has persistently resurfaced in Mexican cultural productions since Margo Glantz's well-known Las Geneaologías (Genealogies)2: what are the meeting places between Mexican and Jewish identities?3 In the broadest of terms, Jewish immigration to Mexico can be described as occurring in three waves. The first consists of those European Jews who were [End Page 155] forced to convert to Christianity and then fled to Nueva España (New Spain) to avoid persecution in the early sixteenth century. The implementation of the Inquisition in 1571 marked the end of that trend, and there was a large gap until the nineteenth century, at the beginning of which the first German Jews arrived in Mexico. Mexican President Porfirio Díaz (1877–1911) maintained an open-door policy with respect to European immigration, encouraging Jewish bankers to immigrate to Mexico and contribute to the surge in national economic growth. After the collapse of the Ottoman Empire in the early twentieth century, Mexico became the homeland for many displaced Sephardic Jews, followed by Ashkenazi groups leaving the political upheaval of the moribund empire in Russia. More rigid immigration rules were implemented in Mexico in 1927, restricting the influx of immigrants and setting the tone for the restrictive immigration policies that followed under the administration of Lázaro Cárdenas (1934–1940).4 While the intersections of Jewishness and Mexicanness have been probed through a variety of cultural productions, the focus of this investigation will be four independently made documentary films produced in the 1990s and 2000s: Daniel Goldberg's Un beso a esta tierra (A Kiss To This Land),5 Gold-berg's En los pasos de Abraham (In the Footsteps of Abraham),6 Sandro Halphen's Ocho candelas (Eight Candles),7 and Isaac Artenstein's Tijuana Jews.8 These films overlap in their portrayal of Mexican Jews navigating the boundaries of nationality and religion, and each film explores Jewish Mexican (and Jewish Mexican-American) encounters through a unique kind of immigrant experience.9 An important yet understated component to immigration tales is the medium through which they become publicly accessible. As a retrospective construction, argues Meryl J. Irwin...}, number={1}, journal={Journal of Jewish Identities}, publisher={Project MUSE}, author={Garrigan, Shelley}, year={2017}, pages={155–172} } @inbook{garrigan_2016, place={Lewisburg, PA}, title={Delmira Agustini, Gender and the Poetics of Collecting” Collecting from the Margins}, ISBN={9781611487343}, booktitle={Collecting from the margins : material culture in a Latin American context}, publisher={Bucknell University Press}, author={Garrigan, Shelley}, editor={Andrade María MercedesEditor}, year={2016}, pages={115–140} } @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, Shelley}, year={2016}, pages={171–187} } @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} } @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, Shelley}, year={2012} } @article{garrigan_2010, place={Pittsburgh, PA}, title={Digital Bicentennial: Mexico’s National Commemoration in the Global Era}, volume={10}, number={39}, journal={Revista Iberoamericana}, publisher={Narrativas del Centenario y Bicentenario de la independencia en Latinoamérica}, author={Garrigan, Shelley}, year={2010}, pages={211–228} } @book{giaudrone_garrigan_2010, title={Narrativas del Centenario y Bicentenario de la independencia en Latinoamérica}, volume={10}, number={39}, journal={Revista Iberoamericana}, year={2010}, month={Sep} } @inbook{garrigan_2009, title={Collections, Nation and Melancholy at the World Fair: Re-reading Mexico in Paris 1889}, number={46}, booktitle={La Habana Elegante: revista semestral de literatura y cultura cubana, caribeña, latinoamericana y de estética}, author={Garrigan, Shelley}, editor={Andrade, María MercedesEditor}, year={2009}, month={Sep} } @article{garrigan_2006, place={Vancouver}, title={Displaced Patrimonies: Virtual Museums in Latin America}, volume={31}, number={1}, journal={Ciberculturas: hispanismos y tecnología digital en el nuevo milenio: Special issue of the Revista Canadiense de Estudios Hispánicos (31.1}, author={Garrigan, Shelley}, year={2006}, month={Sep}, pages={161–174} } @inbook{garrigan_2006, place={Rosario, Argentina}, title={Museos, monumentos y ciudadanía en el D.F. de México}, booktitle={Exposiciones, ferias y cultura material en América Latina, 1860-1922: Special issue of Estudios. Revista de investigaciones literarias y culturales}, publisher={Beatriz Viterbo}, author={Garrigan, Shelley}, editor={Stephan, Beatriz González and Andermann, JensEditors}, year={2006}, pages={65–87} }