Peaceful Protest: Spanish Political Humor in a Time of Crisis

Brandes, Stanley

doi:10.2307/1499197

Cited by 21 publications

(10 citation statements)

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“…Posada's art and its offshoots provided what has elsewhere been called a type of "peaceful protest" (Brandes 1977). Members of all social strata came under Posada's mocking eye, but there was an especially biting quality to the humorous portrayal of political leaders and other public figures, who could not ordinarily be ridiculed in public.…”

Section: 06mentioning

confidence: 99%

Iconography in Mexico's Day of the Dead: Origins and Meaning

Brandes¹

1998

Ethnohistory

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In Hayden Herrera's biography of Mexican painter Frida Kahlo (1983), there appears a photograph of the artist lying on her sickbed, looking straight into the camera and holding in both hands a colorfully decorated sugar skull with her name scrolled on the forehead. Although the photo graph bears no date, we may assume that it was taken on or around 1 and 2 November, when Mexican shops and street stalls are filled, as one trav eler put it (quoted in Haberstein and Lamers 1963: 587), with "gleaming gay skulls, sugary-white and with splendid gold trimmings." It is common at this time of year for sugar skulls with people's names written on them to be sold in stores and on street corners. A similar product is made out of chocolate as well. People present these candy skulls to friends or relatives just as short, satiric literary verses known also as calaveras (skulls) are given to colleagues, compadres, and family members. Representations of skeletons are also common at this time of year. Perhaps the most prevalent skeletal form is the soft, spongy, shapeless kind Ethnohistory 45: 2 (spring 1998).

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Section: 06mentioning

confidence: 99%

Iconography in Mexico's Day of the Dead: Origins and Meaning

Brandes¹

1998

Ethnohistory

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“…This view also reinforces the existing dichotomy between joke-telling in democratic countries versus dictatorial, so-called "repressive" regimes. Humour in repressive regimes is predominately studied in different parts of the Soviet Union (Adams 2005;Davies 2007;Krikmann 2009;Laineste 2009); the dictatorial state of Franco in Spain (Brandes 1977;Pi-Sunyer 1977); the Egyptian military regime of Abdel Nasser (Shehata 1992); Nazi Germany (Speier 1998;Herzog 2011); and Czechoslovakia (Bryant 2006) and Norway (Stokker 1997) during Nazi occupations. In this body of literature, joke-telling is often analyzed as a "risky business" (Oring 2004) and frequently labelled as "dangerous" and "whispered" (Beckmann 1969;Dundes 1971;Draitser 1979;Lipman 1991: 18).…”

Section: Résumé De L'articlementioning

confidence: 99%

Political Movement and Electionlore

Etaati

2019

ethno

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Tous droits réservés © Ethnologies, Université Laval, 2019 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit.Érudit est un consortium interuniversitaire sans but lucratif composé de l

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“…This enforced silence by the Spanish government extended to the dead as well as the living (Brandes ) by discouraging the re‐burial of executed Republicans. In addition to the Francoist control over the archives and formal investigation of this history and its professionalization (Álvarez Martínez ), the regime also fomented a singular perspective of the past by controlling who could (Nationalists) and could not (Republicans) be exhumed – a practice that endured well into democracy (Ferrándiz ).…”

Section: Abánades and The Spanish Civil Warmentioning

confidence: 99%

How I learned to love the bomb: excavating pueblo politics, love, and salvaged technologies after conflict

Ceasar

2016

J R Anthropol Inst

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This article analyses the human technology of affect in excavation work in contemporary Spain. While the government continues to avoid addressing crimes committed during the Civil War and the subsequent dictatorship, many Spaniards have taken it upon themselves to address the past. The setting is in Abánades, a right-wing pueblo destroyed in battle that rebuilt itself through the collecting and selling of battlefield scrap metal. Whereas some archaeologists and heritage managers view the pueblo's obsession with bombs and bullets as strange, I show how the pueblo's deep affection (cariño) for war materials challenges singular narratives of understanding the past. By examining the discovery and care of these materials through sensorial tools -what I call salvage technologies -we can probe the affective mechanics involved in how knowledge of the past is intimately produced and actively challenged in Spain today.In good weather, there are seventy people living in Abánades, Spain. Once the temperature hits the low teens and the sunflowers begin to turn their heads downward and die, most residents leave the Castile-La Mancha Valley to pass the winter in Guadalajara or Madrid. Aside from an omniscient electric chime that has replaced the need to ring the church bells manually, time seems to stand still in Abánades and visitors and residents alike often wonder if the pueblo will still exist in twenty years. 1 Yet, occupying an area of roughly 22 square miles, Abánades also has a luxury-rural franchise hotel, two recently remodelled guesthouses, and, curiously enough, a museum devoted to the 1936-9 Spanish Civil War.The original intention of the museum was meant to be 'ethnographical' rather than historical. However, the war collection grew and came to engulf the ethnographic section of the museum, which had once included artefacts related to agriculture, traditional handicrafts, and peasant life in general. Today, the collection is organized to evoke what could be considered the 'lighter side' of war. A depoliticized version of the conflict is portrayed in which flags and bombs from both the victorious and the defeated lie side by side behind glass cases with only so much as a placard noting what the object is, what year it is from, and who its owner is.Radical culture, however, is made known elsewhere in Abánades -a pueblo where it is not uncommon to comment in the company of strangers that 'things were better

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Peaceful Protest: Spanish Political Humor in a Time of Crisis

Cited by 21 publications

References 0 publications

Iconography in Mexico's Day of the Dead: Origins and Meaning

Iconography in Mexico's Day of the Dead: Origins and Meaning

Political Movement and Electionlore

How I learned to love the bomb: excavating pueblo politics, love, and salvaged technologies after conflict

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