SDSU Press's Comix Imprint Has a New Title Debuting in May 2020! THE PHANTOM ZONE AND OTHER STORIES by José Alaniz

More Than Money: A Memoir by Claudia Dominguez -- From San Diego State University Press #sdsupress

 More Than Money: A Memoir by Claudia Dominguez

 

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MORE THAN MONEY: A Memoir by Claudia Dominguez is a graphic novel/memoir that recounts the true story of how the author's family recovered their father after he was kidnapped in Mexico City. The reader will feel the helplessness of the kidnapping but also be heartened by the humor and warmth of people who find themselves in a crisis.

MORE THAN MONEY is the first issue from Amatl Comix, a new SDSU Press imprint. Amatl Comix publishes all the dynamic, contemporary graphic narratives we can get our hands on! Our first issue showcases the brilliant work of an up and coming Mexican comic book star, Claudia Dominguez.

 

 

Latin American / Brazilian Urban Studies & Late 20th Century Urban Studies from San Diego State University Press

Modernism, Brazil-style! A Latin American cultural critique classic from SDSU Press--now on sale at our Amazon outlet mall: https://amzn.to/2KJuPXf 

With TWO-WAY STREET: THE PAULISTA AVENUE, FLUX AND COUNTER-FLUX OF MODERNITY, Marta Bogéa presents São Paulo's Paulista Avenue from "the other side of the street." Bogéa offers a semiotic analysis of the richly varied architectural styles of this major Latin American urban space. In this work urban studies and cultural studies fuse--urban space is seen as a coded form of communications network that emerges via careful critical examination. 

Think Barthes meets Brazil, and you begin to parse Bogéas achievement in this study. 

By considering apparent contradictions between the official hegemonic discourse of unified styles, and and what abuts and abrades them from the surrounding, unpredictable urban fabric, the author demonstrates the interventionist and utopian role of criticism. Separate chapters cover the period from the great mansions through modernism and the International Style as it appeared (and evolved) in São Paulo. For scholars and graduate students of urban studies, modernism, and cultural criticism in a Latin American context, this is a must-have critical resource.

Now Back in Print as a Full Color Trade Paperback! Dr. Joseph W. Ball's Cahal Pech, the Ancient Maya, and Modern Belize: The Story of an Archaeological Park from San Diego State University Press

Kudos the Katlin Marisol Sweeney: Once SDSU Press Editorial Associate, Now the Ohio State University Doctoral Student/Superstar

Always Evolving, Always in Metamorphosis: SDSU Press!

Latin American visual poetry!? Check! Kumeyaay Literature? Check! SciFi Movies and Drone/Surveillance Culture? Check!

Latin American visual poetry!? check: https://t.co/FgdS15yQwa

Kumeyaay Literature? check: https://t.co/UUY922pRZV

SciFi Movies and Drone/Surveillance Culture? check: https://t.co/hb7Nf13Y3J

3 recent titles from @SDSUPress #sdsupress and #hyperbolebooks https://t.co/gQDg5GvAUC pic.twitter.com/y9LFPesZda

— San Diego State University Press (@SDSUPress) April 16, 2020

Breaking News from SDSU Press, Amatl Comix, and Hyperbole Books!

Even in the Age of the Virus, SDSU Press, Hyperbole Books, and Amatl Comix are on the Move!

#sdsupress #hyperbolebooks #amatlcomix on the move! #covid19 be damned!https://t.co/TwyUljl4jphttps://t.co/gQDg5GvAUChttps://t.co/F2bvqZ47NW pic.twitter.com/NtVISop7dP

— San Diego State University Press (@SDSUPress) April 16, 2020

A San Diego State University Press Avant-Garde Studies Classic by Owen F. Smith! Fluxus: The History of an Attitude #sdsupress

Fluxus: The History of an Attitude 

SDSU Press  

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Description

Fluxus was once called 'the most radical and experimental art movement of the sixties,' but for anyone seeking to learn more about the historical nature of Fluxus and its conceptual framework it might more readily seem to be just plain frustrating rather than radical. This is in part the case because Fluxus is historically complex and philosophically difficult to define. FLUXUS: THE HISTORY OF AN ATTITUDE by Owen F. Smith is a HOT mix of dada, fluxus, art theory and art history. Owen F. Smith's exhaustive archival research tracks the physical remains of this fascinating interdisciplinary and international arts movement that began in the 1960s.

                                           

Author Bio

Dr. Owen F. Smith is the Director of the Intermedia MFA Program at the University of Maine. He received his BA in Art History and Russian Studies, his MA in Anthropology and his PhD in Art History from the University of Washington in Seattle. He is a specialist in Modern and Contemporary art, particularly what he calls Alternative Art Forms. He has lectured widely in the US and Europe on art in the 20th Century. His seminal book on the history of fluxus, Fluxus: The History of an Attitude, is published by us! San Diego State University Press.

Amazon Book Review

This book is a "must read" for the serious student of Fluxus. Owen Smith covers the difficult-to-define Fluxus movement with aplomb in this volume. Smith's effort has resulted in a work that gives a clear and mostly complimentary illumination to Fluxus without any overt biases or "axes to grind". Smith's definition of Fluxus as an attitude, and his elaboration of that attitude within its pages, seems to be close to the perfect description of what Fluxus was and is. Find out more and get your copy here.

Thanks For Your Patronage of San Diego State University Press, Hyperbole Books, Amatl Comix, pacificREVIEW, and Poetry International!

Take this time #athome to pick up an #sdsupress book! We appreciate all of you who are supporting the press during this time ✨ check it out —> https://t.co/Mo5eau0KgQ pic.twitter.com/TQRJANW0xC

— San Diego State University Press (@SDSUPress) April 10, 2020

Amatl Comix -- the Comic Book Publishing Imprint of SDSU Press -- Says, "Viva Charlie Brown!"

With All the Great Reviews of Fanny Daubigny's PROUST IN BLACK Rolling In, Isn't it Time You Got a Copy of Your Own!?

Fanny Daubigny's PROUST IN BLACK, from Hyperbole Books and SDSU Press!
Glossy Full Color Limited Edition | Regular Full Color Edition

#proust #proustinblack #marcelproust @goodreads #review @SDSUPress @Daily_Proust @_Marcel_Proust_ pic.twitter.com/zLeh7dyBYW

— Fanny Daubigny (@DaubignyFanny) April 6, 2020

From San Diego State University Press -- Clichetes by Philadelpho Menezes #sdsupress

 SDSU Press

Poetics and Visuality: A trajectory of contemporary Brazilian poetry

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Description
Philadelpho Menezes's Poetics & Visuality offers an account of the development of extreme poetic practices in a country known for its commitment to experimentation. This richly illustrated history begins with spatialism, to which concretism comes as a corrective ordering in the early 1950s. The "visual poetry" of the last decades is cogently theorized as inter sign poetry (collage, package, montage poetries), a movement that has drawn international attention.

wikiBIO

wikiBIO: Philadelpho Menezes (born in 1960 in São Paulo, Brazil, died, 2000, Brazil, in a car accident). Brazilian poet, visual poet, pioneer of new media poetry, professor in the Communication and Semiology post-graduation program at the Pontifical University of São Paulo. He performed research for his post-graduate degree at the University of Bologna, in Italy (1990). With Brazilian artist Wilton Azevedo Philadepho Menezes created a pioneer intermedia-poetry CD-ROM: "InterPoesia. Poesia Hipermidia Interativa" (1998). In Italy he collaborated with the first net-poetry project: Karenina.it, by Italian artist Caterina Davinio.

Information from within
The goal of this study is to furnish a theoretical framework for reflections on the pathways taken by experimental poetry in Brazil. At the same time, I hope to suggest that these increasingly intricate formulations might map out their own zone, thereby allowing the method herein elaborated to be applied to other kinds of cultural experimentation. The reader of poetry today all too frequently is confused by a body of material that seems to be little more than a collection of formal exercises that take their origins ex nihilo. I will try to undo this error by showing the inverse: in the apparent chaos of avant-garde Brazilian poetry, there is a backbone that structures a trajectory in the direction of an incorporation of visuality in the poem, a depositing of the poetic function in the visual image.

An Interview with Dr. Alvaro Huerta: Reframing the Latino Immigration Debate: Towards a Humanistic Paradigm, San Diego State University Press

Click to buy Reframing the Latino Immigration Debate

Originally Published September 3, 2013 | Revised April 3, 2020


Dr. Alvaro Huerta authored the newest title to our SDSU Press collection, Reframing the Latino Immigration Debate: Toward a Humanistic Paradigm. Dr. Huerta holds a B.A. (history) and M.A. (urban planning) from UCLA. Also, he holds a Ph.D. (city and regional planning) from UC Berkeley. He is currently conducting interdisciplinary work in the UCLA Chicano Chicana Studies program for top scholarly journals through the studies of urban planning / community development, civic engagement / community organizing, immigration, Chicana/o--Latina/o studies / history, social network analysis; the informal economy. This interview took place over email on the anniversary of the "Chicano Moratorium," August 29, and was preceded by a phone interview. 

SDSU Press:

When did you start writing? Why?

Dr. Alvaro Huerta

I first started writing this book while completing my dissertation at UC Berkeley’s City and Regional Planning program. It was actually not my intention to write or conduct research on the politics of immigration while at Berkeley. I was more interested, at the time, on the history of cities in the U.S. and the people who occupy them, particularly Chicana/os and other Latina/o groups. I was and continue to be interested in scholarly issues, such as labor, social movements and the informal environment.

However, while immersed in completing my dissertation I felt morally compelled to say something about the rise of xenophobia in the last several years with the draconian immigration laws in Arizona and other states. As a son of Mexican immigrants and public intellectual, I couldn’t bury my head in the sand any longer while elected officials, primarily Republicans and other conservatives, perpetuated lies and contradictions against the mostly honest, hardworking Latina/o immigrants in this country. Instead of blaming Wall Street and deregulations of the banks during the height of the Great Recession, many local, state and national elected officials blamed low-wage Latinas/os for America’s social and economic woes.

To complicate matters, Latina/o leaders and elected officials mostly stayed quite during this time period (and to the present). Given that my job is to be a critical thinker and to question the status quo, I started to write social commentaries based on my scholarly research and family history to reframe the Latina/o immigration debate from a negative story to a positive narrative. My aim remains to provide my expertise commentary based on empirical research, rejecting the pejorative and popular views against Latina/o immigrants that only benefit elected officials and their desire to find convenient scapegoats during America’s uneasy economic and political climate. Also, in order to appeal to the white, working class vote and their economic anxieties, Republican leaders and other conservatives conveniently blame low-wage immigrants for the bleak plight of the former.

Photograph by Antonio Turok, click to enlarge

Interviewer

Why should we write from experience, especially when students are told not too?

Dr. Alvaro Huerta

As someone who has taught at UCLA and UC Berkeley, I always tell my students to base their arguments on facts and not personal opinions. While I never judge my students for the political views, I challenge all of them to support their claims with solid evidence. It’s not enough to say that “immigrants represent social burdens,” for example, you can give evidence to back up that statement. Although my first question towards that claim would be do immigrants receive government aid (welfare), social security, Medicare, etc., especially since these programs represent major federal expenditures? If not, what would be the the basis of that claim?

That said, as part of my efforts to humanize the Latina/o immigration debate, I started to write about my own history, as a son of Mexican immigrants. My late mother, for example, worked as a domestic worker for over forty years. Meanwhile, my late father worked as a farmworker during the Bracero Program and later a factory worker for an auto rim factory where he toiled as a janitor for the minimum wage ($3.25 at the time) for over a decade. By telling their stories, I want to give concrete examples of Latina/o immigrants working hard and making sacrifices in this country with little financial compensation. They do so not for themselves, mainly, but for children and families back home via remittances. They do not represent social burdens; they are mostly honest, hardworking individuals who only want to improve their status and that of their family members. It is for them that I write. It is for them that I spent countless hours in the library. It is, in short, for los de abajo /those on the bottom that motivated me to write my first book.

Photograph by Antonio Turok, click to enlarge

Interviewer

"Chicanos say that if you have to ask you'll never understand much less become, a Chicano...the word Chicano is as difficult to define as 'soul.'" 

In the spirit of Ruben Salazar, what does Chicano mean to you?

Dr. Alvaro Huerta

I embrace the words Chicana and Chicano. I first heard of the term “Chicano” in high school and it made sense to me at the time. I did not fully understand it, even after reading many of Ruben Salazar’s articles. It was not until I entered UCLA as a freshman that I better understood the term and the importance of any ethnic group to self-identify how they desire. I love the phrase “black is beautiful,” for example, and find the word “Chicano” to have similar connotations, mainly that “brown is also beautiful.”

I honestly find it tiring to be the only brown person or Chicano in the room. Sometimes I wished that I did not have to deal with race or the burden that those of us who entered privileged universities, like UCLA and UC Berkeley, must carry on a daily basis. I would actually prefer to be treated with other labels or characteristics, such as a caring or compassionate person, but I know that when I go to the library at UC Berkeley or walk into a Starbucks in the suburbs, I am a “Mexican.” Thus, even for those that reject the labels “Mexican” or “Chicana/o,” at the end of the day, mainstream society will always remind them, or us, that we represent “the Other.” That being the case, I embrace being different; I embrace my brown color; and, most importantly, as a social scientist, I am embrace the ethical responsibility of producing research that serves the public good.

Click to buy Reframing the Latino Immigration Debate

If you want to learn more about Dr. Alvaro Huerta and his work visit his site:
https://sites.google.com/site/alvarohuertasite/home