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Human Rights in the Americas
The Americas are shaped by a multitude of dynamics which have extensive, con-
flictive, and at times contradictory consequences for society, culture, politics, and
the environment. These processes are embedded within a history of interdepend-
ence and mutual observation between North and South which originates in the
conquest and simultaneous “invention” of America by European colonial powers.
The series will challenge the ways we think about the Americas, in par-
ticular, and the concept of area studies, in general. Put simply, the series per-
ceives the Americas as transversally related, chronotopically entangled, and
multiply interconnected. In its critical positioning at the crossroads of area
studies and cultural studies, the series aims to push further the postcolonial,
postnational, and cross-border turns in recent studies of the Americas toward
a model of horizontal dialogue between cultures, areas, and disciplines.
The series pursues the goal to “think the Americas different” and to explore
these phenomena from transregional as well as interdisciplinary perspectives.
For more information about this series, please visit https://www.routledge.com/
InterAmerican-Research-Contact-Communication-Conflict/book-series/
ASHSER-1426.
Entangled Heritages
Postcolonial Perspectives on the Uses of the Past in Latin America
Edited by Olaf Kaltmeier, Mario Rufer
Mobile and Entangled America(s)
Edited by Maryemma Graham and Wilfried Raussert
Practices of Resistance in the Caribbean
Narratives, Aesthetics and Politics
Edited by Wiebke Beushausen, Miriam Brandel, Joseph T. Farquharson,
Marius Littschwager, Annika McPherson and Julia Roth
Political Protest and Undocumented Immigrant Youth
(Re-)framing Testimonio
Stefanie Quakernack
Critical Geopolitics of the Polar Regions
An Inter-American Perspective
Dorothea Wehrmann
Sonic Politics
Music and Social Movements in the Americas
Edited by Olaf Kaltmeier and Wilfried Raussert
Human Rights in the America
Edited by María Herrera-Sobek, Francisco A. Lomelí, and Luz Angélica Kirschner
Human Rights in the Americas
Preface x
List of illustrations xi
List of contributors xiii
Acknowledgments xviii
PART I
Early origins of human rights 29
PART II
Human rights in Central America and the Caribbean 79
PART III
Human rights and gender 115
8 The rebirth of the myth of the American hero and feminism 144
RITA SANTOS
PART IV
Human Rights: Mexican Indigenous groups and
Mexican Americans groups 161
PART V
Human rights: Afro-Brazilians and Afro-Latinas/os 209
PART VI
Human right, animals rights, and posthuman rights 263
Index 295
Preface
Figures
5.1 13th Company, 4th Marines traveling with Colonel Joseph
Pendleton’s column on the road from Monte Cristi to Santiago,
26 June to 6 July, 1916. Official Marine Corps photograph
#521541, Marine Corps History Division, Quantico, VA. 100
5.2 U.S. Marines searching Dominican homes for arms. Official
Marine corps photograph #5012, Marine Corps History
Division, Quantico, VA. 104
5.3 Acting Military Governor, Brigadier General Harry Lee,
USMC (first row, far right) and Executive and Military Staffs.
Official Marine Corps photograph #530542, Marine Corps
History Division, Quantico, VA. 110
9.1 The auditorium for the XLV Artistic Contest of the
P’urhépecha People (XLV Concurso artístico de la raza
P´urhépecha), October 18, 2016, Zacán, Michoacán, México.
The long paper streamers, displaying the colors of rights
movement for the P’urhépecha Autonomous Nation and
the Supreme Indigenous Council of Michoacán, are strung
around the auditorium. Photography by Ruth Hellier. 164
9.2 The insignia and flag of the P’urhépecha Autonomous
Nation and the Supreme Indigenous Council of
Michoacán is suspended high above the heads of the
audience and performers at the Artistic Contest of the
P’urhépecha People. Photography by Ruth Hellier. 164
9.3 An ensemble of the Dance of the Old Men (los Viejitos) at
The XLV Artistic Contest of the P’urhépecha People (XLV
Concurso artístico de la raza P´urhépecha), October 18, 2016,
Zacán, Michoacán, México. This group is Tzipikua,
Los Viejos Alegres, led by Procopio Cázares Patricio from
the Island of Jarácuaro, Lake Pátzcuaro, winners of the 2016
Tata Gervasio López prize. Photography by Ruth Hellier. 165
xii Illustrations
9.4 A frame displaying the Dance of the Old Men of Jarácuaro,
within the official video for the pirekua on the UNESCO
website, Intangible Cultural Heritage of Humanity,
United Nations Educational, Scientific and Cultural
Organization (UNESCO). See www. unesco.org/culture/
ich/en/RL/pirekua-traditional-song-of-the-purhepecha.175
9.5 A frame displaying the Zacán Concurso, within the official
video for the pirekua on the UNESCO website. See
www.unesco.org/culture/ich/en/RL/pirekua-traditional-
song-of-the-purhepecha.176
Table
15.1 Traditional comparison of the human being and the
non-human being or animal 267
Contributors
Editors
Contributors
The editorial board of the volume Human Rights in the Americas, composed
of María Herrera-Sobek from UCSB, Francisco A. Lomelí from UCSB,
and Luz Angélica Krischner from SDSU, expresses their appreciation to
numerous institutions and persons that made possible this important vol-
ume on human rights in the Americas. We first want to convey our sincere
gratitude to the late Josef Raab, the Founding President of the International
Association of Inter-American Studies (IAS) for his vision and support
throughout the years. Unfortunately, he passed away while we were finaliz-
ing the volume. We also want to express our appreciation to Professor Josef
Raab’s spouse Dr. Melissa Knox-Raab for her support of this project.
We thank the IAS for their monetary and logistical support, includ-
ing Wilfried Raussert (Bielefeld University, Germany), Ulla Kriebernegg
(University of Graz, Austria), Olaf Kaltmeier (Bielefeld University,
Germany), and Heidrun Moertl (University of Graz, Austria). We also thank
the Center for Inter-American Studies (CIAS) housed at the University of
Bielefeld in Germany. Professors Raussert and Kaltmeier were instrumen-
tal in reading key samples of the manuscript in order to approve and recom-
mend it for publication. We also express our appreciation for the continuing
encouragement and financial support the College of Arts, Humanities and
Social Sciences, and the School of American and Global Studies, directed
by Dr. Christine Garst-Santos, at SDSU gave to Professor Luz Angélica
Kirschner.
We want to acknowledge funding from the UCSB College of Letters and
Science Dean’s Council chaired by Dean Melvin Oliver. Crucial infrastruc-
tural support came from the Chicano Studies Institute. We are grateful to
Director Laura Romo and the CSI staff, including Raphaella Nau, Tracey
Goss, Candace Pérez, Marselina Ortiz, Kayla Adams, Mariela Aguilar,
Gustavo Agredano, and Grace Vega. In addition, we thank the staff from
the Chicana and Chicano Studies Department at UCSB, especially Business
Officer, Joann Erving and Undergraduate Advisor, Shariq Hashmi.
We graciously offer our heartfelt thanks to the assistance offered organiz-
ing the conference to Helena María Viramontes, award-winning author and
Professor in the English Department at Cornell University and well-known
Acknowledgments xix
author and poet, Lucha Corpi. They both participated at a literary panel
where they read from their works.
Others who contributed funding for the success of the conference were
UCSB Chancellor Henry Yang, the Office of the Executive Vice Chancellor,
David Marshal, the Office of Associate Vice Chancellor for Diversity, Equity
and Academic Policy, María Herrera-Sobek, and Professor Francisco A.
Lomelí. We are very grateful for the support received from the Multicultural
Center and its Director, Zaveeni Khan-Marcus; the Office of Equal
Opportunity and Discrimination Prevention and its Director, Ricardo
Alcaíno, plus the numerous UCSB Departments who generously contrib-
uted funding: History, Philosophy, Linguistics, Art and Architecture,
Classics, Arts and Film Media Studies, and Chicana/o Studies.
We would also like to thank the following individuals and organizations
for permission to reproduce previously published material.
Josef Raab’s contribution “Human Rights in the Americas: A Stony
Path,” contains an excerpt from I, RIGOBERTA MENCHÚ: AN INDIAN
WOMAN IN GUATEMALA by Rigoberta Menchú. Translation © Verso
1984 (All rights reserved). Reprinted by permission of the Director of
Rights, Verso, Mr. Federico Campagna.
Alexander Ullman’s contribution “The Ontogenesis of Fear in
Héctor Tobar’s The Barbarian Nurseries,” contains excerpts from THE
BARBARIAN NURSERIES by Héctor Tobar. Copyrights © 2011 by
Héctor Tobar. Reprinted by permission of Farrar, Straus and Giroux.
Every effort was made to contact copyright holders for their permission
to reprint material in this book. The publishers would be grateful to hear
from any copyright holder who is not here acknowledged and will under-
take to rectify any errors or omissions in future editions of this book.
Introduction
Human rights in the Americas
Luz Angélica Kirschner, María Herrera-Sobek,
and Francisco A. Lomelí
“Freedom” has always had a different meaning for Black and other “peo-
ple of color” through the Americas when they censure their movements
on the streets and in areas where people of white-European descent
live; when the hemisphere’s indigenous populations know that they
take a chance by leaving their towns, villages, or reservations, or when
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The importance of this invention can hardly be overestimated. It
ranks with Maudslay’s slide-rest and the turret tool-holder, as it is an
essential feature in all modern automatic lathes, both for bar-stock
and chucking work.
Assured of the success of the machine, Spencer withdrew from
active connection with the Billings & Spencer Company in 1874, and
in 1876, with George A. Fairfield, then superintendent of the Weed
Sewing Machine Company, and others, formed the Hartford Machine
Screw Company, one of the most successful enterprises in the city.
Unfortunately, Mr. Spencer withdrew in 1882 to manufacture a new
repeating shotgun and rifle which he had invented. The gun was a
success mechanically, but the Spencer Arms Company, which had
been formed in 1883 at Windsor, Conn., was a failure, and Mr.
Spencer lost heavily. In his later years Mr. Spencer has returned to
the field where he did his most brilliant work, automatic lathes. He
represents the New England mechanic at his best, and his tireless
and productive ingenuity has made a permanent impress on modern
manufacturing methods.
Francis A. Pratt was born at Woodstock, Vt. When he was eight
years old his family moved to Lowell. He was a mechanic from
boyhood but he had the good fortune to be apprenticed as a
machinist with Warren Aldrich, a good mechanic and a wise teacher.
At twenty, Mr. Pratt went to Gloucester, N. J., where he was
employed first as a journeyman, later as a contractor. In 1852 he
came to the Colt shop, where he worked for two years. He then
accepted the foremanship of the Phœnix Iron Works, which was run
by Levi Lincoln and his two sons.
Amos Whitney was born in Maine and moved to Lawrence, Mass.,
where he served his apprenticeship with the Essex Machine
Company which built cotton machinery, locomotives and machine
tools. He came from a family of mechanics. His father was a
locksmith and machinist, his grandfather was an expert blacksmith,
his great-grandfather was a small manufacturer of agricultural tools,
and he is of the same family as Eli Whitney of New Haven, and
Baxter D. Whitney, the veteran tool builder of Winchendon. In 1850
both he and his father were working at Colt’s factory at Hartford. In
1854 Amos Whitney joined Pratt in the Phœnix Iron Works, where
they worked together for ten years, the former as a contractor, the
latter as superintendent. Whitney was earning over eight dollars a
day when he left Colt’s and took up the new contract work which
offered at the beginning only two dollars a day.
Many of the shops of that generation were “contract shops.” The
Colt Armory was run on that basis, at least in its manufacturing
departments. Under this system the firm or company furnished all
the materials, machinery, tools, shop room and supplies, while the
workmen were employed by the contractor, their wages being paid
by the firm but charged against the contractor’s account. A better
training for future manufacturers could hardly be devised, and a
surprising number of these old-time contractors have succeeded
later in business for themselves.
In the summer of 1860 Pratt and Whitney rented a small room
and, in addition to their regular employment, began doing work on
their own account, i.e., manufacturing the small winder for the
Willimantic Linen Company. Mr. Whitney’s father-in-law acted as
pattern maker, millwright, bookkeeper and general utility man. The
following February they were burned out, but were running again a
month later in other quarters. Here they continued to spread from
room to room until all available space was outgrown. They
succeeded from the very start, and at once became leaders and
teachers of other mechanics, suggesters of new methods of work
and of new means for its accomplishment. Both Pratt and Whitney
were thoroughly familiar with gun manufacture, and the business
was hardly started when the outbreak of the Civil War gave them
more than they could do. In 1862 they took into partnership Monroe
Stannard of New Britain, each of the three contributing $1200. Mr.
Stannard took charge of the shop, as Pratt and Whitney were still
with the Phœnix Iron Works. Within two years the business had
increased to such an extent that they gave up their positions at the
Phœnix works and in 1865 erected the first building on their present
site. From $3600 in 1862 their net assets grew in four years to
$75,000, and during the three years following that they earned and
put back into the business more than $100,000. In 1869 the Pratt &
Whitney Company was formed with a capital of $350,000, later
increased to $500,000. In 1893 it was reorganized with a
capitalization of $3,000,000. Since that time it has become a part of
the Niles-Bement-Pond Company.
Figure 35. Francis A. Pratt
Figure 36. Amos Whitney