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This article explores the use of archetypal and symbolic images to promote greater integration within a community committed to psychological work. It focuses on an image created by artist Ana Teresa Fernández, titled "Borrando la Frontera: Erasing the Border," which addresses sociopolitical, cultural, racial, gender, ecological, and human rights issues related to the Mexico-United States border. The image depicts the artist erasing the border fence, symbolizing the dissolution of barriers and divisions. The article emphasizes the importance of integrating masculine and feminine principles to create a balanced and evolving perspective of wholeness. [Extracted from the article]

Se presenta un editorial que discute sobre la investigación educativa en México con el enfoque de la

"Enlightened Immunity: Mexico's Experiments with Disease Prevention in the Age of Reason" by Paul Ramirez is a comprehensive study of public health in colonial Mexico during the late 18th and early 19th centuries. The book explores the efforts made by Mexican society to prevent and combat diseases, particularly smallpox epidemics. It highlights the role of religious processions, folk healers, and the dissemination of medical knowledge through periodicals and self-help manuals. The second part of the book focuses on the acceptance and promotion of inoculation and vaccination by the colonial Mexican government, as well as the challenges faced in implementing these practices. The study sheds light on the assimilation of the Native American population, the influence of parish priests, and the incorporation of traditional healing methods into medical literature. Overall, "Enlightened Immunity" provides valuable insights into the history of public health in colonial Mexico. [Extracted from the article]

Joseph M. H. Clark. Veracruz and the Caribbean in the Seventeenth Century. New York : Cambridge University Press, 2023. Pp. xviii+, 313. $110.00 cloth; $110.00 e-book.By Robert C. SchwallerReported by Author [Extracted from the article]

Most historians of Mexico focus on either the colonial or the national period; Van Young's analysis, however, presents both the dusk of New Spain and the dawn of the Mexican Republic. As to the economy, Van Young contrasts the subsistence agricultural economy of the vast majority of Mexican peasants with the more robust haciendas and mining industries that were concentrated in fewer hands. With this book, Eric Van Young provides an overview of one of the most complex and transcendental periods of Mexico's history. [Extracted from the article]

This is a review of the exhibition El Arte de la Indumentaria y Moda en Mexico 1940–2015, which was the first survey of Mexican twentieth century fashion, on view at the Banamex-Palacio de Iturbide, Mexico City from May 4 to September 25, 2016. Examining the curators' argument that the various cultures that have intermingled in Mexico have left a mark in its fashion and ethnic dress, this review explores the tension between tradition and modernity in the understanding of culture and dress in Mexico. The exhibition is analyzed by comparing and contrasting the approaches of the two co-curators Ana Elena Mallet and Juan Coronel, the former from a fashion studies perspective, the latter focusing on traditional dress. [ABSTRACT FROM AUTHOR]

Similarly, the Christians worshipped a deity who was executed and underwent an apotheosis; the Mexica evaluated it in terms of their own religion's emphasis on reciprocity and balance. For example, the Mexica had a ritual that Spaniards believed was a cognate of baptism, and thus it was evaluated by them from that theological perspective. Using a dictionary format, the authors deal with a long list of religious concepts, comparing each as it was considered in fifteenth-century Spain, precontact Mexico, sixteenth-century Spain, and sixteenth-century Mexico. [Extracted from the article]

Sin nombre, released in 2009, was the debut feature film by its director Cary Fukunaga. The film presents Fukunaga’s view of the migrant experience, taking the viewer on a journey from Honduras through Mexico and finally to the Mexico–US border. Against this backdrop, the human drama of an unrequited love story unfolds between the two protagonists around whom the film’s plot revolves. The questions of migration and of the crossing of cartographical and territorial borders, in this case those that mark the boundaries between Guatemala and Mexico, and Mexico and the US, are unavoidably prominent given the film’s subject matter, but there are other borders and boundaries of interest in this text that have not received so much attention. Whilst the migrant journey primarily concerns the movement of bodies across and between contested national territories, these liminal border zones also bear witness to changes in the bodies themselves: boundaries are crossed in this film not only in political but also bodily terms. The main expression of this inSin nombreis the high visibility of tattooed bodies. They display signs of belonging and apartness, depending on which side of the border between social groups an individual is located. Bodies, as well as borders, are marked and regulated; the violation of codes and territories has potentially fatal consequences. [ABSTRACT FROM PUBLISHER]