Notes
Introduction: Portrait of a Young Painter
1. Elias, “Terrorism in the German Federal Republic,” 229–98. Emerging schol-
arship on the global 1960s stays close to Elias’s narrative particularly for the
United States and Western Europe. See, for example, Marwick, The Sixties, and
Suri, “The Rise and Fall,” 45–68.
2. For literature, see, among others, Agustín, La tumba; Pacheco, Las batallas
en el desierto; Sainz, El compadre lobo. For testimonials and biography, Pon-
iatowska, La noche de Tlatelolco; Taibo, ’68; on music, Zolov, Refried Elvis;
Agustín, La contracultura en México; Rubli, Estremécete y rueda; Blanco
Labra, Rockstalgia; Monsiváis, “De marzo de 1970,” 91–114; on the arts, De-
broise, ed., La era de la discrepancia; Goldman, Pintura mexicana contempo-
ranea en tiempos de cambio; Hijar Serrano, ed., Frentes, coaliciones y talleres;
McCaughan, Art and Social Movements; Tibol, Confrontaciones; on gender,
Carey, Plaza of Sacrifices, and Frazier and Cohen, “Mexico ’68,” 617–60; for a
powerful historical reflection, Hiriart, ‘La revuelta antiautoritaria,’ 17–21; on
festive street democracy, Guevara Niebla, La democracia en la calle; Jardón,
El fuego de la esperanza; Soldatenko, “Mexico ’68,” 111–32. See also Zolov, “Ex-
panding Our Conceptual Horizons,” 47–73; Monsiváis, El 68. More directly
relevant to the formal politics of the movement are González de Alba, Los
años y los días; Revueltas, México 1968; Ramírez, El movimiento estudiantil de
México; Pensado, Rebel Mexico.
3. Nasaw, “Introduction,” 577.
4. Merleau-Ponty, The Structure of Behavior, 75.
5. Spiegel, “Comment on a Crooked Line,” 412.
6. For a recent in-depth philosophical exploration of the term, see Ferguson,
Modernity and Subjectivity; for a more accessible explanation, see Roper, “Slip-
ping out of View,” 57–72.
Previous Page Next Page