Relevant bibliographies by topics / Mexican modernism

Academic literature on the topic 'Mexican modernism'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Mexican modernism"

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Lewthwaite, Stephanie. "Modernism in the Borderlands: The Life and Art of Octavio Medellín." Pacific Historical Review 81, no. 3 (August 1, 2012): 337–70. http://dx.doi.org/10.1525/phr.2012.81.3.337.

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This article examines the life and work of Octavio Medellín, a Mexican-born sculptor based in Texas during the 1930s and 1940s. It argues that Medellín was not simply a Mexican artist operating within the confines of an indigenist and nationalist art; neither was he a modernist primitivist artist committed to the search for pure form. As an emerging Mexican American subject located on the margins of both homeland and host society, Medellín synthesized the categories of Mexican art, regionalism, and modernist primitivism to produce an alternative modernism. Medellín's art reflects the bicultural complexities of becoming Mexican American in the United States—the appropriation and transformation of one's ancestral heritage while seeking cultural and political citizenship in a new land. Medellín's artistic journeying also underscores the multidirectional and transcultural origins of modernism during the 1930s and 1940s.
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Pascual Battista, Rosario. "José Emilio Pacheco: lector y antólogo del modernismo." Literatura Mexicana 32, no. 1 (January 20, 2021): 163–90. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26857.

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José Emilio Pacheco (1939-2014) devoted part of his essay production to reconstruct the past of letters and, in particular, was interested in the Modernist movement. From two anthological texts: Anthology of Modernism [1884-1921] (1970) and Modernist Poetry. A General Anthology (1982), and a selection of journalistic notes that he published in the Mexican magazine Proceso, Pacheco aimed at broadening the spectrum of Modernist figures and avoiding to keep to a single figure, such as that of the Nicaraguan Rubén Darío. This article reconstructs the dialogues and reciprocities that José Emilio Pacheco traces with the literary tradition of Modernism and that are sustained, on the one hand, in connections between poets, as it is the case of Manuel Gutiérrez Nájera and José Martí and, on the other hand, in the recovering of poets less well-known by literary criticism, such as Salvador Díaz Mirón.
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Escobedo, Frida. "‘Architecture is forever unfinished’." Journal of Visual Culture 20, no. 1 (April 2021): 48–59. http://dx.doi.org/10.1177/14704129211000638.

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In this interview, the celebrated Mexican architect Frida Escobedo explains the intricacies of her design practice and her longstanding interests in Minimalism, Mexican Modernism, and the socio-political concerns facing architecture. The interview provides an insightful mid-career look at one of the most creative and compelling architects working in the world today. Escobedo and Gardner engage in a lively discussion that ranges from design theory to feminism in contemporary architecture. The interview was conducted at Harvard University on 12 December 2019.
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Segre, Erica. "Relics and Disjecta in Mexican Modernism and Post-Modernism: A Comparative Study of Archaeology in Contemporary Photography and Multi-Media Art." Journal of Latin American Cultural Studies 14, no. 1 (March 2005): 25–51. http://dx.doi.org/10.1080/13569320500043623.

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Eggener, Keith. "Postwar Modernism in Mexico: Luis Barragán's Jardines del Pedregal and the International Discourse on Architecture and Place." Journal of the Society of Architectural Historians 58, no. 2 (June 1, 1999): 122–45. http://dx.doi.org/10.2307/991481.

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The Jardines del Pedregal de San Angel, an exclusive Mexico City subdivision designed and built between 1945 and 1953, is widely recognized as one of the most important works of modern architecture in Mexico. A turning point in the career of its architect, Luis Barragán (1902-1988), it has also been said to mark the emergence of a distinctly Mexican modernism. Since the 1970s, Barragán's postwar designs have typically been discussed as Mexican in essence and association, yet study of El Pedregal reveals how this project was also informed by broader trends. For commentators in the early 1950s, much of El Pedregal's success and regionalist aesthetic lay in its sympathetic integration of architecture and landscape, and in this Barragán was clearly informed by the work of Le Corbusier, Richard Neutra, and Frank Lloyd Wright, among others. This paper considers El Pedregal as part of an international discourse, circa 1930 to 1950, on the integration of site and architecture.
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Sánchez Prado, Ignacio M. "Cantinflas and World Literature." Journal of World Literature 6, no. 3 (September 13, 2021): 331–46. http://dx.doi.org/10.1163/24056480-00603004.

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Abstract This paper explores two adaptations of world literature starred by Mexican comedian Cantinflas: Los tres mosqueteros (1942) and Romeo y Julieta (1943). Comedic adaptation of world literature is essential for the development of cinema as an instrument of popular cosmopolitanism, which democratizes and massifies world literature in Mexico. From this angle, I argue for the idea of popular cosmopolitanism as a category to describe film industries where the project of the nation state engages world literature and world cinema. I also posit this term as a way to address gaps and limits in Miriam Hansen’s idea of “vernacular modernism.”
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Saavedra, Leonora. "Carlos Chávez’s Polysemic Style:." Journal of the American Musicological Society 68, no. 1 (2015): 99–150. http://dx.doi.org/10.1525/jams.2015.68.1.99.

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The critical discourse on Carlos Chávez’s music is full of contradictions regarding the presence within it of signifiers of the Mexican, the pre-Columbian, and the indigenous. Between 1918 and 1928 Chávez in fact developed, from stylistic preferences that appeared early in his compositions, a polysemic language that he could use equally well to address the very modern or the primitive, the pre-Columbian or the contemporary mestizo, in and only in those works in which he chose to do so. Chávez’s referents emerged in dialogue with the cultural and political contexts in which he worked, those of post-revolutionary Mexico and modern New York. But he was attracted above all to modernism and modernity, and was impacted by cosmopolitan forces at home and abroad. By the end of the decade he had earned a position within the modern musical field’s network of social relations, and had drawn the attention of agents of recognition such as Edgard Varèse, Paul Rosenfeld, Aaron Copland, and Henry Cowell. These composers and critics added Chávez’s constructed difference to their much-sought collective difference as Americans within a European art. Chávez’s own use of explicit Mexican referents in some of his works shaped the early reception of his music as quintessentially American/Mexican, eventually influencing the way we understand it today.
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LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art." Journal of American Studies 47, no. 2 (April 17, 2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.

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During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.
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Solis, Luis. "Three Voices in the Wake of an Earthquake." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 2 (November 19, 2020): 34–43. http://dx.doi.org/10.31178/ubr.9.2.4.

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Like practically every single country, Mexico has had its fair share of pain and trauma. Bloodshed and utter devastation are rife in Mexico’s modern history. To civil wars and —in recent years— drug-related violence, one has to add the destruction and horror caused by earthquakes. The seism that devastated Mexico City on the 19th of September was the most destructive and painful in living memory. As an uncanny coincidence, also on the 19th of September, but in 2017, another earthquake hit the capital. Perhaps not surprisingly, Mexican novelists and poets have written profusely about their country’s long history of seismic destruction. Poet and journalist Manuel Gutiérrez Nájera —who ushered Mexican letters into Modernism— chronicled the earthquake of the 2nd of November 1894. For his part, Juan Rulfo — arguably Mexico’s most important fiction writer of the twentieth century— penned the “The Day of the Earthquake”, included in his collection of short stories The Plain in Flames, published in 1953. Rulfo uses a natural disaster and its toll as a metaphor for the unbridgeable gap between the political elites and the dispossessed. Finally, José Emilio Pacheco published a series of poems on the 1985 earthquake, the aftermath of which was felt not only in terms of human suffering, but also as a watershed event that ultimately resulted in social and political upheaval. An idiosyncratic brand of humour, trenchant criticism, and a sense of the ineffable before the enormity of utter devastation are some of the ways three of Mexico’s best poets and writers have found to cope with catastrophe and trauma.
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Ruisánchez, José Ramón. "The Cacique in Chapultepec: Toward a Museology of Carlos Fuentes." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 719–22. http://dx.doi.org/10.1632/s003081290012303x.

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The 1960s were a crucial decade for museum building in Mexico. The key year was 1964, the end of Adolfo López Mateos's presidential term, since it saw the inauguration of the Museo de Arte Moderno, the Anahuacalli, the Museo de la Ciudad de México, and the most spectacular of all: the Museo Nacional de Antropología, the architect Pedro Ramírez Vázquez's masterpiece and one of the country's primary tourist attractions. The 1960s also witnessed how Carlos Fuentes, a young writer who had published his first novel in 1958, continued to produce his canonical works at a staggering pace. In what follows, the dialogue between Fuentes's early fiction and the Museo Nacional de Antropología, two of the jewels of Mexican high modernism (always a dialogue with nationalism), not only invites a rereading of their most obvious features—namely, the luminous tension between their structures and their meticulous attention to detail—but also, from the distance of half a century (especially from the vantage point of the PRI's return to power), reveals a series of hitherto unexamined gaps and silences that merit critical attention.
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Dissertations / Theses on the topic "Mexican modernism"

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Contreras, Sheila Marie. "Blood lines : modernism, indigenismo and the construction of Chicana/o identity /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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García, Ramón. "Chicano representation and the strategies of modernism /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820853.

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Ruiz, Janette Cynthia, and Janette Cynthia Ruiz. "Los Murales de Osaka: Mexican Modernism at the 1970 World's Fair." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/622864.

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In 1969 curator Fernando Gamboa commissioned eleven abstract artists to paint a collective mural to be displayed in the Mexico Pavilion at the 1970 World’s Fair held at Osaka, Japan. He instructed the artists to paint large sized individual paintings on stretched canvases that when joined collectively would form a mural measuring 400 sq ft. The artists selected by Gamboa were working in a style that broke the conventions of traditional Mexican muralism. They were a generation of painters who abandoned the ideologies of José Vasconcelos and the conception that artists should be responsible for changing society. Instead they embraced the words of José Luis Cuevas and based their work on the individual’s subjectivity. The binary Gamboa raises by linking Mexican muralism and modern painting problematizes the conception of murals in Mexico. Traditional muralism focused on public spaces and state forums for social communication. In contrast, mural-sized stretched canvases, which hung on the walls of the pavilion intended to provoke an international audience, produced an alternative meaning of muralism and questioned what artistic attributes constituted a Mexican mural in the 1970s
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Courtois, García Glenda Patricia, and García Glenda Patricia Courtois. "Miguel Bernal Jiménez and Eduardo Hernández Moncada: A Blending of Mexican Nationalism and Modernism." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625587.

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Nationalism as a musical movement derives and receives energy and shape from political and social conditions. Musical Nationalism throughout the world surges with the rejection of a hegemony of cultural or political powers. So it was with the Nationalist movement that followed the Mexican Revolution during the first half of the twentieth century. The Mexican Nationalist period (1920-1960) involved music, arts, and politics in a government-inspired search for national identity. Mexican Nationalist ideologies promoted the use and reliability of national resources as the best entrée to the modern Western world. In art music, this implied the incorporation of traditional melodies, rhythms, and performance practices into concert works. At the same time, composers favored the modernist languages of the early twentieth century, and there was a general rejection of Romantic compositional procedures. Carteles by Miguel Bernal Jiménez, and Costeña and Estampas Marítimas by Eduardo Hernández Moncada, exhibit common characteristics of this period. Analysis of these piano pieces demonstrates how these two composers successfully combined Mexican folk elements with modern compositional techniques. When analyzing the dialectics of Mexican Nationalism, a paradox presented in many nationalist music movements surfaces: the aspiration to become universally accepted—in Mexican ideology, 'universal' meaning 'Western'—by means of not sounding Western. Under this premise, the analysis of Bernal Jiménez and Hernández Moncada's works in this research focuses on specific harmonic, melodic, and rhythmic choices and procedures that illustrate this dichotomy of aims in Mexican Nationalism, and that simultaneously define the composers’ individual styles.
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Pentes, Tatiana. "CRUEL BEAUTY: The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo." Art History & Theory, Arts, University of Sydney, 1999. http://hdl.handle.net/2123/1905.

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Master of Letters (with Merit)
The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.
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Pentes, Tatiana. "CRUEL BEAUTY: The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo." Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/1905.

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The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.
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Holzer, Gillian G. "Modelling the Photoreduction of A Chromium (VI) Pigment in Alfredo Ramos Martínez’s Mural Flower Vendors." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1346.

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One of the most stunning works of art on the Scripps College campus is the mural Flower Vendors(1946). The artist,Alfredo Ramos Martínez, an influential figure in Mexican Modernism, executed the work using a variety of traditional and non-traditional techniques. Prior analysis of the work indicated the use of a wax emulsion medium and established the range of pigments used. Ramos Martínez’s use of lead chromate (chrome yellow, Pb(CrO4)) was unusual in wall painting, and the pigment itself has been shown to photodegrade and darken over time in oil paintings, due to the reduction of Cr(VI) to Cr(III). The Pb(CrO4) in Flower Vendorsdoes not appear to have darkened, raising questions about the stability of lead chromate in a wax-emulsion medium relative to that of oil-based mediums. To better understand the behavior of lead chromate in wax-based mediums, a historical synthesis of lead chromate was recreated, and the pigment was suspended in four different binder matrices: a wax-water emulsion, refined linseed oil, cold-pressed linseed oil, and poppy oil. Each of these paint-binder mixtures wasaged beneath full-spectrum 6500 K LED lights. The relative darkening of the pigments was measured using UV-Vis reflectance colorimetry, and comparisons were made between the mediums.
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Kosstrin, Hannah Joy. "Honest Bodies: Jewishness, Radicalism, and Modernism in Anna Sokolow's Choreography from 1927-1961." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300761075.

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Belmonte, Grey Carlos Alejandro. "La formación del modernismo vernáculo en el cine de la revolución mexicana bajo el cardenismo : Estudio de tres casos : El Compadre Mendoza, Redes y Así es mi tierra." Doctoral thesis, Universitat Jaume I, 2015. http://hdl.handle.net/10803/669049.

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Este trabajo presenta una historia cultural del cine de la revolución durante la coyuntura cardenista y señala las apropiaciones iconográficas del modernismo en el folclor local para producir discursos de reinterpretación y actualización de los objetivos revolucionarios. Tres películas quedaron filtradas para formar el corpus: El Compadre Mendoza (Fernando de Fuentes, 1933), Redes (Les Révoltés d'Alvarado, Fred Zinnemann, 1934-1936) y ¡Así es mi tierra! (Ainsi est mon pays, Arcady Boytler, 1937). En ellas se exponen las tres tendencias culturales que interpretaron la revolución: la crítica y negacionista; la socialista y prometedora; la folclórica y triunfalista. La cinta de de Fuentes fue la primera que abordó la revolución como un acontecimiento dramático y una crítica a los espíritus románticos que clamaban el renacer de la nación. La de Zinnemann, originalmente un proyecto del músico Carlos Chávez y del fotógrafo Paul Strand, fue la única producción del proyecto de impulso a la introducción del socialismo en México. Y la de Boytler recuperó la estructura de la comedia ranchera exitosamente difundida por de Fuentes añadiéndole, además, la figura del pelado citadino de Mario Moreno Cantinflas. Las cintas permiten observar los síntomas del modernismo vernáculo. Es decir, la formación del nacionalismo mexicano introdujo las referencias de la modernidad alimentadas por el folclor local, combinándolo con tendencias ideológicas, estéticas y culturales de tipo transnacional. Así, estas expresiones propusieron representaciones iconográficas y discursivas del Ser nacional a fin de reformarlo y reconocerlo como arquetipo de la nacionalidad dentro del discurso de la modernidad.
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Soland, Peter B., and Peter B. Soland. "Mexican Icarus: Modernity, National Identity, and Aviation Development in Mexico, 1928-1958." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621874.

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In the decades following the Revolution, government officials and industrialists attempted to strike a balance between preserving a unique national identity and asserting Mexico's place in global affairs as a competitive, modern nation. Veneration of the aviators' bravery and technological mastery cut across political and cultural boundaries, setting standards for the model citizen of a modern world. The symbolic figure of the pilot proved an adept vessel for disseminating the values championed by the country's ruling party. Aviators validated the technological determinism that underpinned the government's development philosophy to domestic audiences, while projecting an image of strength abroad. This study explores the spectacle of aviation in cultural events including film, airshows, goodwill flights, and state-sponsored funerals, connecting the history of aviation to often-conflicting discourses of Revolutionary nationalism and modern cosmopolitanism that were espoused by both national and regional elites.
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Books on the topic "Mexican modernism"

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Modernización y modernismo en el arte mexicano. México, D.F: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 2008.

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Ramírez, Fausto. Modernización y modernismo en el arte mexicano. México, D.F: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 2008.

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Schedler, Christopher. Border modernism: Intercultural readings in American literary modernism. New York: Routledge, 2002.

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Pont, Diana C. Du. Risking the abstract: Mexican modernism and the art of Gunther Gerzso. Santa Barbara, CA: Santa Barbara Museum of Art, 2003.

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Border modernism: Intercultural readings in American literary modernism. New York: Routledge, 2002.

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Oles, James. Frida Kahlo, Diego Rivera, and Mexican modernism: From the Jacques and Natasha Gelman collection. San Francisco: San Francisco Museum of Modern Art, 1996.

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Lara, Belem Clark de. El modernismo en México a través de cinco revistas. México: Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas, 2000.

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The late modernism of Cormac McCarthy. Westport, Conn: Greenwood Press, 2002.

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Díaz, Ana Laura Zavala. De asfódelos y otras flores del mal mexicanas: Reflexiones sobre el cuento modernista de tendencia decadente (1893-1903). México, D.F: Universidad Nacional Autónoma de México, 2012.

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1875?-1946, Ramos Martínez Alfredo, Stern Louis, and Chambers Marie, eds. Alfredo Ramos Martinez & modernismo. [West Hollywood, Calif.]: Alfredo Ramos Martinez Research Project, 2009.

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Book chapters on the topic "Mexican modernism"

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Sharman, Adam. "Rulfo and the Mexican Roman Trinity." In Tradition and Modernity in Spanish American Literature, 135–58. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601413_7.

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Botstein, Leon. "The Modernist Invention of Mexico: Carlos Chávez, the Mexican Revolution, and the Cultural Politics of Music." In Carlos Chavez and His World, edited by Leonora Saavedra, 306–38. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400874200-020.

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Lie, Nadia. "Heading North: Migrants and the US–Mexican Border." In The Latin American (Counter-) Road Movie and Ambivalent Modernity, 123–53. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45138-1_5.

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Domínguez-Ruvalcaba, Héctor. "The Sentimental Men: Educating Machos in Mexican Cinema." In Modernity and the Nation in Mexican Representations of Masculinity, 75–93. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608894_5.

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Domínguez-Ruvalcaba, Héctor. "Introduction." In Modernity and the Nation in Mexican Representations of Masculinity, 1–7. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608894_1.

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Domínguez-Ruvalcaba, Héctor. "Sense of Sensuality." In Modernity and the Nation in Mexican Representations of Masculinity, 11–31. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608894_2.

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Domínguez-Ruvalcaba, Héctor. "The Perturbing Dress: Transvestism in Visual Arts." In Modernity and the Nation in Mexican Representations of Masculinity, 33–52. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608894_3.

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Domínguez-Ruvalcaba, Héctor. "Intimacy in the War: The Revolutionary Desire." In Modernity and the Nation in Mexican Representations of Masculinity, 55–74. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608894_4.

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Domínguez-Ruvalcaba, Héctor. "Building on the Negative: The Diagnosis of the Nation." In Modernity and the Nation in Mexican Representations of Masculinity, 97–111. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608894_6.

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Domínguez-Ruvalcaba, Héctor. "Inferiority and Rancor: The Fearful Mestizo." In Modernity and the Nation in Mexican Representations of Masculinity, 113–28. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608894_7.

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Conference papers on the topic "Mexican modernism"

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Ruiz Flores, Luis Ivan, Rafael Castellanos Bustamante, and Jorge Guillermo Calderon Guizar. "Operational Reliability and Modernization of Refineries in Mexico: How?, Why? and Where?" In ASME 2016 Power Conference collocated with the ASME 2016 10th International Conference on Energy Sustainability and the ASME 2016 14th International Conference on Fuel Cell Science, Engineering and Technology. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/power2016-59146.

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This article presents the “Why?” to modernize the electrical systems in the six refineries in Mexico, derived that since 1979 there has not built a new refinery, and the primary electrical equipment at each refinery to process fuel requires of imperative upgrading. It also presents the “How?” partial changes are being implemented in some refineries such as replacing electrical equipment in the short-term and implementation of new distribution systems in the long term. Also, it comes in “Where?” They are making the necessary changes including the integration of new electrical generators to supply the energy deficit. The state of the art in operational reliability today in Mexico is presented as part of a projection to fulfill the following objectives: a) optimize the security of personnel integration of new electrical equipment meeting international standards, b) Contribute the least damage to the primary electrical equipment in each refinery and c) allow tangible service continuity in the process of oil production. The result of this work is to show conditions change in Mexican refineries with an electric approach and culture in the safety of staff and the facilities themselves.
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Peimbert, Alejandro J., and Cuauhtémoc Robles. "Etnografía, análisis visual y nuevas cartografías: una posible lectura del paisaje urbano en los espacios públicos del Río Nuevo." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6110.

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El Río Nuevo es una zona que se ha transformado para convertirse en una infraestructura vial, y equipamientos dispersos entre baldíos. Es resultado de decisiones hegemónicas que siguen la tendencia de un desarrollo urbano atento solamente a la modernización. Ello ha violentado rutinas locales, tradiciones y lugares que forman parte de la memoria colectiva de Mexicali, México. Este trabajo trata los imaginarios urbanos y las prácticas sociales en los espacios públicos de dicha zona. El texto presenta evidencias empíricas apoyadas en el método etnográfico y en el análisis visual, registro que expone las tensiones generadas entre la asignación y la apropiación de la ciudad. Situados en el campo de los estudios socioculturales urbanos, se observa cómo la zona se ha convertido en un paisaje de la nostalgia confrontado con un paisaje del poder, disputa invisible en los mapas oficiales. Río Nuevo is an area that has been transformed to become a road infrastructure and urban facilities, scattered among vacant lots. It is the result of hegemonic decisions that follow the trend of urban development attentive only to modernize. This has violated local routines, traditions and places that are part of the collective memory of Mexicali, Mexico. This article deals with urban imaginary and socio-spatial practices in the public spaces of the area. The paper presents empirical evidence supported by the ethnographic method and visual analysis, recording that exposes the tensions generated by the allocation and appropriation of the city. It located in the field of urban socio-cultural studies; we observe how the area has become a landscape of nostalgia confronted with a landscape of power, unseen dispute on official maps.
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Sánchez Martínez, María Esther. "La ciudad de México en la cartografía oficial del Porfiriato: los planos oficiales de la Ciudad de México de 1891 y 1900: una visión de la metrópoli." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Instituto de Arte Americano. Universidad de Buenos Aires, 2013. http://dx.doi.org/10.5821/siiu.5966.

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El texto explora cómo los planos oficiales de la ciudad de México de 1891 y 1900 reflejan la concepción positivista e higienista de la ciudad y su significado en el contexto político de la época. ¿Hasta qué punto el plano refleja las transformaciones del territorio y qué se quiere mostrar con la representación cartográfica? Y ¿Cuál es la visión del mundo de aquellos que plantearon la necesidad de transformar a la ciudad de México en aras de alcanzar el ideal de la modernidad? The text explores how the official plans of the City of Mexico, 1891 and 1900 reflect the positivist and hygienist of the city and its meaning in the political context of the time. How the plan reflects the changes in the territory and to be shown with the mapping? And what is the world view of those who raised the need to transform Mexico City in order to achieve the ideal of modernity?
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Ruiz Flores, Luis Ivan, and Francisco Cuauhtémoc Poujol Galván. "Reliability of Power Electric Systems in Pemex Refining: Experiences and Realities." In ASME 2014 Power Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/power2014-32210.

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In this paper, we present the experience of 10 years of collaboration between the Electric Research Institute and Pemex Refining to modernize the power electric systems of the National Refining System in Mexico, collaborating together to design an electrical energy system for distribution that can operate reliably at the increase in the quantity and quality of oil products with the integration of new processing plants. We present the extensive cooperation between the personnel involved and in contrast unexecuted planning to implement the solutions. Also, after a decade of collaboration, we present the different scenarios, factors and challenges in the medium and long term that will assure that the electrical systems are in healthier conditions to operate for the next years and will achieve the required reliability of the national refining system for gasoline demand, to result in an operational reliability conferring to a World Class utility practice.
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