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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Hasmann, Robson Batista dos Santos. "Do paraíso à solidão: modernidade em La Hija de Rappaccini, de Octavio Paz." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-03102013-120312/.
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Octavio Paz tem marcante presença na poesia e no ensaio modernos. Por outro lado, há um aspecto de seu trabalho artístico pouco explorado pela crítica especializada ou acadêmica. Trata-se de sua imersão no teatro, com a peça La hija de Rappaccini. O presente trabalho procura explorar esta faceta com o propósito de construir uma interpretação mais profunda de aspectos temáticos e estruturantes dispersos nos poucos estudos especializados até o presente. Para tal, a partir da divisão das etapas criativas de Octavio Paz propostas por Manuel Ulacia (1999), apresenta-se aqui uma visão panorâmica da obra do mexicano a fim de inserir La hija de Rappaccini em uma linha histórica do desenvolvimento poético-artístico do escritor mexicano. A seguir são lidos poemas, ensaios e entrevistas, além da inserir esses textos no contexto histórico-artístico que possibilitou o desenvolvimento do teatro no México durante as primeiras décadas do século XX, com especial atenção ao grupo Poesía en voz alta. Nesse percurso histórico, destaca-se a vinculação de Paz com os surrealistas franceses e a influência da poesia de língua inglesa sobre suas afinidades literárias. Interessam aqui particularmente alguns símbolos presentes na peça em questão como as concepções acerca do amor, da História, do tempo e da modernidade. A pesquisa procura traçar também as origens do drama desenvolvido em La hija de Rappaccini. Nesse sentido, evidencia-se a ligação de Paz com a cultura oriental, uma vez que a trama inicial remete à Índia do século IX e a construção cênica utiliza-se de alguns recursos do teatro Nô. No último capítulo, o trabalho defende que para Paz existe um embate entre o mundo científico-tecnológico e o primitivo, dentro da perspectiva que o poeta adota sobre a modernidade e que expõe principalmente em entrevistas e ensaios.Octavio Paz has left his marks in modern poetry and essay. Nevertheless, some aspects of his artistic work are still unexplored by specialized academic criticism. It is so with his immersion in translation, in the theater, with the play La hija of Rappaccini. This study aims to explore this aspect in order to construct a deeper interpretation of structural and thematic themes that are spread in the few studies specifically produced about the subject. In order to do so, by using the division of \"creative steps\" by Octavio Paz, as defined by Ulacia Manuel (1999), this research presents an overview of Paz´s work to insert the play into a historical line of his poetic and artistic development. From this perspective, a constant confrontation among poems, essays and interviews is conducted, as well as the integration of all this into the art-historical context that led to the development of theater in Mexico during the early decades of the twentieth century, with special attention to the group Poesía en voz alta. Throughout this historical journey, in which the connection of Paz with the French Surrealists and the influence of English-language poetry over him are emphasized, a reading is carried out of some symbols at stake in the drama and of some conceptions of love, history, time and modernity. The research also aims at tracing the origins of the drama developed in La hija of Rappaccini. Thereby, it is evident that there is a connection of Octavio Paz with the eastern culture, since the initial plot refers to India in the nineteenth century and also because the scenic construction presents some features of Noh theater. In the last chapter, we argue that there is a clash between the scientific technological and the \"primitive\" worlds, a problem present in the perspective taken by the poet on modernity, which is mainly exposed on several of his interviews and essays.
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Nehring, Daniel. "Intimacy, Culture and Modernity in Urban Mexico." Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486594.
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This thesis explores cultural constructions of couple relationships in contemporary urban Mexico in the context of recent processes of social change. Its main objectives are to explore the general understandings which young university graduates from Mexico City have regarding couple relationships and to examine the ways in which they draw on these understandings to account for relevant experiences and practices. To achieve these objectives, I conducted life history interviews with young men and women in Mexico City who at the time of our interviews were either studying or working in a range of professional and academic occupations. Furthermore, I document these young people's cultural environment and the gendered cultural logics present in it through the analysis of self-help books and self help texts in magazines.
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Higgins, Nicholas P. "Modernist visions and the invisible Indian : a history of Mexican governmental thought and Maya resistance." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327443.
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Hodoyán, Karina Alejandra. "Fictions of perverse modernity in nineteenth century Mexico city /." May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Duvall, Tracy Mareen 1963. "Moral compromises: Embracing "tradition" and "modernity" in Mazatlan, Mexico." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282838.
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This dissertation is about moral complexity. It shows how a focus on moral contradictions elucidates everyday life in Mazatlan, Mexico, and it uses this ethnography to develop analytical perspectives on more-general issues. This work treats the ways that people of Mazatlan-- mazatlecos--manage conflicting pressures to be both "traditional" and "modern," as they conceive of these ways of being. These two moral frameworks appear to be contradictory, yet mazatlecos expect themselves and other locals to combine them in a multitude of ways and contexts. This ethnographic and historical analysis supports yet reworks academic claims about a longstanding, pervasive, and significant contradiction between "traditional" and "modern" ways of being Mexican. Even relatively "modern" Mexicans employ a meta-expectation that good people will simultaneously combine various aspects of their identity. This preference contradicts "modern" social organization, which emphasizes the separation of identity into contextualized facets. Nonetheless, even the most "traditional" mazatlecos favored various aspects of "modernity," including contextualized identities. Individuals had different possibilities and desires and faced different consequences, based on other aspects of their identities. After introducing Mazatlan and my fieldwork experience (Chapter Two), I analyze Carnaval to delineate a key aspect differentiating "modernity" and "tradition" (Chapter Three). Then I analyze various elections to highlight another contradictory aspect of these frameworks and to show that this contradiction is important outside of entertainment contexts (Chapter Four). Chapter Five uses Mazatlan's disco utopias as a springboard for discussing the promise of tourism and for developing a process for avoiding unhappiness. Chapter Six assesses mazatlecos' "moral geographies" through a comparison of communicative practices in different zones. Chapter Seven is a vignette about a date that spanned two local zones and several issues. Chapter Eight contains a social-semiotic account of locals in the tourist zone and elsewhere, showing that even apparently trivial practices had lasting importance. Moral contradictions are an inherent part of human life. They are not solely the artifacts of globalization or other processes of intercultural domination, although these processes are likely to sharpen them. Moral contradictions sometimes spring from or engender conflict, but they sometimes result from or in integration.
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Boscarin, Bórax Leonardo Andrés. "The spectacle of masculinites : violence and modernity in the Mexican melodrama of the Golden Age." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579580.
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Film critic Jorge Ayala Blanco observed that, despite the fact that the depiction of violence was key to the popularity of the Mexican cinema of the Golden Age (1940-50), its representation was never approached 'seriously' (1968: 164). This suggestion has encouraged me to pursue an interrogation of the role of violence in the cinema of the era. Its origins can be located in the revolutionary conflict of 1910, that established the relation between violence and masculinity as inseparable, as the emphasis on the macho stereotype as incarnated in the figure of the bandit/hero demonstrates. This model of masculinity was put into question in the 40s when, due to the economic and cultural influence of the United States, it became necessary to civilize the excesses of proletarian masculinity. Through an analysis of the actors Pedro Arrnendariz, David Silva y Pedro Infante, my research explores the ways in which the Mexican cinema presented 'different ways of being 'a man' (King 2003: 149) during this period. My contention is that the masculine models that were offered through the image of these actors, helped to negotiate strategies to appease the transit from the last revolutionary experiments of cardenismo (1934-40) to the consolidation of the capitalist model in the Manuel Avila Camacho sexenio (1940-46). Apart from Infante, none of these actors have previously been the object of a detailed analysis. The focus of my argument is unique too, in locating masculinities at the intersection of violence, modernity and melodrama. My analysis privileges the idea of a plurality of masculinities (Connell 2005) and the concept of 'charisma' (Dyer 1998) to analyse the melodramatic excess incarnated in the 'spectacle of manly honour' (Parra 2005: ) - a concept that can be understood as seeking to capture the moment in which, because of the loss of political and social meaning, manifestations of violence become the object of cinematographic voyeurism. Sequn el critico Jorge Ayala Blanco (1968: 164) la representaci6n de la violencia en el cine mexicano de la Edad de Oro (1940-50) nunca fue abordada 'seriamente', a pesar de que esta a la base de su popularidad. Este comentario me estimulo a interrogarme acerca del rol de la representacion de la violencia, a cuyo origen puede colocarse el conflicto revolucionario de 1910. En este contexto, la relacion entre violencia y masculinidad es inseparable, como demuestra el enfasis en el estereotipo del macho encarnado en la figura del bandido/heroe. Este sera puesto en discusion en los arios cuarenta, cuando se haga necesario civilizar los excesos de la masculinidad popular debido a la influencia economica y cultural de Estados Unidos. A traves del analisis de los actores Pedro Armendariz, David Silva y Pedro Infante, mi investigacion explora la manera en que el cine mexicano represento las 'diferentes maneras de ser un hombre' (King: 149) durante este periodo. Mi tesis es que los modelos masculinos propuestos a traves de la imagen de estos actores contribuyeron a negociar las estrategias para transitar desde los ultirnos experimentos revolucionarios del cardenismo (1934-40) hasta la consolidacion del modelo capitalista a partir del gobierno de Manuel Avila Camacho (1940-46). Aparte del hecho de que ninguno de los actores mencionados ha recibido un analisis detail ado a excepcion de Infante, el enfoque de esta investigacion es unico por colocar las masculinidades en la interseccion de la violencia, la modernidad y el melodrama. Mi analisis privilegia la idea de una pluralidad de masculinidades (Connell 2005) y el concepto del carisma (Dyer 1998) para analizar el exceso melodramatico encarnado en el 'espectaculo del honor masculino' (Parra 2005), que puede entenderse como el momento en el cual las manifestaciones de la violencia se vuelven objeto del voyeurismo cinematografico, al perder su sentido politico y social.
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Zavala, Oswaldo. "Literature to infinity : a genealogy of contemporary narrative in Mexico." Paris 3, 2006. http://www.theses.fr/2006PA030038.
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Cette thèse propose une généalogie du récit contemporain, à partir des principaux aspects de la littérature latino-américaine depuis l'émergence de la modernité et à travers les derniers développements du récit moderne, illustrés par quatre romans mexicains publiés dans les années 1990 : Porque parece mentira la verdad nunca se sabe (1999) de Daniel Sada (Mexicali, 1953), Los detectives salvajes (1998) de Roberto Bolaño (Santiago de Chile, 1953 – Blanes, 2003), La cresta de ilión (2002) de Cristina Rivera Garza (Matamoros, 1964) et A pesar del oscuro silencio (1992) de Jorge Volpi (Mexico, 1968). Cette généalogie est précisée par la notion d'infini, telle qu'elle est impliquée et expliquée par quatre stratégies textuelles parfaitement illustrées par les essais et les nouvelles de Jorge Luis Borges. Ces stratégies supposent une approche perturbatrice du langage et défient à la fois l'identité du sujet et le déroulement logique du texte littéraire. Modernité et généalogie sont définies à partir des travaux de Michel Foucault et de son analyse de Friedrich Nietzsche. L'objectif final est de donner au lecteur une image claire des nouvelles tendances du récit post-boom au Mexique, et d'examiner les principaux aspects de la tradition moderne, propres à l'Amérique Latine, qui y prévalent actuellementThe present investigation proposes a genealogy of contemporary narrative, tracing key aspects of Latin American literature since the emergence of modernity at the end of the 19th century. I analyze the latest developments of modern narrative in four Mexican novels published in the 1990's: Porque parece mentira la verdad nunca se sabe (1999) by Daniel Sada (Mexicali 1953), Los detectives salvajes (1998) by Roberto Bolaño (Santiago de Chile 1953 – Blanes 2003), La cresta de ilión (2002) by Cristina Rivera Garza (Matamoros 1964) and A pesar del oscuro silencio (1992) by Jorge Volpi (México 1968). To account for the most recent works of this genealogy, the present study will consider the notion of infinity explained through four textual strategies best exemplified by the essays and stories of Jorge Luis Borges. These strategies entail a disruptive approach to language that challenges both the identity of the subject and the logical flow of the literary text. Discussing Latin American literature in the general context of Western culture, I derive the concept of modernity and the technique of genealogy from the works of Michel Foucault and his reading of Friedrich Nietzsche. My ultimate goal is to provide the reader with a clear picture of the new trends in post-boom narrative in Mexico, while at the same time reviewing the main aspects of Latin America's modern tradition that currently prevails in contemporary literature
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Rodrigues, Felipe de Souza Silva. "Aurelio Martinez Flores : a produção do arquiteto mexicano no Brasil (1960-2015)." Universidade Presbiteriana Mackenzie, 2018. http://tede.mackenzie.br/jspui/handle/tede/3677.
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Aurelio Martinez Flores (1929-2015), a Mexican architect based in Brazil, left throughout his professional life important contributions that take form in different fields: design, interiors and architecture. His legacy, at the same time indelible and anonymous, is revealed in his works and those of his disciples. His initiation working for furniture stores in Puebla, where he was born, gave him the architecture path in the university, and the vocation to head the production line of the American branch in Mexico City of the leading manufacturers of modern furniture in the twentieth century – Knoll International –, responsible for designs such as Mies van der Rohe, Marcel Breuer, Eero Saarinen and Harry Bertoia. At the beginning of the 1960s, after a season in the company headquarters, he was indicated to share his knowledge on the field with the recently licensed Forma store in São Paulo. In Brazil, he not only disseminated the Bauhaus design, through his pioneering store – Inter/design – but also developed a method for decoration and interiors based on modern strategy and his own cultural background. Its architectural production, rooted in Mexican tradition, acculturated by international modernism and implanted in Brazilian territory, certainly deserves to be analyzed and thought. The presence of Aurelio Martinez Flores in Brazilian architecture, although unknown, is one of the most relevant to contemporaneity. Therefore, even if late, from the analysis of primary sources, this research is fundamental to announce one of the rare incursions between the two Latin American cultures.
Aurelio Martínez Flores (1929-2015), arquitecto mexicano radicado en Brasil, dejó a lo largo de su vida profesional, importantes contribuciones que se materializan en los campos del diseño, interiores y arquitectura. Su legado, al mismo tiempo indeleble y anónimo, se revela tanto en sus obras como en las de sus discípulos. Su iniciación trabajando para tiendas de muebles en la ciudad de Puebla, donde nació, fue um antecedente tanto em su formacion como arquitecto em la Universidad Nacional Autónoma de México (UNAM) como em su vocación para dirigir la línea de producción de la filial americana en la Ciudad de México, de unos de los principales fabricantes de mobiliario moderno del siglo XX – Knoll Internacional –, responsable de dibujos como los de Mies van der Rohe, Marcel Breuer, Eero Saarinen y Harry Bertoia. En 1960, después de la temporada en la matriz estadounidense, fue indicado como responsable por la transferencia de conocimiento de la producción del mobiliario internacional en la recién licenciada tienda Forma en São Paulo. En Brasil, no sólo difundió el diseño de Bauhaus, a través de su tienda pionera – el Inter/design – sino que también desarrolló un método para decoración e interiores basado en la estrategia moderna y su propia identidad cultural. Su producción arquitectónica, arraigada en la tradición mexicana, aculturada por el modernismo internacional e implantada en territorio brasileño, ciertamente merece ser objeto de análisis y reflexión. La presencia de Aurelio Martínez Flores en la arquitectura brasileña, aunque desconocida, es una de las más relevantes para la contemporaneidad. Dicho esto, a partir del análisis de las fuentes primarias, esta investigación se plantea como fundamental al anunciar una de las raras incursiones entre las dos culturas latinoamericanas.
Aurelio Martinez Flores (1929-2015), arquiteto mexicano radicado no Brasil, deixou ao longo de sua vida profissional importantes contribuições que se materializam nos campos do design, interiores e arquitetura. Seu legado, ao mesmo tempo indelével e anônimo, se revela tanto nas suas obras quanto nas de seus alunos. Sua iniciação trabalhando para lojas de móveis na cidade de Puebla, onde nasceu, deram-lhe o caminho da arquitetura na universidade, e a vocação para chefiar a linha de produção da filial americana na Cidade do México, de umas das principais fabricantes de mobiliário moderno do século XX – a Knoll Internacional –, responsável por desenhos como os de Mies van der Rohe, Marcel Breuer, Eero Saarinen e Harry Bertoia. Em 1960, após temporada na matriz americana, foi indicado como responsável pela transferência de conhecimento da produção do mobiliário internacional na recém-licenciada loja Forma em São Paulo. No Brasil, não apenas difundiu o desenho da Bauhaus, por meio de sua loja pioneira – a Inter/design – como desenvolveu um método para decoração e interiores baseado na estratégia moderna e sua própria identidade cultural. Sua produção arquitetônica, arraigada na tradição mexicana, aculturada pelo modernismo internacional e implantada em território brasileiro, certamente merece ser objeto de análise e reflexão. A presença de Aurelio Martinez Flores na arquitetura brasileira, embora desconhecida, é uma das mais relevantes para a contemporaneidade. Por isso, mesmo que tardiamente, a partir da análise das fontes primarias, esta pesquisa se coloca como fundamental ao anunciar uma das raras incursões entre as duas culturas latino-americanas.
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Mangipano, John. "Remolding Mexican Identity: The Wax Art of Francisco Vargas in 19th Century New Orleans." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1327.
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In December of 1915, the New Orleans Times-Picayune reported on the death of the patriarch of four generations of Mexican wax figure artists whose artworks demonstrated a century of change in the city of New Orleans. The family's artworks included religious sculptures, representations of indigenous and peasant populations of Mexico, and the merchant populations of the French Quarter. Francisco's artworks represented Louisiana's agriculture at two World's Fairs in New Orleans and Buffalo. Francisco received a contract from Mississippi Commissioner R. H. Henry to produce the 30-foot King Cotton for the 1904 Louisiana Purchase International Exposition in St. Louis, Missouri. Though the family's success continued after Francisco's death, an examination into the family's business, artworks, travels, and personal connections during Francisco's lifetime provides a new avenue for exploring the relationship between New Orleans and Mexico in the nineteenth century
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Cuevas, Hernandez Ana Josefina. "The survival of family artisans in the face of capitalist modernity : an oral history of two Mexican lineages." Thesis, University of Essex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433545.
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Olmedo-Muñoz, MoÌnica. "Understanding the history of ideas underpinning continuing political oppression in Mexico using the concept of aporetic modernism." Thesis, University of East Anglia, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430703.
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Madrid-Gonzalez, Alejandro Luis. "Writing modernist and avant-garde music in Mexico: performativity, transculturation, and identity after the revolution, 1920-1930." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054237342.
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Armstrong-Fumero, Fernando. "Before there was culture here vernacular discourse on modernity in Yucatan, Mexico /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Rankin, Monica Ann. "!Mexico, la patria!: Modernity, national unity, and propaganda during World War II." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280531.
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During the 1930s, Mexico was in the middle of a healing process after three decades of revolutionary turmoil and reform. The outbreak of revolution in 1910 had created friction between various interest groups such as the Church, the labor movement, peasants, industrialists, and politicians. In the following decades, divisions among those groups intensified as the country struggled to resolve revolutionary conflict and, in the process, looked for someone to blame. As World War II approached, divisive domestic conditions prompted Mexican government officials to develop their own internal wartime agenda. World War II became a major turning point in the legacy of the Mexican Revolution. It gave the country an opportunity, for the first time since the revolution, to unite against a common external enemy, and to militarize as a united nation against that enemy. The government-sponsored propaganda campaign became an important tool for reuniting Mexicans. The government took advantage of the unity achieved during World War II to promote a modernization and industrialization program during and after the war. A close examination of wartime propaganda reveals aggressive calls to unity mixed with a subtle promotion of modernity and industrialization. In contrast to outside propaganda produced primarily by the United States, the Mexican government's wartime messages used nationalist rhetoric and symbols to defend the country's internal interests during and after the war. U.S. propaganda promoted the idea of the "American Way of Life," a concept which glorified a middle-class consumer lifestyle, led by the United States. While U.S. wartime messages frequently provoked resentment among Mexicans, they also largely succeeded in creating a demand for the consumer goods advertised in the propaganda campaign. Avila Camacho used that demand to solidify popular support for his industrialization agenda. By the end of the war, divisive revolutionary factions that had dominated in the 1930s found themselves significantly weakened by the government's wartime measures. Through a combination of policy and propaganda, President Manuel Avila Camacho put together a wartime program that allowed him to unite the country against a common, external enemy and to pursue an aggressive industrialization program. Most importantly, World War II allowed him to justify his industrialization program as a new direction for the Mexican Revolution.
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Neufeld, Stephen. "Servants of the Nation: The Military in the Making of Modern Mexico, 1876-1911." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194184.
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The twilight of a tempestuous nineteenth-century saw the rise of a new order and a newly defined nation in Porfirian Mexico (1876-1911). Given the martial background of General Porfirio Diaz, and the warfare that marked the times, military involvement in the modernizing country was not altogether surprising. But relative stability and technological advances now enabled a much reduced army to exert itself in unprecedented ways. Far out of proportion to their size, the armed forces absorbed half the national budget and penetrated every area of society with military officers making up, among other things, many of the most important politicians, engineers, and writers. Thousands of young men, often forcibly conscripted, entered a national army that extended the State into regions previously beyond centralized influence or surveillance. Yet the regime's ostentatious public rituals of parade and manoeuvre stood in stark contrast to the violent eradication of bandits, dissidents, and indigenous rebels. Hatred of Porfirian brutality and decadence has obscured the truly significant contributions the military made to the nascent Mexico.By devising and enacting their particular visions of the nation, and embodying it through practices that ranged from crime and duels to parades and battle, the military proved integral to the formation of nationalism and its constituent identities of gender, class, and racial organization. I contend that the role of the military offers important clues to the making of the modern nation. Both the history of its impact as an institution and the role of soldiers in civil society shed light on the historical roots of Mexican cultures and politics that persisted into the twentieth century, and offer insights into the roots of some persisting challenges-- machismo, corruption, and distrust of public institutions. The military comprises both lens and exemplar of how the process of becoming modern shapes the foundations of what is understood as the nation.
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Aguilar-Rodriguez, Sandra. "Cooking modernity : food, gender and class in 1940s and 1950s Mexico City and Guanajuato." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496779.
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My research analyses modernity through women's experiences of food across class in 1940s and 1950s rural and urban Mexico. It challenges the assumption that women and private life did not play an important role in modernisation by situating women, the kitchen and its practices at the forefront of this process. Therefore, my dissertation explores modernity through women's choices of new ingredients, culinary practices, and domestic technologies; but also through nutrition discourses, policies and welfare programs. This work draws on a variety of sources such as state archives, contemporary professional journals, cookbooks, women's magazines, and interviews carried out among elderly women in Mexico City and Guanajuato.
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Madrid-González, Alejandro L. "Writing modernist and avant-garde music in Mexico : performativity, transculturation, and identity after the revolution, 1920-1930 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.
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Madrid-González, Alejandro Luis. "Writing modernist and avant-garde music in Mexico performativity, transculturation, and identity after the revolution, 1920-1930 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.
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Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains xv, 238 p.; also includes music, graphics Includes bibliographical references (p. 218-238). Available online via OhioLINK's ETD Center
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Ramos, Sefferino. "Silence, Power, and Mexicans in Willa Cather's The Song of the Lark." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/280.
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In The Song of the Lark (1915), Willa Cather does something extraordinary by presenting a well-rounded and likeable Mexican character. This is quite different from her contemporaries’ stereotypical depictions of minorities. To include immigrants in a modern novel was avant-garde and radical subject matter; and presenting a realistic, likeable Mexican character was unheard of because the colonized and immigrants were largely ignored in American literature, or deliberately overlooked. When they were included, persistent demeaning views and unflattering Mexican stereotypes were the norm. This paper seeks to explain how positively Cather depicts Mexican characters, decades before Civil Rights. Cather includes the plight of Mexicans in her novel and gives voice to those that were silenced and ignored. Even though she was a bestselling author and considered one of the best American writers of the era, she has not been properly credited for how progressive she was in her treatment of minorities. It is well documented that Cather used juxtaposition and absences in her writing to convey meaning; I build on these absences to add in rhetorical silence and connect her use of silence to the academic conversation about speech in post-colonial analyses. By contextualizing her writings within the period, I demonstrate how progressive her novels are. Even though most depictions of minorities at the turn of the century were stereotypical, Cather diverges from the racism, which makes her decades ahead of her contemporaries in including good immigrants and minorities in American literature.
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López, Amanda M. "THE CADAVEROUS CITY: THE EVERYDAY LIFE OF THE DEAD IN MEXICO CITY, 1875-1930." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/193880.
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This dissertation explores burial practices and funeral rituals in Mexico City during the late-nineteenth and early-twentieth centuries. I argue that international shifts in ideas about public health, class, and nationalism were reflected in new spaces and practices for dead bodies. Furthermore, I examine how mass death challenged traditional burial practices. The daily practices involved in managing the disposal and veneration of dead bodies illuminate the social and cultural challenges in building modern cities and the ways in which these projects are adopted or rejected by the citizenry. The first three chapters focus on the modernization of burial practices in the nineteenth century. Burial reform laws in the 1850s led to the foundation of the capital's first large, modern cemetery, the Panteón de Dolores, by the Liberal government in 1879. The cemetery became a microcosm for the clean, modern city, mapping the new social class configuration through the distribution of its graves. Quickly the administrators of the Dolores Cemetery failed to meet ideal due to the realities of daily operation. The cemetery had been imagined as a space that reflected elite ideas of modernity, but it served a capital that was mostly indigent. In response to overcrowding, the technology of cremation, which targeted the poor, created a class division between those who could be buried and those who had to be cremated. Government officials successfully constructed a modern, sterile approach to death and began to wrest away control of the symbolic power of death from the Catholic Church. The last two chapters focus on the temporary breakdown of these practices and the reinterpretation of funeral rituals in the early twentieth century. Instability and high mortality rates during the Revolution of 1910-1920 led to overcrowding in cemeteries and spread the dead beyond the cemetery, including impromptu battlefield cremations. A comparison of three funerals in 1928-1929 shows new ways in which the funeral was used to perform ideas about the nation, family, and masculinity. The Revolution's unmanageable casualty levels and the advent modern, secular funerary practices in the period before the Revolution influenced how the government, military, and civilians handled and memorialized death.
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Comboni, Salinas Sonia. "Immigration et culture paysanne : la recherche de la survie en milieu urbain modernite et rupture dans un bidonville de la peripherie de la ville de mexico." Paris 3, 1997. http://www.theses.fr/1997PA030072.
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L'expansion de la ville de mexico dans les 20 dernieres annees a ete un produit de la croissance naturelle de la population, d'une part, et des flux migratoires, d'autre part. Cela veut dire que la capitale du mexique a ete un pole d'attraction des annees durant. Dans ce contexte de crise economique se produit la crise urbaine, manifeste par la hausse des loyers, l'exclusion du marche urbain de l'immobilier de tous ceux qui n'ont pas un revenu suffisant a faire face aux frais minimums pour avoir un logement digne. D'un autre cote on retrouve des paysans qui sont obliges de quitter leur lieu d'origine et de se diriger vers les centres industriels en quete d'un travail et de la survie. Dans ce contexte surgit l'agglomeration connue sous le nom de vallee de chalco, situee a 30 km. Vers l'est de mexico, ou se donnent rendez-vous les exclus de la ville et les chasses de la campagne. Cette immigration familiale donner lieu a certains manifestations sociales, politiques et economiques qui son en train de conformer une expression "villageoise" d'une culture "peripherique" se construissant sur place, a partir du partage des soucis quotidiens pour l'acquisition de la propriete de la terre, la dotation de services, l'education et le transport entre autres. En conclusion, nous avons trouve un processus de creation des manifestations populaires d'une culture que nous appelons avec la peripheriques convergence sur place de plusieurs manifestations et traditions originaires des immigrantsThe mexican city expansion in the last 20 yeats has been the product of the natural population grouth on one hand, and of the migration flow on the other hand. That means that the mexican capital has been an attraction pole throughout all these years. In this economical crisis context rises an urban crises, whose manifestations shows out through signs as the elevation of the logement fees, the exclusion of the hausing market of all those people with no economic means form facing these fees. On the other hand we have peasants who are obliged to leave their original birth places and go to the industrial centes looking for a better work and be able to survive. In these context emerges the aglomeration know as valley of chalco, that is situated 30 kms away from mexico city. In this place meet th to a new village expression of a peripherique cumture, untrysides. This familial immigration gives places to certains social, political and economical manifestations, that are beginning to give birth to a new village expression of a peripherique culture, that is built up at the same place and at the same time that they share their every day problems that have to do with the buying of their lots, getting all the services they need, as water, education and transportation. To conclude, we have found a creative process of popular manifestations of a culture which i call peripherique culture, because it turns arround of the dominant culture of the big city, but it construct itself by the convergence of many manifestations and original traditions of the migrants
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Stogsdill, Kate. "Liquid Liberalism: Environment, the State, and Society in Porfirian Mexico." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/history_theses/75.
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In this thesis, I propose that Mexican water works during the Porfiriato influenced the development of modernity because of hydrology’s link between society and environment. These two canals in particular provide a window on the relationship between the state and environment that connects the two in the efforts of state formation. The Gran Canal and the Canal de la Viga both worked as tools for social and political construction for Mexicans to imagine modernity for themselves and for their country.
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Pizarro-, De Trenqualye Jean-Paul. "Une modernité baroque : de José Gorostiza à Sor Juana Inés de la Cruz." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20135/document.
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Ce travail met en relief une relecture du Baroque, en particulier du courant culterano, qui a eu lieu au Mexique au début du 20e siècle. La génération d'écrivains réunis autour de la revue Contemporaneos joue un rôle central dans un mouvement de fond de récupération du lien avec la tradition de la Nouvelle Espagne, dont notamment la figure centrale de Sor Juana Inés de la Cruz. Cette vision ample de l'histoire de la littérature du Mexique se centre plus précisément sur le rôle de deux poèmes, qui constituent des paradigmes des enjeux qu'un tel passage culturel implique, "Muerte sin fin" de José Gorostiza et "Primero Sueno" de Sor Juana Inés de la CruzThis work highlights the rediscovery of Gongora's Baroque that took place in Mexico at the beginning of the 20th century. The writers of the generation united around the literary revieuw Contemporaneos play a key role in a movement focused on rebuilding cultural ties to New Spain. A principal leader of this period was Sor Juana Inés de la Cruz. This broad overview of Mexico's literary history specifically focuses on the role of two poems - "Muerte sin fin", by José Gorostiza, and "Primero Sueno"by Sor Juana Inés de la Cruz - which constitute paradigms of the era's cultural shift
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Guerrero, Cantarell Rosalía. "Images of Work and Love : The Dynamics of Economy and Emotions on the Big Screen in Sweden and Mexico 1930–1955." Doctoral thesis, Uppsala universitet, Ekonomisk-historiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297491.
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This thesis studies the intertwinement of economy and emotions within the context of modernity. By investigating how work and romantic love interact in fiction films from the period 1930 to 1955, I seek to shed light on how two cultural practices that might normally be assumed to belong to separate dimensions of life – the economic and the emotional – are actually closely connected to each other. The examination of these interactions allows a better understanding of the process of modernisation, as well as the ways in which cultural differences matter in two national contexts: Sweden and Mexico. The thesis is structured into three overarching dimensions of analysis: space, gender and class. I seek to explain the relationship between work and romantic love within these dimensions using the concepts of emotional capital, respectability and worthiness. The results highlight the differences between the national cases. For example, films depicting the Swedish countryside represent both modern and non-modern domestic spaces when judged in terms of their configuration and appearance; however, certain traits of rural characters such as solidarity, closeness to nature and equality transcend into modern society and guide work and romantic love practices. In Mexico, the countryside is depicted at the core of national identity; however, this space is characterised by its non-modern nature. The countryside, according to films, must be reformed by notions of science and rationality. Film narratives show that through romantic love, the man modernises the non-modern woman. The gender analysis revealed that Swedish films endorse the Housewife Contract in Swedish society during this period. In Mexican films, a similar contract is found in the discourse of the modern nation but films endorse a broader interpretation. Mexican films show that whilst the patriarchal organisation of society is expected to loosen its grip in a modern society, a stable gender structure is desirable. The class analysis reveals that upward mobility is a desirable outcome in Swedish film stories. Women attain it through love while men do so through work. However, upward mobility is unacceptable in Mexican films; they instead endorse class permanence.
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Zaratin, Daniele Aparecida Pereira. "Carlos Fuentes e a literatura fantástica: continuidades e revelações na novela Constancia." Universidade Presbiteriana Mackenzie, 2012. http://tede.mackenzie.br/jspui/handle/tede/2157.
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Previous issue date: 2012-07-31Fundo Mackenzie de Pesquisa
En este trabajo de maestría analizamos los aspectos de la literatura fantástica presentes en La novela Constancia (1990), de Carlos Fuentes, a partir de una línea de investigación que La incluye en una trayectoria de otros textos fantásticos del autor mexicano. Al examinar lãs narrativas de Los días enmascarados (1954), del ciclo narrativo El mal del tiempo y de Inquieta Compañía, percibimos la reiteración de determinados ejes en esas obras, entre lós cuales están la irrupción de lo insólito como desestabilizador de una percepción de realidad racionalista y la presencia de personajes femeninos ambiguos y reveladores de ló sobrenatural. A partir de eso, primeramente reflexionamos sobre la manifestación de ló fantástico en esas narrativas, señalamos cuáles son esos ejes comunes entre ellas y buscamos posibles interpretaciones para esas recurrencias. Posteriormente, contemplamos la novela Constancia e investigamos cómo ocurre la construcción de lo insólito en ese texto teniendo em cuenta los resultados obtenidos anteriormente y las teorías postuladas por estudiosos del género fantástico y de la obra de Carlos Fuentes. Esperamos con eso aportar nuevas perspectivas interpretativas sobre esa narrativa, al producir un análisis que reflexiona sobre los procedimientos de lo fantástico en esa obra (revelaciones) y sobre la presencia de elementos que la inscriben como parte de una tradición de otros textos fantásticos del autor mexicano (continuidades).
Neste trabalho de mestrado, analisamos os aspectos da literatura fantástica presentes na novela Constancia (1990), de Carlos Fuentes, a partir de uma linha de investigação que a inclui numa trajetória de outras narrativas fantásticas do autor mexicano. Ao examinar as narrativas de Los días enmascarados (1954), do ciclo narrativo El mal del tiempo e de Inquieta Compañía (2004), verificamos a reiteração de determinados eixos nessas obras, entre os quais estão a irrupção do insólito como desestabilizador de uma percepção de realidade racionalista e a presença de personagens femininas ambíguas e reveladoras do sobrenatural. A partir disso, primeiramente, refletimos sobre a manifestação do fantástico nessas narrativas, apontamos quais são esses eixos comuns entre elas e buscamos possíveis interpretações para essas recorrências. Posteriormente, contemplamos a novela Constancia e investigamos de que maneira ocorre a construção do insólito nesse texto tendo em vista os resultados obtidos anteriormente e as teorias postuladas por estudiosos do gênero fantástico e da obra de Carlos Fuentes. Esperamos com isso iluminar novas perspectivas interpretativas sobre essa narrativa, ao produzir uma análise que reflete sobre os procedimentos do fantástico nessa obra (revelações) e sobre a presença de elementos que a inscrevem como parte de uma tradição de outros textos fantásticos do autor mexicano (continuidades).
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Foyer, Jean. "Diversité naturelle et culturelle face aux défis des biotechnologies : enjeux et controverses au Mexique." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2008. http://tel.archives-ouvertes.fr/tel-00545542.
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Au Mexique et au niveau mondial, la protection de la diversité biologique et la défense de la diversité culturelle se sont constituées en enjeu de société ces trente dernières années, au moment où les biotechnologies s'imposaient comme une avancée technoscientifique à même de bouleverser notre rapport au vivant et de générer un important débouché commercial. Les controverses autour de la bioprospection et du maïs transgéniques, dans le contexte d'un pays qui présente une biodiversité exceptionnelle et la plus importante population indigène du continent américain, nous permettent de mettre en lumière comment, à travers elles, se confrontent des conceptions et des pratiques antagonistes de la connaissance, de la propriété, de l'agriculture, du développement, de la globalisation ou encore de l'environnement. Ces controverses sont donc globales au sens où, en arrière-plan des questions spécifiques et techniques qu'elles soulèvent, elles cristallisent toute une série de grands enjeux sociaux et environnementaux contemporains, dans un espace qui s'étire du local au mondial. Au-delà même des croisements de tous ces enjeux, les controverses semblent révéler un conflit beaucoup plus fondamental quant aux évolutions d'une modernité travaillée par le processus de globalisation et la remise en cause du clivage entre nature et société. L'opposition aux biotechnologies marque en effet une forme de résistance au processus hyper-moderne de marchandisation généralisée et de technification radicale de l'espace socio-environnementale. Si cette résistance est essentiellement critique, elle fait néanmoins émerger des formes encore en gestation de modernités alternatives.
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Ligairi, Rachel Mae. "The Familiar Foreign Country: Reading Mexico in Cormac McCarthy, Jack Kerouac, and Katherine Anne Porter." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/935.
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My thesis examines the discourse of Mexico in the works of three twentieth-century American authors-Cormac McCarthy, Jack Kerouac, and Katherine Anne Porter-in order to analyze representations of Otherness in modernism and postmodernism. I seek to destabilize the dividing line between these periods as well as to show how representation in postmodernity has become more problematic due in large part to the proliferation of consumer culture. Though the Mexico that McCarthy employs in Blood Meridian and the Border Trilogy (All the Pretty Horses, The Crossing, and Cities of the Plain) escapes many stereotypes, his Mexico is merely a staging ground that he uses to examine postmodern questions of philosophy while deconstructing myths such as the Old West and Manifest Destiny and reflecting on the ramifications of World War II. Therefore, McCarthy elides Mexico by using its Otherness as a mirror that enables reflection on the Self. Kerouac too is interested in using Mexico to solve U.S. problems. In On the Road, Kerouac's fictional counterpart, Sal Paradise, searches for the authenticity missing from middle-class American life by ultimately turning to the "authentic" Mexico. Though he is able to distinguish between simulations and reality in his own cultural context, once south of the border Sal misrecognizes what is a hypperreal Mexico for supreme authenticity. By contrast, when Katherine Anne Porter crosses the border, she is quick to identify corruption and revolutionary failure in Mexico. When pieces such as "Xochimilco" and "María Concepción" are placed alongside that of the work of Diego Rivera, a leader in the Mexican muralist movement, it becomes clear that Porter essentializes her Mexican subjects with the specific political goal in mind of furthering the revolution. Additionally, by crossing the generic lines separating fiction and non-fiction, Porter approximates what could be called a postmodern form of ethnography. Yet all of her representational strategies are tempered, especially in her last Mexican story, Hacienda, by an awareness that representations of Other cannot be other than flawed.
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MacGregor, Emily. "The Symphony in 1933." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:98449986-0a83-400d-978a-41599244a861.
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Begun in Berlin, completed in exile in Paris, and premiered on both sides of the Atlantic, Kurt Weill's Symphony No. 2 sets up the symphony circa 1933 as both resolutely international and messily interdisciplinary, and spotlights how fundamentally a transnational approach is needed in order more comprehensively to understand both the genre and the localised political and social issues shaping symphonic discourse at this time. Taking the issues raised by Weill's symphony as a starting point, and borrowing fine-grained, historically synchronic approaches from year studies, this thesis examines the symphonic genre in 1933 through four other case-study works composed or premiered in that year. I thus position the symphony as a site of cultural exchange between and within the major contexts traversed by Weill and his work: Berlin, Paris, and a messier U.S. East-Coast nexus that centres on New York and Boston, via Mexico City, looking in detail at Hans Pfitzner's Symphony in C-sharp minor, Roy Harris's Symphony 1933, Aaron Copland's Short Symphony, and Arthur Honegger's Mouvement Symphonique nr. 3. The Germanic genre has long been associated with nationalism, monumentality, and power display, wedded to Germanic Enlightenment philosophical discourses about universalised selfhood and its relationship to society. 1933, the year in which Hitler took power and the Great Depression reached its peak, was politically and economically fraught, concentrating social questions that intersect with symphonic issues about power, selfhood, space, and mass audiences. It is also a neglected year within symphonic surveys. The thesis combines archival work and hermeneutic perspectives to foreground those social and political discourses historically associated with the genre. I argue for the significance of their differing legacies in co-existent contexts, for the complicity of the genre in establishing and perpetuating political and colonial hegemonies, and for the urgency of rethinking the symphony as an international phenomenon.
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Llanes, García Manuel de Jesús. "Idea de Hispanoamérica en la obra de Juan Villoro." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/98342.
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La presente tesis doctoral aborda una selección representativa la obra del escritor mexicano Juan Villoro, centrada en la forma en que este concibe culturalmente México en tanto que país integrante de una plataforma trasnacional, que llamamos “Hispanoamérica”, frente a otros rótulos muy difundidos como “América Latina”, que estarían del lado de otro tipo de intereses que el trabajo de este autor critica acusadamente, porque en ellos identifica el origen de una interpretación sumamente inexacta de los conflictos de su país. Para sistematizar lo anterior hemos llevado a cabo una exposición de los diferentes significados que se atribuyen a una palabra actualmente muy en boga, la “identidad”, capaz de recubrir colectivos humanos muy amplios, sobre todo en el caso de las cuestiones que tienen que ver con lo que aquí se llama “problema nacional”, que analizamos en algunas de sus modulaciones más recurrentes.
Frente a los estudiosos que quieren ver en la llamada identidad colectiva el sustento psicológico que más tarde habría de dar forma a los cimientos de proyectos de gran calado y trascendencia como la nación política, ofrecemos un acercamiento histórico y filosófico que nos ha permitido llegar a lo que denominamos “alternativa hispanista”, que consideramos más oportuna de acuerdo con la identidad y la unidad de México en tanto que componente de la hispanidad. En semejante contexto, es posible situar la obra de Villoro en un recorrido más amplio que la libra del nacionalismo esencialista aunque sin desposeerla de las características que en determinado momento pueden identificarla con un proyecto de literatura nacional, sin perjuicio de que además hemos establecido influencias que desbordan el ámbito del español como lengua.
En México, la identidad colectiva encuentra en Octavio Paz y El laberinto de la soledad su relato más divulgado, alrededor del cual existe un consenso que lo exime de su condición de mito, de ahí que durante décadas haya sido el basamento ideológico de buena parte de las grandes figuras de la ficción literaria que se construye en México, con el caso de Carlos Fuentes como especialmente emblemático. Paz y Fuentes servirán de contraste con generaciones que vendrán después, como la de Medio siglo, que hará las veces de transición entre los escritores posrevolucionarios y aquellos que, como Villoro, responden a otros postulados. Estos últimos encontrarán su visión del mundo en otras obras ensayísticas, como La jaula de la melancolía, de Roger Bartra, quien critica a Paz y propone otra forma de otorgarle sentido a México como referente. Todo ello será aprovechado por Villoro, quien por medio de las formas de lo cómico (desarrolladas por él a partir de la narrativa de Jorge Ibargüengoitia) se distanciará en varios sentidos de antecesores como Ignacio Manuel Altamirano, José Vasconcelos, Alfonso Reyes y el mismo Fuentes, aunque no dejará de alimentar la idea de una literatura que, por medio de la lengua española, le permite establecer un complejo sistema de referencias con todos los países donde también se habla este idioma.
Villoro es un escritor crítico del nacionalismo, aunque eso no lo acerca automáticamente con las tendencias de carácter posmoderno que con frecuencia se le atribuyen, porque en su obra los personajes aluden a un conjunto de instituciones que son las que permiten hablar de una alternativa hispanista, ampliamente aprovechada por Villoro, ya sea bajo la forma de un mercado común o bien una tradición cuya relevancia no se agota.Hispanic American Idea in the work of Juan Villoro This thesis is devoted to analyze the work of the Mexican writer Juan Villoro, whose literature will continue to gain presence in the field of literature written in Spanish. Therefore, this is a systematic study of the way in which the work of Villoro can be placed in the context of twentieth-century Mexican literature, while this is a result of a particularly complex process and here we proceed to unravel. We start from the idea that the so-called collective identity is often associated with psychological peculiarities that would be in the ideological foundation of the political nations. Faced with this idea, which seems insufficient, we recover far-reaching historical processes that will result in a transnational platform as Hispanic, that we will overcome essentialism. In Mexico, the work of Octavio Paz, The Labyrinth of Solitude, will be considered when configuring canonical character of the inhabitants of that country, according to the poet, conditioned for the myth of pre-Columbian roots. Other scholars such as Roger Bartra in The Cage of Melancholy, will criticize that belief to open the way to much more skeptical positions, as take place with Villoro. Juan Villoro will use this crisis to restate Mexican identity through the forms of the comic for his novels and essays, in the line of Jorge Ibargüengoitia and others. This can be seen in a collection of stories, which are proof of that radical break with the obscurantist myth, recognized as a simple anachronism. However, that deconstruction does not lead to a mere postmodernism, as they say about Villoro, who never fails to appeal to the Spanish language, including an extended set of institutions able to unite the Spanish-speaking countries.
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Zavala, Oswaldo. "Literature to infinity: a Borgesian genealogy of contemporary Mexican narrative." Thesis, 2006. http://hdl.handle.net/2152/3012.
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Ford, Eileen Mary. "Children of the Mexican Miracle : childhood and modernity in Mexico City, 1940--1968 /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337765.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008.Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4466. Adviser: Cynthia Radding. Includes bibliographical references (leaves 265-282) Available on microfilm from Pro Quest Information and Learning.
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Garcia-Guajardo, Elizabeth Anne 1960. "The secularization of the Divine in find de siglo Mexico : religion and modernity in prose works by Manuel Gutiérrez Nájera, Federico Gamboa, and Amado Nervo." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5856.
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The purpose of this study is to examine literary representations of religiosity and the spiritual realm in late nineteenth-century Mexico, in prose works by Manuel Gutiérrez Nájera (1859-1895), Federico Gamboa (1864-1939), and Amado Nervo (1870-1919). Through an analysis of selected texts by these authors, I will explore how they articulated the Roman Catholicism that permeated their cultural context, amid the processes of modernization. I will also show how they expressed subjective spiritual experiences, independent of the doctrinal precepts of the Church. All three of these writers devoted attention to the pervasive religiosity of their milieu, and wrestled with the question regarding the relevance of the Church in modernity. However, each one presents a distinct vision for the role that institutional religion should play. Each of these authors also portrays his own individual experiences of the metaphysical realm.
Part One is based on an analysis of selected articles, chronicles, and short stories by Manuel Gutiérrez Nájera. This author utilizes the modernista aesthetic of the era to transform the religious impulse into subjective expressions of the Divine. In this regard, he presents a secular form of spirituality, although his texts often contain undertones of a lingering Catholicism. Part Two addresses the tension between religious orthodoxy and modernity in three novels by Federico Gamboa, narratives that reflect the author’s close adherence to Church dictates. In these stories the protagonists often come into conflict with the prevailing religious discourse that attempts to thwart their autonomy. Yet the narratives ultimately reaffirm and uphold Catholic values. In Part Three of this study I turn my attention to a selection of articles, chronicles, short stories, and novellas by Amado Nervo, the most spiritually inclined of the three authors. His early novellas present similar themes as Gamboa’s novels regarding the interference of the Church in the lives of the characters. However, Nervo’s later texts reveal that he did not feel compelled to remain within the limits of Church doctrine. Instead, he follows Nájera’s lead in exploring alternative perspectives of the Divine, such as spiritualist practices and the other religious traditions.text
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Luiselli, Valeria. "Translation Spaces: Mexico City in the International Modernist Circuit." Thesis, 2015. https://doi.org/10.7916/D8H994NC.
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This dissertation studies modernist translation spaces in Mexico City, a city that became an important hemispheric destination during the early twentieth-century. Although some earlier examples are provided for historical context, my analysis focuses primarily on architectural and editorial spaces that emerged in the city between 1917 and the late 1930s, the decades between the final years of the Mexican Revolution—during Venustiano Carranza’s administration, following the Queretaro Constitution—and the instauration of the Partido de la Revolución Mexicana—founded by Lázaro Cárdenas in 1938.
Modernism in Mexico City involved an international circuit of people—such as the poet Langston Hughes, the art historian Anita Brenner, the editor and anthropologist Frances Toor, the Indian activist, and founder of the communist party in Mexico M.N. Roy, and the photographers Tina Modotti and Edward Weston—all of whom traveled to or lived in Mexico City during the 1920s and 1930s. It also involved a series of Mexican writers, artists and intellectuals—among them, the poets Gilberto Owen, Salvador Novo and Xavier Villaurrutia, the writer and intellectual Alfonso Reyes, the muralist Diego Rivera, the architects Juan O’Gorman and Juan Segura, and the painters Dr. Atl and Nahui Olin—whose translation practices were instrumental for the making of Mexican modernism. I argue that these modernist actors played a key role as cultural translators and that it was ultimately through their work that Mexico City, among other so-called peripheral modernities, found a place in the cultural and geographical map of international modernism—a place, nonetheless, which modernist studies still tend to ignore or misrepresent.
Drawing from translation theory, architectural history, transatlantic modernism, and the spatial semiology and hermeneutics, Translation Spaces maps the places, both cultural and physical, that these international modernists occupied or, in some cases, created. The five chapters study different architectural spaces—i.e. theaters, rooftops, houses, cinemas, and apartment buildings—and combine spatial analysis and architectural history of such spaces with analysis of specific translation practices that took place in them, such as literary translation, film dubbing and subtitling in modern sound cinemas, urban photography, adaptations of architectural languages to local needs, as well as literary representations and discussions of modern spaces. Taken together as different examples of modernist translation practices, the objects of study in this dissertation map modernist Mexico City as a space in a synchronic relationship to the larger map of international modernism.
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Garcia, Jesus Alberto. "Return Migrations, Assimilation, and Cultural Adaptations among Mexican American Professionals from the Lower Rio Grande Valley of South Texas." Thesis, 2011. http://hdl.handle.net/1969.1/ETD-TAMU-2011-05-9161.
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Studies of Mexican American integration have come to a methodological and theoretical impasse. Conventional investigations have provided limited insight as they are outsider-based perspectives examining native-born minorities within the context of the immigrant experience and race-cycle paradigms. Grounded in cultural ideologies and nationalist narratives, dominant descriptions of minorities have created a conceptual straight that circumscribes the discourse to assimilationists’ models of integration. Moreover, studies of marginal groups produce negative consequences by highlighting cultural differences that tautologically reinforce the grounds for exclusions. Little grounded work has been conducted specifically looking at racialized native-born minorities and the dynamics of their generational process of integration. Through embedded ethnography and the narratives of subject participants, this research provides direct insight into processes of contemporary integration and the social structural accommodation of native-born Mexican Americans. As a means of sidestepping conceptual barriers, this discussion theoretically frames the integration of Mexican American professionals within the context of modernity and liberal human development.
By responding to the above critiques, this paper presents an alternative approach to the analysis and explanation of the roots of race-cycle paradigms in the first section. The second section establishes the context for the research and explains the basis for the papers structure and conceptual arguments. As a means of moving the discourse away from established models, the third section provides a critical overview of the classical and contemporary literature on minority integration through a process of textual deconstruction. In addition, the section also constructs a theoretical dynamic between structural determinations and individual adaptations to modernity that promotes integration. The fourth section describes the non-traditional method of data collection that provides direct insight into the processes of native-born minority cultural and structural incorporation. Through participant voices, the fifth section describes how individual interactions and institutional forces are shaping the social place that Mexican American professionals have created on the borderlands of American culture and society. What the interpretive findings suggest in the last section is that they are constructing and re-defining their own social and cultural place out of the elements that modern society provides and not as race-cycle theory predicts.
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Bunker, Steven B. "Consumers of good taste : Marketing modernity in Northern Mexico, 1890-1910." Thesis, 1995. http://hdl.handle.net/2429/3458.
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Mexican historians, emphasizing capitalist production as the defining feature of nineteenth- and early
twentieth century Mexican society, have largely overlooked the other question of capitalism, that of
consumption. This emphasis has impeded a recognition of the cultural and social impact of a budding
consumer society in Mexican cities prior to the Revolution of 1910. By the time of the 1910 Revolution, a
culture of consumption had become synonymous with the public culture of the northern Mexican cities of
Monterrey and Chihuahua. This consumer culture and an accompanying service economy arose where
capitalist production and urban growth created mass societies of wage-earners reliant upon the market to
satisfy their basic needs and increasing desires. It became a means by which enlightened Mexicans conveyed
their vision of a modernizing Mexico, integrating and disseminating the messages of consumption with the
principles of economic progress, nationalism, moral reform, and civic pride. By and large, this culture of
consumption spoke to the sensibilities and moral values of Mexico's urban middle classes, yet it also included
the artisan working classes who claimed social respectability for themselves by trying to emulate the
consumption patterns of their social superiors. The effects of modern consumption also transformed gender
roles and spheres of influence; new territories of public space became open to middle class women as
consumption became identified as a feminine trait. Mass-circulation newspapers, department stores,
commercialized entertainments, brand-name goods, and the "science of advertising" became the most visible
symbols of this new culture. Not only did this culture of consumption inform the daily discourse and social
relations of Mexicans, but it also transformed the urban landscape in which they worked, strolled, and found
entertainment. As part of a modernizing effort by urban reformers to clean up city centers and remove vice
to the fringes, shopping and entertainment districts shared public space and new urban transportation and
communication networks with business establishments, civic buildings, and public monuments. Both the
consumption and production sides of capitalism characterized the rapidly growing and transforming urban
milieu in which increasing numbers of Mexicans lived.
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Eineigel, Susanne. "Visualizing the self : modernity, identity, and the Gente Decente in porfirian Mexico." Thesis, 2003. http://hdl.handle.net/2429/14286.
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In late nineteenth-century Mexico City, members of an incipient middle class
attempted to define themselves within new urban spaces and against a growing
heterogeneous mix of strangers. This thesis argues that an increasingly visual culture
brought about by urbanization and new visual practices heightened an awareness of the
body's surface appearances and conduct. As a newly-emerging social group, members of
the middle class needed to learn how to display and perform, as well as to read, the codes
of class, gender, and citizenship. This paper analyzes two types of texts that provided
their middle-class readers with guides both to self-fashioning and to navigating the
complexities of a growing and rapidly changing city. Manuel Antonio Carrefio's popular
Manual de Urbanidady Buenas Maneras taught its readers the rules of dress and
behaviour that signaled respectability and the short urban sketches of writers such as
Manuel Gutierrez Najera and Jose Thomas de Cuellar narrated the city's urban and social
landscape into scenes of familiarity and recognition. However, despite attempts to
stabilize codes of identification, these texts also reflect middle-class anxieties that surface
appearances and social mobility could mask or disguise an individual's "immoral"
character or lower-class background. The reading of these texts by members of the
middle class formed part of larger late nineteenth-century discourses that attempted to mould a modern citizen through moral reform, education, and hygiene.
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Dixon, Seth Holdsworth Deryck. "Symbolic landscapes of identity monumentality, modernity and memory on Mexico city's paseo de la reforma /." 2009. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-3750/index.html.
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Cohen, Deborah. "Masculine sweat, stoop-labor modernity : gender, race, and nation in mid-twentieth century Mexico and the U.S. /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9997154.
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"With Your Rifle Shooting Auroras - Insurgent Songs And Narratives Of Violence And Modernity In Mexico And Central America." 2014.
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Armed conflicts have heavily impacted Latin American societies for centuries. Yet the numerous studies that have examined these armed conflicts have devoted little attention to the primary instrument of this violence: the firearm. This dissertation fills this gap by providing the first in-depth study of representations of weaponry in songs and literary texts from various armed conflicts, including the Mexican Revolution, the Sandinista Revolution, and postwar Central America. It examines the function of firearms in songs, photos and texts about revolutionaries, guerrilla fighters and demobilized soldiers. Taking the firearm as an artifact and trope, this dissertation analyzes the relationship between direct violence, politics and different projects of modernity. The first chapter examines corridos and literary texts about the Mexican Revolution such as El águila y la serpiente by Martín Luis Guzmán and Cartucho by Nellie Campobello. The second chapter analyzes a key but understudied expression of the Sandinista Revolution: the music of Carlos and Luis Enrique Mejía Godoy, in particular the albums Guitarra Armada, Amando en tiempos de guerra and Canto épico al FSLN. The last chapter deals with the figure of the demobilized combatant in Central American postwar literature: in the novel El arma en el hombre by Horacio Castellanos Moya and the short stories “La noche de los escritores asesinos” by Jacinta Escudos and De fronteras by Claudia Hernández. Incorporating theories about modernity, weapons technology, object-subject relations, affect, militarization and gender, this research shows that: 1) intellectuals are drawn to violence but try to position themselves outside of it; 2) often a female element is used to legitimize armed struggle and to soften its implications; 3) the use of a firearm can be deeply democratic in nature but lead to a profound militarization and traumatization of politics and society; and 4) precariousness lies at the core of many insurgent acts, since it is often precarité that leads to rising up in arms, which is itself a precarious political gesture. This examination of the relation between war technology and society testifies to the deep interconnectedness of modernity and violence and to the need for a more radical democracy
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Sinave, Naïla. "Análisis de las actitudes lingüísticas hacia el slang mexicano : usos y valoración de la palabra güey." Thèse, 2010. http://hdl.handle.net/1866/4296.
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L’étude des attitudes linguistiques, entreprise par la sociolinguistique et la psychologie sociale, a permis de confirmer que toutes les variétés linguistiques ne reçoivent pas le même traitement. La langue standard, étant en règle générale la langue du groupe de prestige, bénéficie d’une reconnaissance sociale en comparaison avec les variétés non-standards ou minoritaires, qui, au contraire, suscitent généralement des attitudes plus négatives.
Dans ce mémoire, nous analysons les attitudes linguistiques des mexicains à l’égard du slang mexicain. La méthodologie du projet comporte deux parties principales. Dans un premier temps, des conversations spontanées et naturelles entre locuteurs de slang sont enregistrées. Des fragments de ces enregistrements sont ensuite écoutés par un groupe de sujets qui, simultanément, remplit un questionnaire évaluant leurs attitudes linguistiques dirigées envers l’usage du slang ainsi qu’envers les individus qui le parle.
L’analyse statistique des résultats permet de faire quelques constats : Il y a une différence très significative entre la façon dont les dimensions de solidarité et de prestige sont jugées, les pointages donnés aux aspects tels que l’intelligence et le succès des locuteurs de slang s’avérant beaucoup plus bas que ceux accordés aux aspects reliés à leur personnalité, comme la bonté et la générosité. Aussi, les variables de l’âge et du sexe ont une influence sur les attitudes linguistiques : les femmes ainsi que la génération plus âgée s’avèrent plus sévères dans leur évaluation du slang.
Ce mémoire se divise en cinq chapitres. Les deux premiers explorent les concepts théoriques sur lesquels se basent le projet, soit les attitudes linguistiques et le slang comme phénomène linguistique et social. Les trois chapitres suivants se consacrent au projet en soit : la méthodologie, l’analyse des résultats et l’interprétation de ceux-ci.The study of language attitudes via sociolinguistics and social psychology has confirmed the notion that all varieties of language are treated differently. As a general rule, the standard language is the language of the prestigious group and is held at a high social esteem whereas non-standard or minority language varieties are, in general, judged negatively. This thesis analyzes the language attitudes of Mexicans towards Mexican slang. The project methodology consists in two main phases. Firstly, spontaneous and natural conversations are recorded. Following this, a group of individuals listen to fragments of these conversations while simultaneously filling out a questionnaire that evaluate their language attitudes towards the use of slang as well as towards the slang speakers. The statistical analysis of the results lead to the observation of several patterns: There is a very significant difference in the way solidarity aspects and prestige aspects are judged. The points given to aspects such as intelligence and success for speakers of slang are significantly lower than the points given to personality aspects such as generosity and kindness. Age and gender also have influence on language attitudes: women and the elderly are more severe in their judgment and evaluation of slang. This thesis is divided into five chapters. The first two explore the theoretical concepts upon which the work is based, including language attitudes and slang as a linguistic and social phenomenon. The following three chapters are dedicated to the project itself: the methodology, the analysis of the results and their interpretation.