Journal articles: 'Mexican modernism'

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

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This article examines the life and work of Octavio Medellín, a Mexican-born sculptor based in Texas during the 1930s and 1940s. It argues that Medellín was not simply a Mexican artist operating within the confines of an indigenist and nationalist art; neither was he a modernist primitivist artist committed to the search for pure form. As an emerging Mexican American subject located on the margins of both homeland and host society, Medellín synthesized the categories of Mexican art, regionalism, and modernist primitivism to produce an alternative modernism. Medellín's art reflects the bicultural complexities of becoming Mexican American in the United States—the appropriation and transformation of one's ancestral heritage while seeking cultural and political citizenship in a new land. Medellín's artistic journeying also underscores the multidirectional and transcultural origins of modernism during the 1930s and 1940s.

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Pascual Battista, Rosario. "José Emilio Pacheco: lector y antólogo del modernismo." Literatura Mexicana 32, no. 1 (January 20, 2021): 163–90. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26857.

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José Emilio Pacheco (1939-2014) devoted part of his essay production to reconstruct the past of letters and, in particular, was interested in the Modernist movement. From two anthological texts: Anthology of Modernism [1884-1921] (1970) and Modernist Poetry. A General Anthology (1982), and a selection of journalistic notes that he published in the Mexican magazine Proceso, Pacheco aimed at broadening the spectrum of Modernist figures and avoiding to keep to a single figure, such as that of the Nicaraguan Rubén Darío. This article reconstructs the dialogues and reciprocities that José Emilio Pacheco traces with the literary tradition of Modernism and that are sustained, on the one hand, in connections between poets, as it is the case of Manuel Gutiérrez Nájera and José Martí and, on the other hand, in the recovering of poets less well-known by literary criticism, such as Salvador Díaz Mirón.

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Escobedo, Frida. "‘Architecture is forever unfinished’." Journal of Visual Culture 20, no. 1 (April 2021): 48–59. http://dx.doi.org/10.1177/14704129211000638.

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In this interview, the celebrated Mexican architect Frida Escobedo explains the intricacies of her design practice and her longstanding interests in Minimalism, Mexican Modernism, and the socio-political concerns facing architecture. The interview provides an insightful mid-career look at one of the most creative and compelling architects working in the world today. Escobedo and Gardner engage in a lively discussion that ranges from design theory to feminism in contemporary architecture. The interview was conducted at Harvard University on 12 December 2019.

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Segre, Erica. "Relics and Disjecta in Mexican Modernism and Post-Modernism: A Comparative Study of Archaeology in Contemporary Photography and Multi-Media Art." Journal of Latin American Cultural Studies 14, no. 1 (March 2005): 25–51. http://dx.doi.org/10.1080/13569320500043623.

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

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The Jardines del Pedregal de San Angel, an exclusive Mexico City subdivision designed and built between 1945 and 1953, is widely recognized as one of the most important works of modern architecture in Mexico. A turning point in the career of its architect, Luis Barragán (1902-1988), it has also been said to mark the emergence of a distinctly Mexican modernism. Since the 1970s, Barragán's postwar designs have typically been discussed as Mexican in essence and association, yet study of El Pedregal reveals how this project was also informed by broader trends. For commentators in the early 1950s, much of El Pedregal's success and regionalist aesthetic lay in its sympathetic integration of architecture and landscape, and in this Barragán was clearly informed by the work of Le Corbusier, Richard Neutra, and Frank Lloyd Wright, among others. This paper considers El Pedregal as part of an international discourse, circa 1930 to 1950, on the integration of site and architecture.

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Sánchez Prado, Ignacio M. "Cantinflas and World Literature." Journal of World Literature 6, no. 3 (September 13, 2021): 331–46. http://dx.doi.org/10.1163/24056480-00603004.

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Abstract This paper explores two adaptations of world literature starred by Mexican comedian Cantinflas: Los tres mosqueteros (1942) and Romeo y Julieta (1943). Comedic adaptation of world literature is essential for the development of cinema as an instrument of popular cosmopolitanism, which democratizes and massifies world literature in Mexico. From this angle, I argue for the idea of popular cosmopolitanism as a category to describe film industries where the project of the nation state engages world literature and world cinema. I also posit this term as a way to address gaps and limits in Miriam Hansen’s idea of “vernacular modernism.”

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Saavedra, Leonora. "Carlos Chávez’s Polysemic Style:." Journal of the American Musicological Society 68, no. 1 (2015): 99–150. http://dx.doi.org/10.1525/jams.2015.68.1.99.

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The critical discourse on Carlos Chávez’s music is full of contradictions regarding the presence within it of signifiers of the Mexican, the pre-Columbian, and the indigenous. Between 1918 and 1928 Chávez in fact developed, from stylistic preferences that appeared early in his compositions, a polysemic language that he could use equally well to address the very modern or the primitive, the pre-Columbian or the contemporary mestizo, in and only in those works in which he chose to do so. Chávez’s referents emerged in dialogue with the cultural and political contexts in which he worked, those of post-revolutionary Mexico and modern New York. But he was attracted above all to modernism and modernity, and was impacted by cosmopolitan forces at home and abroad. By the end of the decade he had earned a position within the modern musical field’s network of social relations, and had drawn the attention of agents of recognition such as Edgard Varèse, Paul Rosenfeld, Aaron Copland, and Henry Cowell. These composers and critics added Chávez’s constructed difference to their much-sought collective difference as Americans within a European art. Chávez’s own use of explicit Mexican referents in some of his works shaped the early reception of his music as quintessentially American/Mexican, eventually influencing the way we understand it today.

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LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art." Journal of American Studies 47, no. 2 (April 17, 2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.

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During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.

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Solis, Luis. "Three Voices in the Wake of an Earthquake." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 2 (November 19, 2020): 34–43. http://dx.doi.org/10.31178/ubr.9.2.4.

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Like practically every single country, Mexico has had its fair share of pain and trauma. Bloodshed and utter devastation are rife in Mexico’s modern history. To civil wars and —in recent years— drug-related violence, one has to add the destruction and horror caused by earthquakes. The seism that devastated Mexico City on the 19th of September was the most destructive and painful in living memory. As an uncanny coincidence, also on the 19th of September, but in 2017, another earthquake hit the capital. Perhaps not surprisingly, Mexican novelists and poets have written profusely about their country’s long history of seismic destruction. Poet and journalist Manuel Gutiérrez Nájera —who ushered Mexican letters into Modernism— chronicled the earthquake of the 2nd of November 1894. For his part, Juan Rulfo — arguably Mexico’s most important fiction writer of the twentieth century— penned the “The Day of the Earthquake”, included in his collection of short stories The Plain in Flames, published in 1953. Rulfo uses a natural disaster and its toll as a metaphor for the unbridgeable gap between the political elites and the dispossessed. Finally, José Emilio Pacheco published a series of poems on the 1985 earthquake, the aftermath of which was felt not only in terms of human suffering, but also as a watershed event that ultimately resulted in social and political upheaval. An idiosyncratic brand of humour, trenchant criticism, and a sense of the ineffable before the enormity of utter devastation are some of the ways three of Mexico’s best poets and writers have found to cope with catastrophe and trauma.

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Ruisánchez, José Ramón. "The Cacique in Chapultepec: Toward a Museology of Carlos Fuentes." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 719–22. http://dx.doi.org/10.1632/s003081290012303x.

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

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Morris, Stephen D. "Exploring Mexican Images of the United States." Mexican Studies/Estudios Mexicanos 16, no. 1 (January 1, 2000): 105–39. http://dx.doi.org/10.2307/1052123.

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NAFTA, neoliberalism and even neoindigenismo in Chiapas have all challenged past perceptions of self and other in Mexico. Rooted in the postmodernist importance of the other in shaping identity, this essay explores themes in contemporary Mexican images of the United States-- Mexico's predominant other-- as found in written editorials and illustrations from the Mexican press during recent moments in Mexican-U. S. affairs. The discussion first maps out the theoretical setting, raising questions about the importance of Mexican perceptions of its northern neighbor and recent changes in those perceptions. These concerns are briefly incorporated into the modernist/postmodernist approaches. The essay then explores and interprets the major themes portrayed by the Mexican press during the period under review. Despite recent indications that Mexico has nurtured a new, more modern view of the United States, perceptions of the United States as power-hungry, hypocritical, and anti-Mexican still inform the public discourse. / El TLC, el neoliberalismo y también el neoindigenismo en Chiapas han retado a las recientes percepciones sobre el yo y el otro en México. A raíz de la importancia posmodernista del otro en la creación de la identidad nacional, el trabajo actual examina algunos aspectos de la imagen contemporánea que México sostiene de los Estados Unidos. Este ensayo se basa en un análisis de editoriales escritos e ilustraciones de la prensa mexicana durante un período reciente en la relación entre los dos países. Dividida en dos partes, la discusión empieza al ofrecer un marco teórico que subraya varias cuestiones sobre la importancia de las percepciones mexicanas de vecino del norte y los posibles cambios de éstas en los últimos años. Se incorporan entonces estos puntos, en forma breve, a los enfoques modernistas/posmodernistas. La segunda sección explora e interpreta los temas más sobresalientes de la prensa mexicana durante el período en cuestión. El trabajo muestra que a pesar de las recientes indicaciones que México ha desarrollado una imagen nueva, y más moderna de los EU, la percepción dominante caracteriza a Estados Unidos como un país con una insaliable hambre de poder, hipócrita y antimexicano.

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Vilchinskaya-Butenko, Marina E. "Public art as a form of visual sublimation of power." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 330–42. http://dx.doi.org/10.37816/2073-9567-2021-59-330-342.

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Public art of the USSR and Mexico during the 1920s and early 1950s was chosen as the object of research. Both powers saw public art, especially frescoes, as the most direct and appropriate way of expressing a new revolutionary system of values, and considered it an ideal medium for creating metahistory. Established chronological framework is determined by the fact that during this period, similar changes took place in a political structure of both countries, which led to a transformation of the understanding of artistic production. The author highlighted the relationships between socio-political transformation of images in Mexican muralism and Soviet socialist realism of the 1920s and 1950s (prior to the period of Soviet modernism); she also identified the relationships between the system of images and their influence on the viewer and detected stylistic similarities and differences between both artistic trends, bearing in mind historical and political differences. Similarities in the relations of art and power in Mexico and the USSR manifested in redefining the structures of power; rethinking the concept of the nation and history; recreating the past and controlling it to build the future; rejecting contemporary trends in art of that time and turning to didactic art to educate people and transmit the ideals of the new state. They were also displayed in artistic legitimization of the new political order and creation of public art through appealing to a complex of beliefs, feelings, universal images and fetishes be revered and turned into national cults.

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Babina, Agata. "Mikrostāsta jēdziens mūsdienu literatūrā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 299–310. http://dx.doi.org/10.37384/aplkp.2020.25.299.

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The glorious, overwrought, and ambitious modernism of the early 20th century has gradually been replaced by minimalism in art, architecture and other cultural expressions. In such a changing environment, minimalism trends also appear in the literature. Turning to the analysis of literary fiction over the last hundred years, critics of Romanic and Anglo-Saxon literature have come to the conclusion of the emergence of a new literary genre. In Anglo-Saxon literature, among many other names of this genre, the most recognizable name is flash fiction, while in Spanish, the term microrrelato has been established in the last decade. However, in Latvian literature, the characteristics of the genre correspond to minimas written by Aivars Eipurs. The paper aims to provide insight into the development and textual characteristics of flash fiction and to seek its equivalents in the literature of different Western nations. The study looks at the concept of flash fiction and its synonyms in English, Spanish, French, Russian, and Polish languages, includes definitions of flash fiction as an independent literary genre of a variety of authors and sets out the key features and examples. In addition to the concept of flash fiction, it includes concepts of intertextuality and ellipsis, which, along with humor and metafiction, are essential linguistic elements of flash fiction. Flash fiction merges different genres and their patterns into a new literary form consisting of certain linguistic, syntactical, and pragmatic texting techniques. In building the theoretical base of the study, the emphasis was placed on the critics of contemporary Spanish literature less known in Latvia, such as professor Irene Andrés-Suárez (b. 1948) of the University of Neuchatel (Switzerland), Argentinian writer and literary critic David Lagmanovich (1927–2010) and Mexican literary critic Lauro Zavala (b. 1954). Examples of the genre are mostly referred to by Hispanic authors.

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Wolfson Reyes, Gabriel. "El Ateneo de la Juventud y el suicidio: tres momentos de una convivencia oculta." Revista Valenciana estudios de filosofía y letras, no. 4 (July 5, 2016): 31. http://dx.doi.org/10.15174/rv.v0i4.242.

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Este artículo procura analizar la compleja situación de transición entre la bohemia literaria del modernismo literario mexicano y la generación “clasicista” del Ateneo de la Juventud. El suicida, libro pocas veces analizado de Alfonso Reyes, ejemplifica en la primera parte del artículo esta situación: la atracción ejercida por el caos de la bohemia, la autodisciplina que se le opone. Carlos Díaz Dufoo Jr., autor marginado y poco publicado, nos sirve, en la segunda parte del artículo, para exponer una contra-posición resultado de la dicotomía descrita: el silencio, la depuración hasta el extremo de una obra que, deliberadamente, se aisla en medio de la escena literaria mexicana de las primeras décadas del siglo XX.

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Goodwin, Mary. "An Art Historian Encounters a Hybrid Global History at Home: Alfredo Ramos Martinez’s Designs for Sacred Spaces." Religion and the Arts 18, no. 1-2 (2014): 120–55. http://dx.doi.org/10.1163/15685292-01801008.

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‭Southern California’s hidden treasures include two church interiors containing elements designed by Alfredo Ramos Martinez (1871–1946). This Mexican-born artist trained in France, returned to take an activist role in Mexican revolutionary culture, and migrated to the United States in 1929. For sixteen years, his talents were in demand among members of the Hollywood elite. In 1934, he produced the fresco murals at the Santa Barbara Cemetery Chapel, a jewel of Spanish Revival architecture. His images crossed over traditional boundaries between the sacred and the profane. He created odes to human rights and suffering humanity, depicting Christ and his mother as indigenous peasants with dark-skinned New World ethnicity. A decade later in 1946, Ramos sketched designs for his final projects at St. John the Evangelist Church in Los Angeles: a series of stained glass windows representing fourteen multiethnic saints as well as incomplete oil painted Stations of the Cross that recall his earlier pictures of suffering humanity. The architectural setting—a modernist church with stripped-down forms and materials of concrete, steel, and neon—announces a radically transformed post-war industrial culture. The contrast of these two aesthetics, the Spanish Revival and the modernist, demonstrates an evolution in liturgical forms as Californians came to grips with global migrations and an evolving modernist identity.‬

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Faraudo, Rosario. "The Modernist Worlds of Catalá and Ruelas." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (January 15, 1997): 241–50. http://dx.doi.org/10.22201/ffyl.poligrafias.1997.2.1605.

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Rosario Faraudo writes about the Mexican decadent painter Julio Ruelas and the Catalonian prose writer and poet “Victor Catalá” really named Caterina Albert. Since women have repeatedly been related to Nature, it may not be a coincidence that the natural world in Ruelas is barren. He very frequently uses hybridization in relation to feminity, which links him to the general attitude of his time; sphynx, sirens, serpents, cats and vampires abound in late XIX century European art. Catalá uses a similar narrative strategy in defining some of her characters, yet with a different orientation.

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DICK, HILARY PARSONS. "Imagined lives and modernist chronotopes in Mexican nonmigrant discourse." American Ethnologist 37, no. 2 (May 2010): 275–90. http://dx.doi.org/10.1111/j.1548-1425.2010.01255.x.

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Seabra Coelho, George Leonardo. "Consumo cultural do pensamento vasconceliano na literatura modernista brasileira: intercâmbios intelectuais na constituição do discurso da raça latino-americana na década de 1920." Revista Eletrônica da ANPHLAC, no. 025 (January 26, 2019): 183–221. http://dx.doi.org/10.46752/anphlac.025.2018.2954.

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O objetivo deste artigo é levantar discussões sobre os intercâmbios culturais entre alguns escritores modernistas brasileiros e José Vasconcelos na década de 1920. Nosso objetivo é destacar a visita do intelectual mexicano ao Brasil durante as comemorações do Centenário de Independência, em 1922, e como a comitiva mexicana deixou suas marcas em parte da intelectualidade brasileira. Para que possamos discutir esses intercâmbios, partiremos da noção de “consumo cultural” e de “outra produção” na obra La raza cósmica: misión de la raza ibero-americana (1925) de José Vasconcelos a partir da leitura de artigo de jornais escritos e de obras literárias de escritores modernistas do Brasil. No que concerne ao “consumo cultural” das teses vasconcelianas no Brasil, lançaremos mão de artigos de jornais escritos por Plínio Salgado e Cassiano Ricardo. Já no que se refere às obras literárias, veremos a possibilidade de uma “outra produção” das ideias elaboradas por José Vasconcelos no poema Toda a América (1926), de Ronald de Carvalho, e no poema Martim Cererê (1927), de Cassiano Ricardo. O artigo em questão se propõe a avaliar a influência do pensamento do mexicano José Vasconcelos em alguns intelectuais modernistas brasileiros, em particular o papel do mestiço e da mestiçagem como emblema da identidade nacional. Nesse sentido, nossa finalidade é demonstrar como ocorreram os intercâmbios entre intelectuais dos dois países bem como a forma com a qual as teses da Raça Cósmica vasconcelianas foram apropriadas pelos escritores brasileiros.

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Phillipps-López, Dolores. "Narradoras mexicanas del modernismo: las tribulaciones editoriales de Betanzo, Méndez y Camarillo." (an)ecdótica 4, no. 1 (March 13, 2020): 53–70. http://dx.doi.org/10.19130/iifl.anec.2020.4.1.0003.

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With rare and brief echos of her published work (three novels and three short novels) in the press of her time, few books scattered today in a couple of libraries and present critical reception reduced to two or three minor incursions of her work, Francisca Betanzo (Chanteclair), born in Tehuacan, is a revealing —although extreme— case among those Mexican women devoted to literature during the Modernist fin de siècle of the Porfirian regime. More than anything else, hers is a story of “uncertainty and perplexity” (Romero Chumacero, 2015). Due to the fact that the works of Francisca Betanzo were published simultaneously with those of Mexican writers Laura Méndez and Ma Enriqueta Camarillo in identical publishing houses in Paris (Paul Ollendorff and Vda. De Ch. Bouret), particular attention will be given to the different circumstances that led to the inclusion, at the beginning of the xx century, of their respective works in the catalogs of these well-known Parisian publishers of the time. The approach of the forgotten texts of Francisca Betanzo from the perspective of publishing, distribution and reception of her work is an attempt to provide arguments in favor of rescuing the works of this forgotten Tehuacan writer.

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Gutiérrez, Karla. "Armonía y trascendencia en Non Omnis Moriar de Manuel Gutiérrez Nájera." Miscelánea Filosófica αρχή Revista Electrónica 4, no. 12 (May 3, 2021): 19–46. http://dx.doi.org/10.31644/mfarchere_v.4;n.12/21-a02.

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El presente artículo hace un análisis de la composición Non Omnis moriar, del poeta Manuel Gutiérrez Nájera, precursor del modernismo mexicano. Tiene como finalidad registrar las estrategias sintáctico - fonológicas y examinar la construcción del discurso retórico en el poema lírico. El poema modernista manifiesta la transfiguración poética del creador a su obra, negando la muerte o fin del artista.

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Medina Parra, Rosa Isabel. "Derechos humanos en México: entre la modernidad, posmodernidad y ultramodernidad." Nóesis. Revista de Ciencias Sociales y Humanidades 29, no. 57 (2020): 160–78. http://dx.doi.org/10.20983/noesis.2020.1.7.

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Pascual Gay, Juan. "Emilio Carrere, Gregorio Pueyo. Cinco poetas mexicanos y una antología de 1906." Revista de El Colegio de San Luis, no. 2 (August 13, 2014): 88. http://dx.doi.org/10.21696/rcsl022011492.

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Este artículo pretende situar la presencia de cinco poetas mexicanos en la primera antología del modernismo hispánico que se publicó en España, a cargo de Emilio Carrere, en 1906, con el sello editorial de Gregorio Pueyo, titulada La Corte de los Poetas. Más allá de otras consideraciones, es interesante advertir a aquellos poetas mexicanos que eran considerados plenamente modernistas en la España de principios del siglo XX.

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Lorenzo Monterrubio, Carmen, Arturo Vergara Hernández, and María Esther Pacheco Medina. "Ef´ren Rebolledo y las fronteras literarias." MAGOTZI Boletín Científico de Artes del IA 8, no. 16 (July 5, 2020): 34–40. http://dx.doi.org/10.29057/ia.v8i16.5509.

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La obra de Efrén Rebolledo es un claro ejemplo de una literatura que rebasa las fronteras literarias. Sus aportes a la literatura mexicana y universal son innegables, en cuanto a su poesía erótica que se circunscribe en el modernismo y el ateneísmo. Este artículo busca redimensionar su vida y su obra (poesía y prosa) desde una perspectiva de sus aportes literarios.

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KENNY, IVAN. "The Right to Tlatelolco: Space, State and Home in Rojo amanecer (1989), Directed by Jorge Fons." Bulletin of Hispanic Studies 97, no. 10 (November 1, 2020): 1113–29. http://dx.doi.org/10.3828/bhs.2020.62.

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This article addresses the issue of spatiality in the Mexican film Rojo amanecer (Jorge Fons, 1989), which dramatizes the events surrounding the massacre of student demonstrators in the plaza de Tlatelolco, Mexico City, on 2nd October 1968. The film has received a good deal of critical attention and yet a detailed analysis of its rendering of narrative space remains to be done. With reference to the spatial theories of Henri Lefebvre and Gaston Bachelard, I argue that the film’s innovative use of narrative space establishes a symbolic connection between the events in the public space of the Plaza de las Tres Culturas and the intimate space of the Mexican family home. The harrowing depiction of an invasion of state power into the space of the home serves to critique the Partido Revolutionario Institutional (PRI) regime’s core ideology and its modernist housing project in Tlatelolco.

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Feria, Miguel Ángel. "El canon parnasiano de la poesía modernista mexicana." Nueva Revista de Filología Hispánica (NRFH) 64, no. 2 (July 1, 2016): 457–94. http://dx.doi.org/10.24201/nrfh.v64i2.2573.

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Fecha de recepción: 16 de marzo de 2015.Fecha de aceptación: 8 de diciembre de 2015.En México, la superación del romanticismo hacia el modernismo vino propiciada por la aportación clave del parnasianismo francés, alentada primero por críticos y traductores en diarios y revistas. Poco a poco acabó instaurándose un canon parnasiano que sería la nota dominante hasta aproximadamente 1898. en dicho año se publica la fundamental Revista moderna, donde lo parnasiano ha de convivir con tendencias más novedosas como el decadentismo y el simbolismo. un nuevo canon orienta los designios de la modernidad, y el parnasianismo se irá viendo relegado en las letras mexicanas a mera retórica, más propia del siglo XIX que del XX.

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Canelo, Maria José. "Dimensões geopolíticas do modernismo. Contraculturas mexicanas na Califórnia." Revista Crítica de Ciências Sociais, no. 74 (June 1, 2006): 115–27. http://dx.doi.org/10.4000/rccs.937.

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Krippner, James. "Traces, Images and Fictions: Paul Strand in Mexico, 1932–34." Americas 63, no. 3 (January 2007): 359–83. http://dx.doi.org/10.1017/s0003161500063793.

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This article analyzes an individual, a context, and an experience. The individual is the photographer and filmmaker Paul Strand, widely recognized and occasionally criticized as one of the great modernist photographers of the twentieth century. The context is Mexico from 1932-34. In these years, Strand worked in Mexico amidst state-led efforts to construct a “new” national culture following the social upheavals and military conflicts associated with the Mexican Revolution. The experience was Strand’s effort to create a visual record of Mexico documenting what he thought of as its unique character, while furthering its “revolutionary” transformation through photography and filmmaking.

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FALLAW, BEN. "The Seduction of Revolution: Anticlerical Campaigns against Confession in Mexico, 1914–1935." Journal of Latin American Studies 45, no. 1 (February 2013): 91–120. http://dx.doi.org/10.1017/s0022216x12001216.

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AbstractDuring the Mexican Revolution, male revolutionaries in Mexico repeatedly tried to suppress confession by invoking the trope of the sexually predatory priest menacing weak, superstitious women. Campaigns against the rite resulted from long-standing gender divisions over the Church, fears of Catholic counter-revolution, and male revolutionaries' drive to modernise marriage as companionate and secular but still patriarchal. Although ultimately unsuccessful as policy, attacks on the confession strengthened radical anticlericalism. By equating masculinity with reason, nation and progress while painting femininity as vulnerable, fanatical and potentially treasonous, the campaigns subtly shaped gender roles and helped to consolidate post-revolutionary patriarchy.

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Larios Medina, Francisco Javier. "Tuércele el cuello al cisne… o la supuesta muerte de la poesía modernista." Sincronía XXVI, no. 82 (June 1, 2022): 416–36. http://dx.doi.org/10.32870/sincronia.axxvi.n82.19b22.

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En el siguiente artículo se busca reconsiderar la actualidad del movimiento literario del modernismo en los albores del tercer milenio y a partir del análisis crítico y hermenéutico del poema “Tuércele el cuello al cisne…”, que se significó por ser una crítica al modernismo desde dentro del mismo. Se parte de un panorama general sin soslayar del todo las diversas polémicas que se suscitaron en pro y en contra de una “nueva” estética literaria finisecular, para descender a la obra particular del más importante postmodernista en el México cultural de la primera mitad del siglo XX. Intentamos la interpretación del soneto de González Martínez para colocarlo en su correspondiente contexto literario y comprender mejor la importancia de su significado y las derivaciones que originó en la poesía posmodernista mexicana. Finalmente, se pretende diagnosticar, desde el arte de la literatura, la supuesta agonía y muerte de esta tendencia intercontinental en la figura de su más distinguido símbolo: el cisne modernista.

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Bess, Michael K. "‘Neither motorists nor pedestrians obey the rules’: Transit law, public safety, and the policing of Northern Mexico’s roads, 1920s–1950s." Journal of Transport History 37, no. 2 (August 1, 2016): 155–74. http://dx.doi.org/10.1177/0022526616654700.

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In the first half of the twentieth century, Mexican authorities implemented transit laws to regulate motor traffic and address concerns about road safety. The northern city of Monterrey, Nuevo León serves as a case study for this process. Monterrey’s location at the junction of two major national highways, as well as its proximity to the United States, made it an important site for cross-border trade and tourism. Local officials in Monterrey developed US-inspired rules to modernise traffic patterns and bolster tourism. This essay examines how state authorities in Nuevo León coped with an influx in regional motor traffic, passing transit laws that reflected ideological priorities in favour of US-style economic development and technological modernisation.

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Hernández de la Cruz, Marco Antonio, and Wendolyne Nava González. "Evaluación de la plataforma extrajudicial de resolución de conflictos en materia de consumo mexicana: Concilianet." IUS ET SCIENTIA 8 (2022): 57–69. http://dx.doi.org/10.12795/iestscientia.2022.i01.04.

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CONCILIANET significó un parteaguas en la forma de resolver controversias entre empresas y consumidores en México debido a que abrió la puerta hacia una justicia digital, siendo la primera plataforma en su tipo en Latinoamérica. No obstante, a casi 15 años de su puesta en marcha ni la plataforma ni su regulación han mostrado una reforma significativa que se adapte las necesidades de la actualidad. Por lo tanto, el objetivo del presente artículo es hacer una propuesta de mejora a CONCILIANET que permita brindar una debida protección a los consumidores que contratan con empresas en línea mexicanas. Para lo anterior se utilizó una metodología cualitativa de corte documental, consistente en una descripción y evaluación de CONCILIANET y el análisis crítico de algunas de las principales plataformas e instrumentos de resolución de conflictos derivados de comercio electrónico a nivel internacional. La conclusión a la que se llega es que a medida que se actualice y modernice CONCILIANET a la nueva realidad comercial, mayor número de consumidores podrán resolver sus conflictos de una forma no sólo eficaz, sino respetuosa de los derechos fundamentales.

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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.

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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.

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Bauer, Erin E. "Defining Conjunto Quantitatively: Classical and Modernist Styles in a Texas-Mexican Genre." American Music 40, no. 1 (April 1, 2022): 75–113. http://dx.doi.org/10.5406/19452349.40.1.03.

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Montes-Ponce, Wendy Margarita, Otniel Josaft López-Altamirano, and Carlos A. Ortega-del-Valle. "Técnicas Constructivas de la Arquitectura Moderna en México (1920 - 1950)." Procesos Urbanos 8, no. 2 (September 27, 2021): e544. http://dx.doi.org/10.21892/2422085x.544.

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La Arquitectura en el México del Siglo XX estuvo provista de sistemas constructivos europeos y norteamericanos, heredados del quehacer decimonónico. Por tal motivo, el propósito del estudio expone el impacto de esos modelos edificatorios en los procedimientos de cimentación, reforzamiento estructural, cubiertas, servicios y cambio de escala. Así, pues, el método analítico condujo a relaciones específicas con base en las innovaciones constructivas, de composición estilística y patrones de funcionalidad. De manera que la aplicación de teorías y técnicas sobre Arquitectura, y su divulgación en revistas especializadas, formularon en un marco de treinta años el ambiente arquitectónico y urbano del modernismo mexicano.

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Cristina Martino, Claudia. "Viaje, identidad y modernidad en dos novelas cortas de Carmen de Burgos: La misionera de Teotihuacan y El dorado tópico." Revista Internacional de Culturas y Literaturas, no. 25 (2022): 148–68. http://dx.doi.org/10.12795/ricl2022.i25.10.

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En la narrativa de Carmen de Burgos hay numerosas protagonistas viajeras. Estudios anteriores han evidenciado lo contradictorio de los personajes femeninos en la narrativa de la autora, divididos entre modernidad y tradición. En las dos novelas a analizar, el viaje y el contacto con otras culturas –en este caso, mexicana y cubana– suponen para las dos protagonistas una ocasión para cuestionar su condición. La autora se vale del elemento del viaje para explorar la relación que se establece entre estas mujeres y la modernidad.

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Arango Pinto, Luis Gabriel. "Reflexiones teóricas en torno a las tecnologías digitales como forma de superación del binarismo entre las categorías de modernidad y tradición." Revista científica de información y comunicación, no. 17 (2020): 395–415. http://dx.doi.org/10.12795/ic.2020.i17.17.

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El objetivo de este trabajo es presentar una reflexión teórica sobre el uso y apropiación de las tecnologías digitales en la movilización de aspectos culturales de los pueblos originarios. A partir de la presentación de casos registrados en el estado mexicano de Oaxaca que ejemplifican el papel de tecnologías digitales en la vigencia cultural de sus rasgos comunitarios, se realiza una revisión crítica de categorías binarias como lo moderno (relacionado con lo occidental y globalizado) y lo tradicional (relacionado con lo local y comunitario). Se concluye que es posible una superación de tales ideas antagónicas en la medida en que es a partir de mestizajes e hibridaciones que se construye y resignifica la vigencia cultural de los pueblos.

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Flaherty, George F. "Responsive Eyes." Journal of the Society of Architectural Historians 73, no. 3 (September 1, 2014): 372–97. http://dx.doi.org/10.1525/jsah.2014.73.3.372.

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Responsive Eyes: Urban Logistics and Kinetic Environments for the 1968 Mexico City Olympics looks closely at a series of temporary designed environments created for the organizing committee of the 1968 Mexico City Olympics. Integrating architecture, visual communication, and mass media, the design team created kinetic environments, or spaces that estranged user-beholders’ visual and spatial perceptions, inviting immersion and interaction to produce a holistic image of a thoroughly modern, socially integrated Mexico at a time when this view of Mexico was not necessarily held by audiences at home or abroad. The team’s design choices demonstrated cosmopolitan awareness of global aesthetics and discursive currents, including optical and kinetic art as well as recent advances in scientific investigation that inspired new modes of urban vision and engagement, part of an international renewal of modernist techniques and aspirations. These environments also responded to more local concerns, including Mexico City’s ongoing capitalist urbanization and reticulation of the modernist architect’s professional and social purchase in Mexico in light of increasing globalization. By situating the Olympic environments within the larger context of exhibitions of kinetic art and art happenings from the period, George F. Flaherty highlights the possibilities and limits of transformation envisaged by Mexico 68’s kinetic environments, arguing that their design provides a window through which to assess Mexican architects’ claim to act as expert mediators between the city and state, architecture and art, and Mexico and the wider world.

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Suárez Turriza, Tatiana De los Reyes. "Salomón de la Selva y Pedro Henríquez Ureña: notas sobre una amistad cultural." Latinoamérica. Revista de Estudios Latinoamericanos, no. 74 (March 1, 2022): 131. http://dx.doi.org/10.22201/cialc.24486914e.2022.74.57445.

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Este artículo tiene el objetivo de reconstruir y comentar algunos pasajes significativos de la amistad cultural entre Salomón de Selva y Pedro Henríquez Ureña; y se ocupa con particular énfasis en la trayectoria intelectual del poeta nicaragüense. A partir de la revisión de documentos (manuscritos, cartas y artículos periodísticos) rescatados de archivos personales de los autores, se da cuenta de sus afinidades ideológicas, entre las que destaca el panamericanismo, y de sus tendencias artísticas como el modernismo y la cultura clásica grecolatina. El análisis de esos mismos documentos esclarece, además, los posibles motivos de la escasa atención que la crítica mexicana prestó durante mucho tiempo a la obra literaria de Salomón de la Selva, así como a su labor educativa y política.

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Burke, Flannery. "Spud Johnson and a Gay Man's Place in the Taos Creative Arts Community." Pacific Historical Review 79, no. 1 (February 1, 2010): 86–113. http://dx.doi.org/10.1525/phr.2010.79.1.86.

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This article explores the status of Willard "Spud" Johnson within the modernist arts community of Taos, New Mexico, in the 1930s. By highlighting Johnson's entertaining and self-reflective journal, the article addresses how Johnson's homosexuality contributed to his position as a middling member of the Taos arts community, a position poised between white members of the colony, especially women, and the non-white local New Mexicans whom members of the colony patronized. By examining the internal hierarchy of the Taos arts community, I shed light on how creative production works. Although popular audiences tend to credit individual genius, the beauty of the landscape, or the appeal of local traditions for creative production, Johnson's experience suggests that internal social relationships, even inequitable ones, shape the creative dynamics of arts colonies.

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Flaherty, George F. "“Anxious Desires”." Social Text 40, no. 4 (December 1, 2022): 69–95. http://dx.doi.org/10.1215/01642472-10013318.

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Abstract In 1961, the Mexican government launched the Programa Nacional Fronterizo (Pronaf) in partnership with the country's economic elites, a precursor to the state's more widely known border industrialization project. Pronaf was ostensibly an urban beautification program targeting nine cities at the Mexico-US border, led by former Ciudad Juárez mayor Antonio Bermúdez and with architecture supervised by Mexico City–based modernist Mario Pani. However, as this article argues, Pronaf sought to better integrate the borderlands to the national market and political structure at a moment of crisis. The state's capitalist modernization plan of import substitution industrialization, which produced the so-called Mexican Miracle in the 1940s, was showing signs of strain. Greater consumption of products made in Mexico, based on a more patriotic identification by citizens at the border, would buttress the “Miracle,” which had initially ignored these very citizens based on metropolitan perceptions of their lack of allegiance to Mexico and affinity for the US. Understanding spectacular architecture to have not only a didactic but an affective function, Pronaf deployed a network of soaring, Jet Age–inspired built environments. These parabolic hyperboloid environments, accompanied by a hyperbolic rhetoric from Bermúdez, sought to convince border residents of the “beauty” and “desirability” of national culture and the fluidity of the national market just as their socioeconomic mobility came under greater government scrutiny. Pronaf piloted an affective infrastructure that desired to channel border residents’ citizenship and consumption toward the reproduction of the political and economic status quo, eventually setting the stage for neoliberal transition.

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Felippe, Renata Farias de. "OTRA LÍNGUA: DA FEMINIZAÇÃO À BASTARDIA." Fragmentum, no. 49 (December 12, 2017): 123. http://dx.doi.org/10.5902/2179219426956.

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O mútuo alheamento entre as literaturas brasileira e hispano-americanas recentes deixa de explorar um promissor capital cultural, que pode ser eficiente enquanto reação às padronizações ideológicas e de gosto associadas ao denominado pós-modernismo. Neste trabalho, detenho-me sobre dois romances de caráter autobiográfico, O corpo em que nasci, de Guadalupe Nettel (2013), e Cantiga de findar, de Julián Herbert ([2011] 2014), escritores mexicanos cujas narrativas são apresentadas ao leitor brasileiro pela coleção Otra Língua, da editora Rocco, no intuito de discutir as consequências do referido insulamento, a relevância das iniciativas que o desafiam e as particularidades dos romances quanto à abordagem das “outridades”.

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Montes de Oca, Georgina Cebey. "Museo de Arte Moderno, México: medio siglo de modernidad." Intervención Revista Internacional de Conservación Restauración y Museología 1, no. 1 (May 1, 2010): 25–31. http://dx.doi.org/10.30763/intervencion.2015.11.132.

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Sarmiento, Rodrigo. "El ruiseñor y el plebeyo: Estados Unidos y la canción popular en México y Perú durante la década de 1920." Contrapulso - Revista latinoamericana de estudios en música popular 3, no. 1 (January 27, 2021): 4–21. http://dx.doi.org/10.53689/cp.v3i1.93.

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A lo largo del siglo XX, la presencia de los Estados Unidos de América se consolidó en todo el continente. El establecimiento del american way of life como paradigma de modernidad en las principales ciudades latinoamericanas tuvo un fuerte impacto gracias a las nuevas formas de entretenimiento masivo que cautivaron de inmediato al público, incidiendo irremediablemente en los gustos populares, así como en la producción de los artistas locales. Esta exposición a los ideales estéticos estadounidenses estimuló la aparición, en Latinoamérica, de una canción popular que asimiló los elementos musicales característicos de la nueva música de moda a la vez que ostentó un común espíritu literario identificado con el Modernismo. A través de la revisión de la obra del mexicano Guty Cárdenas y el peruano Felipe Pinglo, en el presente artículo se reconocen estos indicios literario-musicales que permiten proponer la idea de una comunidad histórica continental y repensar, así, la compleja realidad de la canción popular en América.

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Chavarín González, Marco Antonio. "El Artista (1874-1875): una revista de transición." CONNOTAS. REVISTA DE CRÍTICA Y TEORÍA LITERARIAS, no. 17 (December 1, 2017): 77–95. http://dx.doi.org/10.36798/critlit.vi17.41.

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Con este artículo se intenta explicar cómo un momento histórico resulta fundamental, tanto ética como estéticamente, en la configuración de una revista como El Artista. Bellas Artes, Literatura, Ciencias, publicación dirigida por Jorge Hammeken y Mexía y Juan M. Villela, entre 1874 y 1875. Así, se refiere que el positivismo, apenas ocho años después de que Gabino Barreda lo instaurara como modelo educativo nacional a través de la Escuela Nacional Preparatoria, comenzaba a permear en los distintos ámbitos de la sociedad mexicana y que, como reacción a él, aparecían las primeras señales del modernismo literario en relación contradictoria con una forma utilitaria de ver la literatura; al menos, así lo dejan ver Hammeken y Rafael Martínez de la Torre en dos textos que señalan la belleza o la utilidad como premisa, respectivamente, de la misma manera que lo hicieron otros autores de generaciones distintas, todos con un discurso con algún que otro término heredado de las ciencias naturales.

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Lupercio Cruz, Carlos Alejandro. "La casa Fernández de Tampico (1926) “La belleza será comestible o no será”." Bitácora arquitectura, no. 39 (December 17, 2018): 24. http://dx.doi.org/10.22201/fa.14058901p.2018.39.67820.

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<p>La casa Fernández, emplazada en el primer cuadro del puerto de Tampico, fue proyectada y construida en 1926 por el ingeniero tampiqueño Bartolo Rodríguez Saunders (1896-1983), formado en el Georgia Tech, de la ciudad de Atlanta y por el arquitecto Aréchiga, de origen catalán. El tratamiento ornamentalista del edificio, próximo a la abundancia decorativa del modernismo catalán, podría estar asociada con el origen de Aréchiga. El promotor y propietario original de la casa Fernández fue Luciano Fernández Gómez. Carlos González Salas, cronista vitalicio del puerto de Tampico, señaló que la casa Fernández había sido conocida como “casa del pastel,” nombre que manifiesta la ironía popular resultante de la ostentación del inmueble, síntoma de la emergente prosperidad de los propietarios, en una sociedad marcada por el auge petrolero, cuando el proyecto cultural nacionalista -a pesar de ser hegemónico– no permeaba en todos los sectores de la sociedad mexicana.</p>

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Mirković, Dijana. "THE CONFLICT BETWEEN PRIMITIVISM AND CIVILIZATION IN KATHERINE ANNE PORTER’S CHARACTERS MARÍA CONCEPCIÓN AND VIOLETA." Folia linguistica et litteraria XIII, no. 40 (July 2022): 105–20. http://dx.doi.org/10.31902/fll.40.2022.6.

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Modernist writers such as Katherine Anne Porter were preoccupied with primitivism as opposed to the technological achievements of contemporary society. The deep fascination of the modernists with primitivist tendencies relies mainly on the relationship between art and everyday life, as well as on their desire to escape modern civilization and become one with nature. Aesthetic primitivism based on the artistic expression of the Mexican Indians captured Porter’s attention during her literary career. This article explores the idea of primitivism and civilization in the short stories “María Concepción” and “Virgin Violeta” by Porter. It also traces the influence of Mexico on both the author’s artistic development and her comprehension of the concepts of the primitive and the modern. Focusing on two protagonists, María Concepción and Violeta, as the characters who approach the old and the new in different ways, the article argues that the effects that modern civilization exerts on the human mind can be dramatic. Both heroines seek refuge from the problems in their innermost selves, but only María Concepción embraces primitivism as a way of life. Porter’s emphasis on primitivism can be interpreted as either a means of self-distancing from the prescribed standards of behavior or of following natural instincts.

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Bourguignon de Lima, Camila. "“O MISTÉRIO EM TORNO DE NOSSAS IDENTIDADES”: AS MULHERES ARTISTAS DO PASSADO QUE INSPIRAM AS GUERRILLA GIRLS." Linguagens - Revista de Letras, Artes e Comunicação 15, no. 3 (December 20, 2021): 077. http://dx.doi.org/10.7867/1981-9943.2021v15n3p077-094.

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Este artigo emerge da necessidade de reconhecer a criação artística do Guerrilla Girls ao esconderem suas verdadeiras identidades e considerando os registros deixados pelo grupo desde o início de seu percurso de ativismo. O foco é apresentar as mulheres artistas do passado que têm seus nomes apropriados pelo grupo Guerrilla Girls, tomando como critério de escolha dois aspectos: o quantitativo e o qualitativo. O aspecto quantitativo abarca Eva Hesse (1936-1970, pós-minimalismo) e Georgia O’Keeffe (1887-1986, modernismo americano), nomes percebidos como sendo os mais frequentes em entrevistas dadas pelas Guerrilla Girls à imprensa escrita; e o aspecto qualitativo incluem Frida Kahlo (1907-1954, surrealismo mexicano) e Käthe Kollwitz (1867-1945, expressionismo alemão), nomes das artistas usadas pelas lideranças, as componentes mais antigas do grupo e integrantes fundadoras que ainda estão em atividade. Estas quatro representantes respondem pelo grupo em diversas situações, como entrevistas, palestras, viagens, exposições de arte, lançamentos, entre outras situações. Trata-se de compreender a trajetória pública empreendida pelo coletivo a partir da adoção dos nomes de mulheres históricas famosas e negligenciadas nas artes visuais.

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Pimentel, Juan. "Stars & Stones: Astronomy and Archaeology in the Works of the Mexican Polymath Antonio León y Gama, 1735–1802." Itinerario 33, no. 1 (March 2009): 61–77. http://dx.doi.org/10.1017/s0165115300002710.

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The main square of Mexico City, known as the Zocalo, occupies a central place in the make-up of the city, the nation, and even the national identity of Mexico. As we all know, the conquistadors built Mexico City on the site of Tenochtitlán, the capital of the Aztec empire. Indeed, the ruins of the Great Temple of the old city lie hidden under the square itself. This essay deals with the moment when the native past began to emerge from beneath the plaza, when a viceroy had the ground paved, and undertook a series of public works to solve the problems of drainage and water channelling which had existed throughout the history of the city. In his effort to modernise, the viceroy brought his contemporaries face to face with a long-buried past. For amidst the construction work two great archaeological pieces were discovered in 1790. These findings were subsequently studied by the multi-talented Creole, Antonio León y Gama, one of the most steadfast representatives of the Enlightenment in New Spain. By examining elements of Leon y Gama's work, I want to do a bit of historical excavation myself and reveal the existence of what we might describe, following Mary Louise Pratt, as a contact zone—one in which contemporary tools for investigatively ordering time and space were brought to bear on natural and cultural phenomena alike, in order to situate Mexico and its cultural heritage historically as well as geographically.

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Villar, Andrés. "John Mraz, Photographing the Mexican Revolution: Commitments, Testimonies, Icons, Austin, University of Texas Press, 2012, 328 pp., 197 duotones, $45, ISBN: 978029273580 Alejandro Anreus, Robin Adèle Greely, and Leonard Folgarait, eds., Mexican Muralism: A Critical History, Berkeley, University of California Press, 2012, 394 pp., illustrations, $39.95, ISBN: 9780520271623 Tatiana Flores, Mexico’s Revolutionary Avant-Gardes: From Estridentismo to ¡30–30!, New Haven, Yale University Press, 2013, 376 pp., 48 colour and 122 b/w illustrations, $65, ISBN: 9780300184488 Ellen G. Landau, Mexico and American Modernism, New Haven, Yale University Press, 2013, 224 pp., 39 colour and 71 b/w illustrations, $50, ISBN: 9780300169133." RACAR : Revue d'art canadienne 38, no. 2 (2013): 137. http://dx.doi.org/10.7202/1020800ar.

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León Vega, Margarita. "Concha Urquiza y Gloria Riestra: Del Dios hecho hombre al Dios trino. Tradición cristológica en la visión de dos poetas mexicanas modernas." Nóesis. Revista de Ciencias Sociales y Humanidades 23, no. 45 (January 1, 2014): 178–205. http://dx.doi.org/10.20983/noesis.2014.1.5.

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Journal articles on the topic 'Mexican modernism'

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