Matching Items (6)
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- All Subjects: Gender Studies
- All Subjects: Latin America
- Creators: Foster, David W
- Member of: Theses and Dissertations
Description
ABSTRACT Mexican Golden Age Cinema materialized the narratives of identity, unity and morality that became the obligated point of reference to understand social stability and mexicaness during the post-revolutionary period. Hence, film stars evolved into cultural icons that embodied the representation of patriarchal order as a synonym for nationalism. However, dissident depictions that challenged carefully tailored heteronormative roles were as much a part of the post-revolutionary reality as was the attempt to manufacture a utopic heterosexual family on screen, that functioned as a metaphor for national reunification under the law of the father/president of the Mexican Republic. Nonetheless, even when an distinguished member of the Mexican star system, Sara García´s queer performativity of her quintessential sainted mother and even more revered grandmother characters highlights fissures in the effort to naturalize sexual passivity and heterosexual motherhood as the core of Mexican women identity. Furthermore, García took advantage of her romanticized butch characters in order to revert lesbian invisibility in movies where she portrait roles that exemplified sapphic households. In most of García's films masculine presence became redundant, hence challenging male privilege. Not very far from her own reality, García's queer women of a certain age, involved in female marriages, contested the post-revolutionary discourse of stability and mexicaness even in the heteronormative realm of Golden Age Filmmaking. Regardless of her queerness, unlike any other transgressive figure, Sara García became a national icon in her time and her image continues to hold relevance in current Mexican popular culture. More than five decades after her death young generations are still familiar with her legacy and her image has evolved into the representation of the nostalgia for tradition and alleged "more simple" times.
ContributorsBaeza Lope, Ileana (Author) / Foster, David W (Thesis advisor) / De Urioste, Carmen (Committee member) / Rosales, Jesus (Committee member) / Arizona State University (Publisher)
Created2014
Description
Much research has been devoted to identifying trends in either convergence upon a neoliberal model or divergence among welfare states in connection to globalization, but most research has focused on advanced industrialized countries. This has limited our understanding of the current state of convergence or divergence, especially among welfare states in developing regions. To address this research gap and contribute to the broader convergence vs. divergence debate, this research explores welfare state variation found within Latin America, in terms of the health policy domain, through the use of cross-national data from 18 countries collected between the period of 1995 to 2010 and the application of a series of descriptive and regression analysis techniques. Analyses revealed divergence within Latin America in the form of three distinct welfare states, and that among these welfare states income inequality, trust in traditional public institutions, and democratization, are significantly related to welfare state type and health performance.
ContributorsJohnson, Kory Alfred (Author) / Martin, Nathan (Thesis director) / Gonzales, Vanna (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / School of Politics and Global Studies (Contributor)
Created2014-05
Description
Due to its interdisciplinary nature, the history of emotions has engaged much scholarly interest. This project draws from the historical, sociological and philosophical research on emotions to analyze the representation of emotions in narratives from Argentina and Chile. This historical investigation posits that socio-political, cultural and economic forces, which are represented in literature and film, shape emotions and emotional standards. The analysis of Rayuela (1963) by Julio Cortázar and Raúl Ruiz’s Tres Tristes Tigres (1968) is centered on the impact of Existentialism, capitalism and modernity on the construction of emotional standards in urban societies. The impact of militant groups in the shaping of collective emotions in Latin America during the 1960s and 70s is examined in Reina Roffé’s novel Monte de Venus (1973) and Aldo Francia’s film Ya no basta con rezar (1972). The analysis of Alberto Fuguet’s Las películas de mi vida (2002) and Pablo Larraín’s No (2012) sheds light on the paradigmatic shift in the construction of emotional standards resulting from the implementation of neoliberalism through dictatorships as well as the insertion into the globalized consumerist culture by way of technology and media. Finally, this project encourages future research of the emotions in literary and cultural studies of Latin America.
ContributorsBondi, Erika (Author) / Tompkins, Cynthia (Thesis advisor) / Foster, David W (Committee member) / Gil-Osle, Juan Pablo (Committee member) / Arizona State University (Publisher)
Created2016
Description
The nature of the link between a literary text and its film adaptation has been a point of contention within academic thought since the inception of cinema due to the fact that film adaptation forms part of film history since the early 20th century. For most of the past century, the main concern of critics has been the level of fidelity that adaptations exhibit in terms of their relationship with the text, which was viewed as "the original" that directors needed to use as a model. In the last 25 years, however, the discourse of fidelity has been challenged by a number of intellectuals as a result of poststructuralist thought, which rejects the notion of an "original" text and proclaims the existence of infinite meanings within each text that are constructed by the reader, not the writer. The present investigation will take into account this type of epistemology as its starting point in order to review and defy a number of theoretical approximations from the last several decades that deal with the relationship between literature and cinema towards its main goal of overcoming the limitations of fidelity discourse. This will be carried out through an in-depth analysis of Latin American texts that have been adapted to film. Thematically both the literary texts and the films contain elements that portray the reality of marginalized groups that build their existence in opposition to the model of patriarchal heteronormativity. In current epistemological thought such a modus vivendi falls within the realm of queer theory. Another common thread that unites all the cultural productions is the presence of violence that showcases the high level of intolerance towards any subject who somehow seems to be different, hence threatening the dominant configuration of patriarchy. Furthermore, the different texts and films expose a general fragmentation within Latin American society, a result of the constant struggles among its diverse social groups, between the ones who occupy the position of socioeconomic power and those who are left outside of it; such a fragmentation also stems from the multiple clashes that occur within the marginalized groups themselves.
ContributorsKokalov, Assen (Author) / Foster, David W (Thesis advisor) / Mcelroy, Isis (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2011
Description
As a result of social media platforms such as Facebook, Twitter and blogs, works can be distributed and viewed at a global scale with the simple click of the mouse. One can even visit entire museums and virtually walk through their collections without having to leave one’s own seat. Furthermore, new software, programs, and digital tools facilitate and make possible the ability to experiment and create one’s art in ways that were previously unimaginable or even unheard of. This is also true with the dissemination of one’s art and the visibility of contemporary artists who create works pertaining to the digital realm. However, the availability, usage, and training associated with such technologies do not come without its own implications and drawbacks. Unfortunately, there exists a great disparity not only with access and availability of the Internet at a global level, but also a digital divide, which indicates that the technologies and sciences are “gendered”—for instance, the male majority in STEM professions and fields of study. When considering the Humanities, specifically the genre of contemporary art and literature, women’s marginalization is witnessed there too, as distinguished canonical works belong to predominantly Caucasian, Anglo-Saxon men. In the digital age then, Iberian and Latin American women writers and artists face the challenge of visibility and recognition in two territories—technology and contemporary artistic creation—dominated by men. This study gathers contemporary female artists of digital works originating from North America, the Caribbean, South America, and Spain who utilize a wide variety of tools to conduct and create their artwork. The artists and authors analyzed in this project include: Teresa Serrano (México, D.F. 1936-), Adriana Calatayud (México, D.F. 1967-), Ana Mendieta (Havana, 1948-1985), Maritza Molina (Havana), Yasmín S. Portales Machado (Havana, 1980-), María María Acha-Kutscher (Lima, 1968-), Praba Pilar (Colombia), María Cañas (Seville, 1972-), and Pilar Albarracín (Arcena, Huelva 1968-), with the objective of investigating the manner in which digital tools are being used by these women artists and writers for the purpose visibility, identity (de)construction, as spaces of resistance, and to explore how those messages are transmitted and transformed through digital mediums.
ContributorsByron, Jennifer Elaine (Author) / Urioste-Azcorra, Carmen (Thesis advisor) / Tompkins, Cynthia (Committee member) / Foster, David W (Committee member) / Gilfillan, Daniel (Committee member) / Arizona State University (Publisher)
Created2019
Description
La autobiografía, como medio de expresión y reivindicación del yo, ofrece a las autoras/artistas femeninas la oportunidad de definirse a sí mismas. El género autobiográfico tiene orígenes muy antiguos y resulta fundamental en el proceso de construcción de la identidad por parte de mujeres pertenecientes a grupos étnicos minoritarios. El discurso autobiográfico permite a la mujer ser al mismo tiempo escultura y escultor, creador y creación. El objetivo de este trabajo es ofrecer una nueva aproximación al universo femenino de la autorepresentación visual. La autonarración debería estar en el centro de la atención feminista, siendo uno de los métodos más efectivos que las mujeres pueden aplicar para hablar sobre sus experiencias y condiciones. Esta investigación intenta reunir voces multiétnicas y promueve un recurso interdisciplinario que interesa no solo a la literatura y la cultural, sino también a otros campos de las humanidades, como la historia, la sociología y los estudios de género y de la discapacidad. Una de las principales intenciones es desmantelar las formas tradicionales de identidad y destruir las fronteras sociales, adoptando la diferencia y la alteridad como un componente único de cada individuo.
Mi proyecto de disertación analiza textos autobiográficos femeninos en sus diferentes formas visuales poniendo especial énfasis en los países de Argentina, México y Estados Unidos. A través de narrativas personales, fotografías, películas, pinturas, murales y producciones digitales, estas obras femeninas examinan temas como la homofobia, la identidad política, la soberanía nativa, la maternidad, la identidad lesbiana y diferentes identidades culturales minoritarias. Algunas de las autoras seleccionadas viven al margen de la supremacía blanca por el hecho de pertenecer a grupos étnicos y sociales minoritarios. Otras voces viven al margen del sistema heteronormativo dominante para reconocerse a sí mismas como lesbianas o bisexuales. Más allá de estos contextos, todas las autoras se encuentran discriminadas por ser mujeres en un contexto patriarcal. Los marcos teóricos que se emplean incluyen en sí definiciones autobiográficas interdisciplinarias teorizadas exclusivamente por mujeres. Podrían mencionarse, por ejemplo, los conceptos de HERstory (Ashby y Gore 1995), Autohistoria (Anzaldúa 1999) Pathography (Hawkins 1999), Feminography (Abrams 2017) y Autobiografilm (Paola Lagos Labbé 2011). Las diferentes historias visuales exploran los diferentes matices de la identidad racial y/o lesbiana de las mujeres que a menudo se perciben como forasteras dentro de su propio país. Todas las artistas objetos de mi análisis se enfrentan a diferentes formas de represiones y están motivadas por un deseo de reconocimiento social. Estos grupos marginados invitan a los lectores a desarrollar nuevas formas de diálogos, prácticas y alianzas transculturales.
Mi proyecto de disertación analiza textos autobiográficos femeninos en sus diferentes formas visuales poniendo especial énfasis en los países de Argentina, México y Estados Unidos. A través de narrativas personales, fotografías, películas, pinturas, murales y producciones digitales, estas obras femeninas examinan temas como la homofobia, la identidad política, la soberanía nativa, la maternidad, la identidad lesbiana y diferentes identidades culturales minoritarias. Algunas de las autoras seleccionadas viven al margen de la supremacía blanca por el hecho de pertenecer a grupos étnicos y sociales minoritarios. Otras voces viven al margen del sistema heteronormativo dominante para reconocerse a sí mismas como lesbianas o bisexuales. Más allá de estos contextos, todas las autoras se encuentran discriminadas por ser mujeres en un contexto patriarcal. Los marcos teóricos que se emplean incluyen en sí definiciones autobiográficas interdisciplinarias teorizadas exclusivamente por mujeres. Podrían mencionarse, por ejemplo, los conceptos de HERstory (Ashby y Gore 1995), Autohistoria (Anzaldúa 1999) Pathography (Hawkins 1999), Feminography (Abrams 2017) y Autobiografilm (Paola Lagos Labbé 2011). Las diferentes historias visuales exploran los diferentes matices de la identidad racial y/o lesbiana de las mujeres que a menudo se perciben como forasteras dentro de su propio país. Todas las artistas objetos de mi análisis se enfrentan a diferentes formas de represiones y están motivadas por un deseo de reconocimiento social. Estos grupos marginados invitan a los lectores a desarrollar nuevas formas de diálogos, prácticas y alianzas transculturales.
ContributorsScerbo, Rosita (Author) / Foster, David W (Thesis advisor) / Rosales, Jesus (Committee member) / García-Fernández, Carlos Javier (Committee member) / Arizona State University (Publisher)
Created2020