Matching Items (3)
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- All Subjects: Violence in literature
- All Subjects: Caricatura Satírica
- Creators: Hernández-G, Manuel De Jesús
- Creators: Sifuentes, Ana
- Resource Type: Text
- Status: Published
Description
ABSTRACT This thesis aims to demonstrate the validity of political violence in contemporary Chicano and Peruvian American narratives as a reflection of the sociopolitical situation of immigrants and their descendants in the United States (U.S.). The thesis explores the various ways in which contemporary Chicano and Peruvian American narratives present the political violence in the U.S. towards Mexican and Peruvian immigrants and Chicanos and Peruvian Americans examining the intersections that exist between the resistance and violence discourses and its sociopolitical consequences. Although the topic of political violence has been previously studied in U.S. and Latin American narratives throughout its history, its analysis has been insufficiently explored as far as contemporary narratives of the XXI century are concerned. With this in mind, two texts will be used to study this discourse of violence in Chicano and Peruvian American literature: Alejandro Morales' "Pequeña nación" (2005) and Daniel Alarcón's "Guerra en la penumbra" (2005). The thesis examines the immigrant as a center of discourse exploring the conflict between them and the institutions or groups in power that instigate this political violence. The first chapter covers the socio historical background regarding Mexican and Peruvian migration flows to the United States in the nineteenth, twentieth and twenty-first centuries. The second chapter introduces "The Triangle of Violence" proposed by Norwegian mathematician and sociologist Johan Galtung as the basis for the theoretical framework and approach of this analysis. Chapter three analyzes the Chicano short story "Pequeña nación" by Alejandro Morales. The analysis of the Peruvian American short story "Guerra en la penumbra" by Daniel Alarcón follows in chapter four. The conclusion emphasizes the problem of political violence experienced by immigrants in the U.S. in contemporary Chicano and Peruvian American narratives and possible solutions contained therein, protesting a problem that can hinder immigration policy reforms and the defense of human rights.
ContributorsSifuentes, Ana (Author) / Rosales, Jesus (Thesis advisor) / García-Fernández, Carlos J. (Thesis advisor) / Alarcon, Justo (Committee member) / Arizona State University (Publisher)
Created2013
Description
In the midst of historical ruptures and transfiguration caused by a globalization that has restructured new realities marked by violence, Central American and Chicanos realities have come into contact in a global space such the United States. Thus, the interdependence between these two cultures is so close that the literary influences are unavoidable. We argue that there is an asymmetrical relationship in the narrative of globalization, which sets new unpublished orders and generates perceptions of reality. The ideological dimensions of globalization that have caused systemic violence can be traced through military interventions and economic ventures. Thus, the subject of our research is assumed as a literary whole within certain social facts, i.e., as a symbolic aspect of the processes of violence within a culture undermined by globalization. Hence, in using theory of violence by Slavoj Ziek and theory of globalization by Manuel Castells, Tony Shirato, Jenn Webb, James Petra, and Henry Veltmeyer, we explore the narrative and criticism of U.S-Central Americans and Chicano in order to expose the forces of systemic violence that globalization produces. Our results show that, historically, globalization has formulated epistemologies via violence for Chicanos and U.S-Central Americans; such violence marks both groups, allowing for solidarity, through discursive practices of resistance, to take place in the textual space as well as in the real world. Such solidarity disrupts the textual borders, creating a dialogue of mutual understanding.
ContributorsEscobar, Mario A (Author) / Hernández-G, Manuel De Jesús (Thesis advisor) / Rosales, Jesus (Thesis advisor) / Menjivar, Cecilia (Committee member) / Arizona State University (Publisher)
Created2011
Description
If different societies encode their communication according to their socio-historical context, it makes sense to postulate that satire resides in the no-man's-land that sprawls between what an individual claims to be and the reality revealed by his actions. Thus, satirical caricature, as graphic and scenic art, results in the indictment of collective or individual vices through irony, sarcasm and farce. This study examines the Spanish-American War of 1898, and the "disaster" brought about by the defeat of Spain and the loss of its colonial empire, through the lens of the caricatures published by three satirical magazines—Don Quijote (Madrid), La Campana de Gracia (Barcelona) y El Hijo de El Ahuizote (Mexico)—between January and December, 1898. These magazines provide a many-splendored set of facets depicting a scathing and hard-hitting campaign supporting the war and the demonization, management, and suppression of the other through the use of symbols. While in the peninsular press Spain is represented as a raging bull, a lion, or a virgin maiden, Cuba as an empty container or a black and ignorant peasant and the United States as imperialist pigs and a treacherous thieves, the Mexican magazine views the Spanish as the usurpers, pirates and traitors, the United States as liberator, and the annexed populations as respectable and noble societies to be freed from the Spanish colonial yoke.
Whether motivated by internal ideological confrontations or in opposition to external threats, the use of graphic representation as a political weapon considerably enriches the meaning of symbols. Satirical caricature represents a categorical instrument for the definition of national identity. The creation and dissemination of unified stereotypes—images assumed to be identical for all recipients—generates the development of a powerful national imaginary, both abstract and highly accessible to the reader, fomenting the manufacture of "public opinion". It is precisely here where its great semiotic power lies, because caricature achieves its maximum expression when it veers toward the symbolic rather than the discursive, delivering its content in an abstract and unlimited fashion, and spreading its effects through time and all the different socio-cultural contexts it may find along the way.
Whether motivated by internal ideological confrontations or in opposition to external threats, the use of graphic representation as a political weapon considerably enriches the meaning of symbols. Satirical caricature represents a categorical instrument for the definition of national identity. The creation and dissemination of unified stereotypes—images assumed to be identical for all recipients—generates the development of a powerful national imaginary, both abstract and highly accessible to the reader, fomenting the manufacture of "public opinion". It is precisely here where its great semiotic power lies, because caricature achieves its maximum expression when it veers toward the symbolic rather than the discursive, delivering its content in an abstract and unlimited fashion, and spreading its effects through time and all the different socio-cultural contexts it may find along the way.
ContributorsGimeno Robles, Jorge (Author) / Foster, David William (Thesis advisor) / Gil-Osle, Juan Pablo (Committee member) / Hernández-G, Manuel De Jesús (Committee member) / Arizona State University (Publisher)
Created2019