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- All Subjects: Immigrants in literature
- All Subjects: Feminism and music--Mexico.
- Creators: Hernández-G., Manuel J
- Creators: Sifuentes, Ana
- Resource Type: Text
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
The popularity that regional Mexican music has achieved in the last years is impressive. The population increase of Mexican nationals in the United States and the availability to share information via web has increased the popularity of the musical genre, specially the subgenres of música norteña and banda. Regarless of the low economic class that is associated with the subgenres of música norteña and banda, nowadays they are a fundamental asset in the music industry, impart to the high volume of sales and popularity. However, even with a high index of popularity at a multinational level, the world of música grupera, how is categorized for subgenres of banda, música norteña, conjunto and duranguense, there is a low number of feminine artist that participate. The participation of women in the gupera world is very scarce, due to the patriarchal hegemony and machismo that spreads through the subgenres. Because of the low participation of women in the subgenres, they get classified the passive voice. The absence of a strong female representation has caused the expansion of a machista message though the songs implemented in the regional Mexican music. This phenomenon can be clearly appreciated in the songs "El carrito" (n.d.). "Disfruté engañarte" (2013), "La fory fay" (2013) and "Soy un desmadre" (2014). Using the ideology of power of Michel Foucault and complemented with the feminism of Hélène Cixious, the analysis and identification of the marginalized women in this examples can be reached. However, even though there are a low number of feminine artists that participate in the subgenres of música norteña and banda, their success has achieved the distortion of the hegemonic barrier imposed on society. Artist like Jenni Rivera and Los Horóscopos de Durango are some of the few artist that have distorted this socio and cultural hegemony that preexist in regional Mexican music. With the success of their songs, they have created a space of feminine expression against the machista message that marginalizes women, and opens new doors of opportunities for others. All this efforts have the intent to create equality of power in the sphere of regional Mexican music.
ContributorsCórdova, Martín (Author) / Hernández-G., Manuel J (Thesis advisor) / Foster, David W (Committee member) / Garcia-Fernandez, Carlos J (Committee member) / Arizona State University (Publisher)
Created2015
Description
Se examinan desde una perspectiva autobiográfica las obras de Yolanda Cruz, Saúl Cuevas, Víctor Fuentes, John Leguizamo, Gustavo Pérez-Firmat, Roberto Quesada, y Esmeralda Santiago bajo los filtros de los espacios creados por la migración y/o el exilio, para lo cual se toma en cuenta el bagaje cultural de objetos que cada uno de estos autores aporta en el panorama cultural euiberolatino en los Estados Unidos. Para su análisis crítico, se consideran en un primer plano el pensamiento en Imaginary Communities: Utopia, the Nation, and the Spatial Histories of Modernity (2002) de Phillip Wegner sobre las comunidades imaginarias creadas desde los espacios utópicos que se convierten en realidad desde un enfoque sociohistórico en un ambiente de Estado moderno. Asimismo, se interpreta la ideología como Misplaced Objects; Migrating Collections and Recollections in Europe and the Americas (2009) de Silvia Spitta sobre los objetos desubicados y la transformación que conlleva con dicho movimiento vía el desplazamiento en los espacios de migración y exilio de los autores en este estudio. Se consideran ciertas similares aportaciones existentes como Hispanic New York: A Sourcebook (2010) de Claudio Iván Remeseira cuyo estudio particular enfoca a unos habitantes euiberolatinos de la gran urbe neoyorquina. Para redondear el pensamiento crítico se ha incluido la obra Lugares decoloniales: Espacios de intervención en las Américas (2008), editada por Ramón Grosfoguel y Roberto Almanza Hernández. Este enfoque funciona como el marco crítico para la perspectiva de nuestro texto que examina los bagajes culturales de las regiones como Zacatecas-Durango y Oaxaca, México; La Habana, Cuba; Santurce, Puerto Rico; Olanchito, Honduras; Bogotá, Colombia y Madrid, España y hasta los de sus nuevos espacios en Phoenix, Los Ángeles, Miami-Chapel Hill, Manhattan, Queens y Santa Bárbara, en los Estados Unidos y más allá en Latinoamérica, Europa y África.
ContributorsVargas, Daniel Minerbi (Author) / Hernández-G., Manuel J (Thesis advisor) / Foster, David W (Committee member) / Rosales, Jesus (Committee member) / Garcia-Fernandez, Carlos J (Committee member) / Arizona State University (Publisher)
Created2015