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- Genre: Academic theses
- Language: Spanish
- Creators: Hernández-G, Manuel De Jesús
- Member of: Theses and Dissertations
- Status: Published
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 We argue that there is an asymmetrical relationship in the narrative of globalization, which sets new unpublished orders and generates perceptions of reality.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
This dissertation is a comparative study of three contemporary women filmmakers: Puerto Rican Frances Negrón-Muntaner, Chicana director Lourdes Portillo, and Brazilian director Helena Solberg. Informed by transnational theory, politics of location, feminism on the border, and approaches to documentary filmmaking, the study examines three filmic texts: Brincando el charco: Portrait of a Puerto Rican (1994), The Devil Never Sleeps/El diablo nunca duerme (1994), and Carmen Miranda: Bananas Is My Business (1994). Each film is narrated by a female voice who juxtaposes her personal and transnational identity with history to tell her migration story before and after returning to her country of origin. An objective of the study is to demonstrate how the film directors vis-á-vis their female protagonists, configure a United States Latina transnational imaginary to position their female protagonists and themselves as female directors and as active social agents. Further, the dissertation explores how the filmmakers construct, utilizing the cinematographic apparatus, specific forms of resistance to confront certain oppressive forms. The theoretical framework proposes that transnational documentary filmmaking offers specific contestatory representations and makes possible the opening of parallel spaces in order to allow for a transformation from multiple perspectives. Through the utilization of specific techniques such as archival footage, the three directors focus on historical biographies. Further, they make use of experimental filmmaking and, in particular, the transnational documentary to deconstruct hegemonic discourses. Lastly, transnational cinema is valued as a field for cultural renegotiating and as a result, the documentary filmmakers in this study are able to reconfigure a transnational imaginary and propose an alternative discourse about history, sexuality, family structures, and gender relations. In sum, my dissertation contributes to Chicana/o and U.S. Latina/o, American Literature, and other Ethnic Literatures by focusing on migration, acculturation, and multicultural dialogue.
ContributorsValenzuela Pulido, Norma A (Author) / Hernández-G, Manuel De Jesús (Thesis advisor) / Foster, David W. (Committee member) / Mcelroy, Isis (Committee member) / Sanchez, Marta (Committee member) / Elenes, C. Alejandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Mexico City has an ongoing air pollution issue that negatively affects its citizens and surroundings with current structural disconnections preventing the city from improving its overall air quality. Thematic methodological analysis reveals current obstacles and barriers, as well as variables contributing to this persistent problem. A historical background reveals current programs and policies implemented to improve Mexico’s City air quality. Mexico City’s current systems, infrastructure, and policies are inadequate and ineffective. There is a lack of appropriate regulation on other modes of transportation, and the current government system fails to identify how the class disparity in the city and lack of adequate education are contributing to this ongoing problem. Education and adequate public awareness can potentially aid the fight against air pollution in the Metropolitan City.
ContributorsGarcia, Lucero (Author) / Duarte, Marisa E. (Thesis advisor) / Arzubiaga, Angela (Committee member) / Richter, Jennifer (Committee member) / Arizona State University (Publisher)
Created2018
Description
Esta tesis doctoral examina la prevalencia del discurso racial y hegemónico que sigue siendo una barrera para el ejercicio de los derechos fundamentales de ciudadanía y la búsqueda de la justicia social en América Latina, el Caribe y en todo el continente americano. Entre 1840 y 1960, la ideología del mestizaje, o mezcla de razas, fue el elemento constitutivo en estructurar el discurso de la formación de la nación de escritores muy diversos como José Antonio Saco, Gertrudis Gómez de Avellaneda, José Martí, Fernando Ortiz y Alejo Carpentier, entre otros. La ideología mantenía—ante la evidencia de una división profundamente arraigada en consideraciones raciales—que el mestizaje, un proceso a la vez biológico y cultural, sentó las bases para la unificación de la nacionalidad cubana frente al primer dominio colonial español y luego al poder imperial de los Estados Unidos. El estudio se vertebra de la teoría cultural poscolonial de Frantz Fanon, Homi Bhabha y Edward Said para analizar y cuestionar la perspectiva eurocéntrica de Alejo Carpentier en sus novelas Écue-Yamba-Ó (1933) y El reino de este mundo (1949). Aunque estas novelas parecen proponer el reconocimiento y reivindicación de la imaginada y oprimida población afrocaribeña, se observa que Carpentier termina por respaldar las imágenes estereotipadas en el discurso racial y colonial por su formación europea. La tesis, por lo tanto, resalta los elementos de resistencia que los afrocaribeños han desarrollado en un intento por aumentar su visibilidad en el Caribe y crear la conciencia de su aporte a la cultura caribeña híbrida, sincrética y transculturada.
ContributorsAgbemade, Francis Frederick Kwaku (Author) / Volek, Emil (Thesis advisor) / García-Fernández, Carlos (Committee member) / Hernández-G, Manuel De Jesús (Committee member) / Arizona State University (Publisher)
Created2019
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