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- Language: Spanish
- Creators: Arizona State University
Description
La escritura de José Martí en sus primeros años como escritor y periodista se desenvuelve en una atmósfera política tan dinámica como el entorno cultural al que se expone a su llegada a México desde su experiencia diaspórica en España. Por ello, este estudio propone situar la etapa mexicana de Martí desde marzo de 1875 hasta diciembre de 1875 como un episodio clave en el desarrollo crítico de sus ideas centrales. Por lo tanto, esta investigación radica en el estudio de los elementos que participan en la formulación martiana en torno al concepto de cultura como síntoma de las nuevas sociedades latinoamericanas, mismo que aparece acorde y en intrínseca relación con el concepto de independencia que Martí articula particularmente en "Nuestra América" (1891). Por lo tanto, para los propósitos de esta investigación y partiendo del reconocimiento de la ausencia de un acercamiento crítico a esta etapa de Martí, es necesario observar detenidamente las relaciones entre el ámbito político y social tanto en México como en Cuba para así comprender sus aportes literario-periodísticos. Asimismo, es imprescindible un acercamiento múltiple en distintos niveles que permitan comprender el panorama intelectual y los debates que se formulan durante el siglo XIX en México y en los cuales Martí participa activamente. Dichos elementos en conjunto son fundamentales para comprender la expresión martiana como una de las vías de transmisión tanto de su estética como de sus preocupaciones e intereses modernistas.
Se incluye en este análisis la escritura pública de los diarios capitalinos tales como El Partido Liberal y El Federalista, en los que Martí publica de manera prolífica durante los casi dos años de estancia en el país. Asimismo, ha sido pertinente observar su anotaciones privadas pertenecientes a los Cuadernos de Apuntes, los cuales escritos durante los mismos años en México, no fueron destinados originalmente para su publicación. Añadir las anotaciones personales de Martí a este estudio contribuye a enriquecer la perspectiva de este periodo. Como se observa, las formulaciones críticas de Martí conviven con los debates que circulaban en la capital mexicana en relación a los procesos de descolonización e independencia. Por lo tanto, la importancia de reevaluar los elementos que inmortalizan a José Martí no solo como un ícono cubano y figura emblemática transnacional permiten observar sus primigenias acepciones en torno a la identidad hispanoamericana. Asimismo, el aporte académico que añade este estudio reside en la presentación de conflictos y discursos heterogéneos que impactan las definiciones en torno a prensa y literatura de José Martí, una de las mentes más innovadoras y perspicaces del siglo XIX, cuya relevancia literaria continúa siendo pertinente.
Se incluye en este análisis la escritura pública de los diarios capitalinos tales como El Partido Liberal y El Federalista, en los que Martí publica de manera prolífica durante los casi dos años de estancia en el país. Asimismo, ha sido pertinente observar su anotaciones privadas pertenecientes a los Cuadernos de Apuntes, los cuales escritos durante los mismos años en México, no fueron destinados originalmente para su publicación. Añadir las anotaciones personales de Martí a este estudio contribuye a enriquecer la perspectiva de este periodo. Como se observa, las formulaciones críticas de Martí conviven con los debates que circulaban en la capital mexicana en relación a los procesos de descolonización e independencia. Por lo tanto, la importancia de reevaluar los elementos que inmortalizan a José Martí no solo como un ícono cubano y figura emblemática transnacional permiten observar sus primigenias acepciones en torno a la identidad hispanoamericana. Asimismo, el aporte académico que añade este estudio reside en la presentación de conflictos y discursos heterogéneos que impactan las definiciones en torno a prensa y literatura de José Martí, una de las mentes más innovadoras y perspicaces del siglo XIX, cuya relevancia literaria continúa siendo pertinente.
ContributorsMinjárez Sesma, Solem (Author) / Volek, Emil (Thesis advisor) / García Fernández, Carlos (Committee member) / Rosales, Jesus (Committee member) / Arizona State University (Publisher)
Created2018
Description
Globalization has brought a renewed interest in the discourses of the past and national/ethnic identities that has been reflected in the cultural production and the social sciences around the globe. Historical novel (and their sequel telenovelas), a literary field closely linked to historiography, reflects, and has contributed to (re)shape the discourses of the past and identity in Latin America. Since the first decades of the 19th century until nowadays, Colombian novelists have explored Colombian identity through historical novels. Their plots and characters are highly influenced by new historiographical trends. During the19th and the first half of the 20th century, Romantic and Realist novels were generally constructed over historicist assumption of the past: the belief that it is possible to acquire a completely “objective” knowledge of the past. However, some outstanding Colombian historical novels, such as La Marquesa de Yolombó (1928), challenged this notion of the past. Since the last decades of the 20th century, Colombian historical novels share an attitude toward the past that Linda Hutcheon has defined as Historiographical Metafiction. This approach to history challenges the idea of an objective total history, and emphasizes the importance of the personal experiences, the subjectivity, of their characters and of the narrative voices. Donde no te Conozcan (2007), Trí¬ptico de la Infamia (2016), and Mancha de la Tierra (2014) are three Colombian historical novels written in the 21st century that share this attitude towards history. They question the nineteenth-century interpretations of Colombian history, especially those related to the role of Jews, Moors, Indigenous, Africans, and mestizos in the colonial social dynamics, and, therefore, in Colombian culture.
ContributorsRuiz-Olaya, Andrés F (Author) / Foster, David W (Thesis advisor) / Tompkins, Cynthia (Committee member) / Sarreal, Jualia (Committee member) / Fredrick, Sharonah (Committee member) / Arizona State University (Publisher)
Created2018
Description
Coming out from under the shadow of sight, blindness has a story to tell. From Tiresias to The Miracle Worker, literary and visual representations of blindness are cornerstones of compelling tales of loss and overcoming. In support of the inherent value of sight, these conventional narratives overshadow the stories and lived experiences of blind people themselves. In light of this misrepresentation, I explore what it means to read, write, and see blindness, as well as consider the implications of being blind in present-day Latin America. I achieve this through a transnational and interdisciplinary analysis of novels, short stories, film, and photography by blind and sighted artists and writers whose work has been published or exhibited after the year 2000. In this context, I will demonstrate how blindness can serve as a lens through which the production and reception of narrative and visual culture can be critically evaluated from a blind person’s perspective. Most importantly, this dissertation showcases the critical and creative work of blind people in order to demystify stereotypes and contextualize anxieties surrounding blindness, perception, and identity.
ContributorsNewland, Rachel Renee (Author) / Tompkins, Cynthia (Thesis advisor) / Foster, David W. (Committee member) / Urioste-Azcorra, Carmen (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
Description
The surge of the chola alteña in Bolivia as a woman who, after being historically discriminated, has achieved her empowerment through her practices of resistance and agency is a very particular and new phenomenon hardly studied. The contribution of this research is in principle to describe and discover the complexity of this occurrence, but at the same time to open a field of understanding the works of the chola as a preliminary input for alternative feminisms, in accordance to the particularity of each context. As a result, an eclectic perspective from different non-canonical theories stemming from the Americas has been adopted. For example, intersectionality stemming from various social, cultural, racial, and gender contexts is addressed by Kimberlé Crenshaw, Dora Inés Munévar, Ann Phoenix, Breny Mendoza y Sonia Montecinos. Research from Aníbal Quijano, Walter Mignolo and María Lugones proposes the decolonization of knowledge. From a Bolivian perspective, the proposal of communitarian feminism by Julieta Paredes and the chi’xi approach by Silvia Rivera Cusicanqui. At the same time, the documenting of the chola practices has been obtained from non-conventional digital and oral sources. Thus, this research becomes a referent for future feminist research about the chola, but also for understanding other movements and practices of subaltern and discriminated women in similar or different contexts.
The chola is characterized by her peculiar garment which was imposed by the colonizer in the XVIII century, nullifying her indigenous identity. However, this woman has continued to wear it to the present day as much as a tactic of resistance as of empowerment and agency and has transformed it into a current fashion for the valorization of her identity. She is a chi’xi subject who complements or antagonizes opposites without subsuming them. Finally, what guides her practices and strategies are her native cultural values, such as the principle of Living Well, cooperation, reciprocity, and godfatherhood.
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The chola is characterized by her peculiar garment which was imposed by the colonizer in the XVIII century, nullifying her indigenous identity. However, this woman has continued to wear it to the present day as much as a tactic of resistance as of empowerment and agency and has transformed it into a current fashion for the valorization of her identity. She is a chi’xi subject who complements or antagonizes opposites without subsuming them. Finally, what guides her practices and strategies are her native cultural values, such as the principle of Living Well, cooperation, reciprocity, and godfatherhood.
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ContributorsLopez, Norma (Author) / Urioste-Azcorra, Carmen (Thesis advisor) / Foster, David (Committee member) / Thompkins, Cynthia (Committee member) / Arizona State University (Publisher)
Created2019
Description
RESUMEN
Esta tesis investiga la escritura femenina testimonial de tres obras latinoamericanas. El testimonio de Asunta Quispe Huamán, publicado en Gregorio Condori Mamani. Autobiografía (1977), producido por Ricardo Valderrama y Carmen Escalante; Ese infierno: conversaciones de cinco mujeres sobrevivientes de la ESMA de Munú Actis, Cristina Aldini, Liliana Gardella, Miriam Lewin y Elisa Tokar (2001); y La distancia entre nosotros (2012) escrito por Reyna Grande. Los testimonios han sido analizados a través de diversas premisas teóricas compuestas de las ideas sobre la heterogeneidad latinoamericana de Antonio Cornejo Polar y teorías sobre el territorio, espacio y geografía de Henri Lefebvre, Rogerio Haesbaert, Edward Soya, Gilles Deleuze que nos han servido de plataforma para nuestro estudio. Asimismo se ha recurrido a escritos sobre el cuerpo y la frontera con teoristas feministas como Lucia Guerra, Nelly Richards, Jean Franco, Gloria Anzaldúa y Rosi Braidotti, entre otras. Este estudio se ha propuesto demostrar que estos testimonios Latinoamericanos en su polifonía social y cultural emplean discursos de dimensión multifocal que les permite reterritorializarse desde las márgenes a través de tácticas de resistencia en un proceso de permanente descolonización. Esos cuerpos nómades han sido hablados y programados por el discurso legitimador para desterritorializarlos pero ellos vuelven a reterritorializarse como “líneas de escape” que se transforman creando interconexiones de supervivencia creadora.
Consecuentemente, a través del nomadismo de los sujetos analizados se forma una resistencia política que representa nuevos horizontes que son los proyectos en variados ámbitos: de género, raciales, culturales, de justicia del espacio y ambientales. Todos éstos en contrapunteo con el discurso hegemónico.
Esta tesis investiga la escritura femenina testimonial de tres obras latinoamericanas. El testimonio de Asunta Quispe Huamán, publicado en Gregorio Condori Mamani. Autobiografía (1977), producido por Ricardo Valderrama y Carmen Escalante; Ese infierno: conversaciones de cinco mujeres sobrevivientes de la ESMA de Munú Actis, Cristina Aldini, Liliana Gardella, Miriam Lewin y Elisa Tokar (2001); y La distancia entre nosotros (2012) escrito por Reyna Grande. Los testimonios han sido analizados a través de diversas premisas teóricas compuestas de las ideas sobre la heterogeneidad latinoamericana de Antonio Cornejo Polar y teorías sobre el territorio, espacio y geografía de Henri Lefebvre, Rogerio Haesbaert, Edward Soya, Gilles Deleuze que nos han servido de plataforma para nuestro estudio. Asimismo se ha recurrido a escritos sobre el cuerpo y la frontera con teoristas feministas como Lucia Guerra, Nelly Richards, Jean Franco, Gloria Anzaldúa y Rosi Braidotti, entre otras. Este estudio se ha propuesto demostrar que estos testimonios Latinoamericanos en su polifonía social y cultural emplean discursos de dimensión multifocal que les permite reterritorializarse desde las márgenes a través de tácticas de resistencia en un proceso de permanente descolonización. Esos cuerpos nómades han sido hablados y programados por el discurso legitimador para desterritorializarlos pero ellos vuelven a reterritorializarse como “líneas de escape” que se transforman creando interconexiones de supervivencia creadora.
Consecuentemente, a través del nomadismo de los sujetos analizados se forma una resistencia política que representa nuevos horizontes que son los proyectos en variados ámbitos: de género, raciales, culturales, de justicia del espacio y ambientales. Todos éstos en contrapunteo con el discurso hegemónico.
ContributorsRodriguez, Beatriz Carlota (Author) / Foster, David W. (Thesis advisor) / Rosales, Jesus (Committee member) / Mamani Macedo, Mauro (Committee member) / Arizona State University (Publisher)
Created2019
Description
This thesis makes a comparison between the internal dialogue of the Empress Carlota of Mexico in Noticias del Imperio (1987), by Fernando del Paso, and the internal dialogue developed in the original written letters by Carlota during her insanity in 1869. These letters were published in the book Una emperatriz en la noche (2010) by Laurence van Ypersele. Del Paso uses the New Historical Novel genre to write about the French Invasion in Mexico and to bring back to life Carlota, Maximilian, and Benito Juarez amongst others. In the case of Carlota, del Paso uses fiction to recreate the thoughts of a clinically-declared insane woman. The author of Noticias del Imperio can only imagine how the mind of an insane person works based on historical texts describing the behavior of the Empress during her sick years. Overall, when comparing both Carlotas, del Paso captures with great magistry the way of thinking of a mentally ill person, and there are a lot of similarities between both worlds. However, as time goes on and the Empress continues writing her letters, her insanity worsens and one can appreciate a reality that del Paso could have never imagined to recreate in his novel. The written correspondence during Carlota’s insanity becomes more confusing and one can notice a complete transformation of her world, which is perfectly logical to her. In these letters it can be appreciated that the reality of insanity, surpasses the fiction written by del Paso.
ContributorsSalinas, David (Author) / Volek, Emil (Thesis advisor) / García-Fernández, Carlos Javier (Committee member) / Hernández-G., Manuel De Jesús (Committee member) / Arizona State University (Publisher)
Created2015
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