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- Language: Spanish
- Creators: Elenes, C. Alejandra
Description
This study was done in collaboration with the Kino Border Initiative. The Kino Border Initiative is a Catholic, bi-national organization run by Missionary Sisters of the Eucharist, Jesuit priests and lay people. The organization is dedicated to providing services to recently deported migrants and migrants-in-transit through their soup kitchen, women's shelter and first aid station in Nogales, Sonora. Based on their experiences in the women's shelter, the Missionary Sisters of the Eucharist and researcher sought out to further understand migrant women's experiences of gender-based violence prior to migration. Using data collected by the Sisters, it was decided to use an analysis rooted in testimonio, and, in this way, use the women's words as a foundational basis for understanding the migration of women. The analysis is based on 62 testimonies related to women's histories of violence and their migration experiences, and the information from 74 intake questionnaires that were all analyzed retroactively. The analysis of data and testimonios has led to the realization that violence suffered by migrant women is not limited to the journey itself, and that 71% of women report having suffered some sort of violence either prior to or during migration. Often times, the first experiences of violence originated in their homes when they were children and continue to repeat itself throughout their lifetimes in varied forms. Their stories reveal how the decision to migrate is a consequence to the transnational and structural violence that pushes women to seek out ways to survive and provide for their families.
ContributorsConrad, Marla (Author) / Elenes, C. Alejandra (Thesis advisor) / Simmons, William P. (Committee member) / Téllez, Michelle (Committee member) / Arizona State University (Publisher)
Created2013
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
ABSTRACTO
La identidad y el pluralismo se debaten cuando hablamos de dos escritoras chicanas. Ellas reclaman una herencia judía e indígena en sus obras literarias: María Speaks: Journeys into the Mysteries of the Mother in My Life (2004) de Sarah Amira de la Garza y The Desert Remembers My Name:On Family and Writing (2007) de Kathleen Alcalá. En sus obras se examina el proceso de la construcción de identidad dentro de la comunidad cripto-judía en el suroeste de los Estados Unidos. Dicha comunidad ejemplifica y pone en cuestión la construcción de la identidad en el mundo moderno, deconstruyendo la historia tradicional. Se aplican dos conceptos derivados del estructuralismo para analizar el proceso de integrar una identidad más en identidades ya existentes. Bricolaje, concepto teórico de Claude Lévi-Strauss en su obra: El pensamiento salvaje (1962); bricolaje proporciona el modelo a seguir para entender los diferentes patrones culturales que conforman la construcción de una identidad. Jonglerie de Seth Kunin o la manipulación de las identidades, extraído del artículo: “Juggling Identities Among the Crypto-Jews of the American Southwest” (2001). Acudimos al deconstructivismo de Jacques Derrida y al poscolonialismo de Gloria Anzaldúa y Emma Pérez. Este estudio revela que María Speaks deconstruye una educación católica al haber contradicciones eclesiásticas y cotidianas que producen un agudo sufrimiento en el sujeto femenino, ejerciendo como bricoleur, éste acude a la historia chicana de resistencia, a los mitos aztecas y coloniales, y al conocimiento y creencias judías para construir una nueva identidad chicana que incluye la cara sefardita. En The Desert Remembers my Name, el sujeto femenino, partiendo de una conciencia mexicoamericana de los 1950 y los 1960 donde se dan indicios culturales judíos, deconstruye su temprana identidad chicana y, como bricoleur, emprende investigaciones históricas y de familia para recuperar hechos, figuras, prácticas y símbolos para reconstruir una identidad sefardita y opata como parte de una actualizada identidad chicana. El método teórico aplicado, Bricolaje, Jonglerie, deconstructivismo y el poscolonialismo han sido útiles para recuperar la cara sefardita de la identidad chicana heterogénea. Creemos que este estudio representará un punto de partida para futuros estudios de la literatura judea-chicana.
La identidad y el pluralismo se debaten cuando hablamos de dos escritoras chicanas. Ellas reclaman una herencia judía e indígena en sus obras literarias: María Speaks: Journeys into the Mysteries of the Mother in My Life (2004) de Sarah Amira de la Garza y The Desert Remembers My Name:On Family and Writing (2007) de Kathleen Alcalá. En sus obras se examina el proceso de la construcción de identidad dentro de la comunidad cripto-judía en el suroeste de los Estados Unidos. Dicha comunidad ejemplifica y pone en cuestión la construcción de la identidad en el mundo moderno, deconstruyendo la historia tradicional. Se aplican dos conceptos derivados del estructuralismo para analizar el proceso de integrar una identidad más en identidades ya existentes. Bricolaje, concepto teórico de Claude Lévi-Strauss en su obra: El pensamiento salvaje (1962); bricolaje proporciona el modelo a seguir para entender los diferentes patrones culturales que conforman la construcción de una identidad. Jonglerie de Seth Kunin o la manipulación de las identidades, extraído del artículo: “Juggling Identities Among the Crypto-Jews of the American Southwest” (2001). Acudimos al deconstructivismo de Jacques Derrida y al poscolonialismo de Gloria Anzaldúa y Emma Pérez. Este estudio revela que María Speaks deconstruye una educación católica al haber contradicciones eclesiásticas y cotidianas que producen un agudo sufrimiento en el sujeto femenino, ejerciendo como bricoleur, éste acude a la historia chicana de resistencia, a los mitos aztecas y coloniales, y al conocimiento y creencias judías para construir una nueva identidad chicana que incluye la cara sefardita. En The Desert Remembers my Name, el sujeto femenino, partiendo de una conciencia mexicoamericana de los 1950 y los 1960 donde se dan indicios culturales judíos, deconstruye su temprana identidad chicana y, como bricoleur, emprende investigaciones históricas y de familia para recuperar hechos, figuras, prácticas y símbolos para reconstruir una identidad sefardita y opata como parte de una actualizada identidad chicana. El método teórico aplicado, Bricolaje, Jonglerie, deconstructivismo y el poscolonialismo han sido útiles para recuperar la cara sefardita de la identidad chicana heterogénea. Creemos que este estudio representará un punto de partida para futuros estudios de la literatura judea-chicana.
ContributorsBohanon, Citlali (Author) / Hernández-G., Manuel De Jesús (Thesis advisor) / Foster, David William (Committee member) / García-Fernández, Carlos Javier (Committee member) / Elenes, C. Alejandra (Committee member) / Arizona State University (Publisher)
Created2019
Description
The identity of Latinx womxn is multidimensional and widely misrepresented in media. To address this problem, I plan on presenting the multifaceted nature of this intersection by documenting micro perspectives via photography. I articulate my individual perspectives of Latinx womxnhood by using lived experiences, testimonio, through a metanarrative, painting, poetry, and mixed-media art. My micro perspective/metanarrative, as well as the testimonio/art pieces, along with the photography will speak to the macro which is surrounding and engaging us. Testimonio and art are intertwined for me and this project is a proclamation of how these two flow into one another to the point where they are essentially the same. Nosotrxs is a project that focuses on reconciling the stereotypical, media representations of Latinx womxnhood with reality. How I approach this issue varies, I looked both inside and outside of myself to articulate what I see going on in the Latinx community. I photographed Latinx womxn of different nationalities, races, and gender expressions to humanize them to an audience. I painted two canvases, one with the phrase "What justifies a border between you and I?" and one with an impressionist/surrealist focus on Central America. My fourth piece is a sculptural minimalist desert with a video of U.S. border patrol agents destroying water jugs intended for migrants in the Sonoran desert along the U.S.-Mexico border. My fifth piece is a collection of poetry I wrote over the past year that reflect on my identity as a Latina woman based in Phoenix and born in California. All of these pieces together are a small representation of Latinx womxnhood in Phoenix, Arizona.
ContributorsMartinez, Claudia Belen (Author) / Fonseca, Vanessa (Thesis director) / Danielson, Marivel (Committee member) / Barrett, The Honors College (Contributor) / CISA - Interdisciplinary Humanities and Communication (Contributor) / School of Transborder Studies (Contributor)
Created2018-05
Description
This research study analyzes the use of piropos as a dominant part of Buenos Aires street culture. Piropos are locally defined as advances made by male strangers toward women in the public sphere, and they typically include: following, staring, unsolicited sexual/romantic comments and physical contact. Although these amorous or sexually expressive advances have been historically viewed as harmless, the local development of anti-piropo campaigns in Buenos Aires indicates that this flirtatious public act is more damaging than previously recognized. The current debate in Buenos Aires concerning the use of piropos in public has rendered this social practice worthy of investigation. Throughout this study, I examine women’s experiences with and interpretations of piropos by utilizing participant observation, surveys, focus groups, and semi-structured individual interviews. I explore women’s diverse emotional and verbal responses to these interactions, and I analyze how the use of piropos has impacted some women’s sense of wellbeing and security in the public realm. In order to demonstrate the effect of piropos on women’s daily lives in the public sphere, I examine the ways in which women alter their behavior in order to avoid piropos. Furthermore, this investigation examines how piropos are often interpreted by female recipients as a public display of gender-based power differences. Thus, I argue that piropos are consistently used to reflect and sustain machismo, and they consequently restrict women’s equal access to public spaces in Buenos Aires. The quantitative and qualitative data presented throughout this thesis unveil the weighty ramifications of a social practice that has often been overlooked.
ContributorsMitchell, Mia Lael (Author) / Elenes, C. Alejandra (Thesis advisor) / Murphy Erfani, Julie (Committee member) / Luna, Ilana (Committee member) / Arizona State University (Publisher)
Created2015
Description
The magical realism writing movement involved blurring the line between reality and fantasy. It takes reality and portrays its otherwise seemingly mundane elements as magical ones. This allows the writer the opportunity to faithfully represent reality itself as magical without creating a barrier between the reality and fantasy. In my thesis, I will implement these elements of magical realism, while also attempting to blur the line between the physical plane and the narrative. This will allow me, the writer, to center on the emotions I want to convey through my characters, while also allowing the reader to create a unique experience of their own.
ContributorsRodriguez Romero, Yused Valentina (Author) / Minardi, Enrico (Thesis director) / Fontinha de Alcantara, Christiane (Committee member) / Department of Finance (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
In 2006, the Chilean government began the implementation of a “program of integrated childhood protection” called Chile Crece Contigo. This program involves the cooperation of the public health, education, and legal systems of Chile in the support of the Rights of the Child ratified by the United Nations in 1989, and guarantees accessibility to the diverse historical and cultural communities of Chile. This study seeks to evaluate the cultural pertinence of Chile Crece Contigo as implemented in the public health system of the predominantly Aymaran community of Putre and recommend policy changes and further investigation for the improvement of its implementation in all Aymaran communities of Northern Chile. These objectives were pursued through three weeks of observation of program activities as well as interviews with key implementers of Chile Crece Contigo in Putre’s Rural Family Health Center, a practitioner of traditional Aymaran medicine and mothers whose children are enrolled or were enrolled in a variety of the services offered by the program. These results highlighted successful efforts by health practitioners in Putre to provide culturally relevant care through Chile Crece Contigo, but also policy failures and ongoing uncertainty considering best practices for cultural pertinence within the program. The conclusion was reached that several funding and logistical policies of Chile Crece Contigo need to be altered to better serve this rural, Aymaran community. Also, several in-depth longitudinal studies on traditional Aymaran upbringing and the common socioeconomic conditions of the Aymaran community in Chile should be carried out in order to determine further policy changes and best practices for Chile Crece Contigo.
ContributorsPickett, Annaliese (Author) / Tompkins, Cynthia (Thesis director) / Hurtado, Ana Magdalena (Committee member) / School of Human Evolution & Social Change (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12