Matching Items (28)
Description
Este trabajo examina la producción literaria y cultural chicana/méxicosudoesteña de las distintas épocas coloniales del sudoeste: la época colonial española (1521-1821), la época colonial angloamericana (1848-1965) y la época poscolonial (1965-presente) para ver hasta qué punto siguen vigentes los legados coloniales dentro de un contexto contemporáneo. Avanzamos la hipótesis que, de la larga residencia histórica y geográfica de las personas hispanomexicanas en el sudoeste, se han producidos textos simbólicos donde se registran dos o más discursos residuos cuyo origen es una ideología dominante. El capítulo 1 plantea y detalla la hipótesis, reseña los numerosos estudios existentes, describe el marco teórico y da la división en capítulos. En el capítulo 2, se da de manera detallada el método crítico: la definición del colonialismo clásico según la teoría de Mario Barrera, la relación colonizador/colonizado aportada por Albert Memmi y los conceptos del tercer espacio híbrido, el mestizaje y el imaginario decolonial asociados con la época poscolonial como ofrecidos respectivamente por Homi Bhabha, Rafael Pérez-Torres y Emma Pérez. El capítulo 3 ofrece un análisis de la época colonial española vía dos obras nuevomexicanas: el poema épico Historia de la Nueva México (1610) de Gaspar Pérez de Villagrá y el drama Los comanches (c.1779) de anónimo. El capítulo 4 trata la colonización angloamericana en las obras The Squatter and the Don (1885) de María Amparo Ruiz de Burton y Dew on the Thorn (escrita en los 1940; publicada en 1997) de Jovita González de Mireles. El capítulo 5 examina la época poscolonial vía la obra Los muertos también cuentan (1995) de Miguel Méndez. Una lectura de la literatura chicana/méxicosudoesteña revela la presencia de varios personajes típicos asociados cada uno a una diferente época histórica desde el conquistador español hasta un mexicano recién inmigrado, quienes no han podido evadir la correspondiente presencia de un grupo dominante u colonizador. Con base en una investigación de las cinco obras seleccionadas, se muestra cómo las relaciones coloniales se forman y se transforman y luego se manifiestan en un contexto contemporáneo, desplazando por ende nuestro entendimiento de las relaciones coloniales como un simple proyecto binario de dominación y subordinación.
ContributorsFonseca, Vanessa (Author) / Hernández-G., Manuel De Jesús (Thesis advisor) / Rosales, Jesus (Committee member) / García-Fernández, Carlos Javier (Committee member) / Volek, Emil (Committee member) / Horan, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2013
Description
En el siglo XXI nuestra vida se está cruzando constantemente con la tecnología, tanto que algunos declaran que nuestro mundo se ha hecho posthumano, ya que no se puede separar al ser humano de la máquina. Aunque algunos se sientan amenazados por estas tecnologías, otros están abrazando la Red Mundial, aprovechándose de las infinitas oportunidades que ofrece. Uno de estos elementos fundamentales que internet posibilita es la capacidad de comunicarse directamente con otras personas. El blog por ejemplo, o bitácora en español, permite que los usuarios se proyecten a sí mismos o a sus pseudo-identidades, sus pensamientos e ideas a través del texto que escriben en internet. También sus lectores pueden responder a estos autores inmediatamente. Los posts publicados--entradas en una página web--, aunque aparecen cronológicamente, son episodios fragmentados. Pero el blog no se limita a la producción de un texto sino que el autor puede también "jugar" con el cuerpo del texto para añadir hipervínculos y multimedia. Esta forma de escribir está cambiando lo que se considera "válido" como texto, incluso lo que se considera literatura. El objetivo de este trabajo no es estudiar la literatura digital en su totalidad, sino específicamente en algunas obras escritas por mujeres en internet. Si se considera la escritura digital como una forma de arte marginalizada, se podría decir que la escritura realizada por mujeres en internet experimenta una doble-marginalidad debido al hecho de que la literatura de mujeres siempre ha sido marginal al canon. Este estudio tomará un punto de vista transatlántico, incluyendo en el mismo a varias escritoras hispanohablantes de diferentes edades, experiencias y con variados motivos en su trabajo que publican sus obras en internet. Estas autoras incluyen las blogueras Almudena Montero (española) yMaría Amelia López Soliño (española); la periodista ciudadana Yoanis Sánchez (cubana); y la poeta digital/crítica Belén Gache (española-argentina). En esta tesis he explorado y considerado la noción de que el internet sirve como un medio de democratización puesto que, hasta cierto punto, las fronteras de género y nacionalidad desaparecen. Por esta razón, este trabajo va a considerar varias teorías tales como el postmodernismo, las teorías sobre la escritura de mujeres y teorías sobre la democratización de la tecnología para analizar la literatura que se encuentra en la red. Aunque las escritoras analizadas en este proyecto son distintas, y usan la tecnología de maneras diferentes, tienen una misma meta: expresarse libremente y comunicarse directamente con sus lectores al conectarse a internet. Mi hipótesis de trabajo consiste en que estas mujeres escriben de una manera particular--es decir, que no escriben igual a los hombres que escriben en internet--y que la red ofrece una plataforma única a las mujeres: en este espacio ellas son más activas--en oposición a la literatura tradicional-- en cuanto a compartir y publicar su propio trabajo e ideas.
ContributorsByron, Jennifer E. (Author) / Urioste-Azcorra, Carmen (Thesis advisor) / Tompkins, Cynthia (Committee member) / García-Fernández, Carlos Javier (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation makes the case to reclaim the typically negative term, coterie, as a poetic method and offers the epithalamium as a valuable object for the study of coterie conditions and values. This examination of the historical poetics of the epithalamium shows how the form was reappropriated by gay postwar poets and those in related social circumstances. This study applies and builds on theories developed by Arthur Marotti (John Donne: Coterie Poet), and Lytle Shaw (Frank O'Hara: The Poetics of Coterie) and subsequent critics to develop a coterie poetics, the markers and terms for which I have arranged here to demonstrate conscious "sociable" poetics. It is thus to our advantage to study coterie conditions and methods to open readers to insights into twentieth-century poets that have deliberately exploited reception among those in private and public spheres, just as their Early-Modern precursors did--often as a matter of survival, but also as formative practice. The key figures in this study wrote significant epithalamia or made major theoretical claims for coterie poetics: John Donne (1572-1631), W. H. Auden (1907-1973), Paul Goodman (1910-1972), and Frank O'Hara (1926-1966). O'Hara's poetry is approached as the apex of coterie poetics; his personal immediacy and obscure personal references should alienate and exclude--yet, they invite.
ContributorsEisenberg, Jeremy (Author) / Horan, Elizabeth (Thesis advisor) / Hogue, Cynthia (Committee member) / Sturges, Robert (Committee member) / Arizona State University (Publisher)
Created2012
Description
The subject of this study is the work of Spanish novelist J. Á. González Sainz, comprised of Los encuentros (1989), Un mundo exasperado (1995), Volver al mundo (2003) y Ojos que no ven (2010). His work, which is structurally demanding, treats themes such as morality, terrorism, the nostos or return to one's homeland, and nature. He has been connected to the "dehumanized novel" of Juan Benet, though his career demonstrates an attempt to make clear references to historical reality. González Sainz has acquired a measure of prestige in the estimation of important critics. With his latest book, he has furthermore gained recognition for his moral commitment in opposing the terrorism of ETA, and his work has entered debates on current events. In my study I argue that this formally rigorous narrative has a singular capacity for political engagement. I argue that González Sainz is an example of the integration of ethics in a narrative discourse whose semantic density allows a commitment with moral conflicts. To situate it in the context of contemporary Spanish fiction, I relate Pierre Bourdieu's notion of the literary field to the proposals concerning the history of literature of Pablo Gil Casado, Gonzalo Sobejano, Ramón Buckley, Ignacio Soldevila Durante and others. I follow three lines of investigation: terrorism in literature; ethics; and the political engagement of the writer. Ethics, whose relation to literature has been studied by Zachary Newton, Wolfgang Hallet or Nina Rosenstand, has allowed the author a political engagement in opposition to terrorism in general and in particular in opposition to ETA. González Sainz exhibits an equilibrium between aesthetic and ethical values of literature. In the plural context of the latest fiction in Spain, his novels have found a place in the tradition that since the middle of the twentieth century has been characterized by a dialectic between political engagement and the autonomy of literature. The theme of ETA terrorism and his structural rigor situate González Sainz's work in a position that maintains the validity of this dialectic.
ContributorsMartín de Marcos, Gonzalo (Author) / García-Fernández, Carlos Javier (Thesis advisor) / Volek, Emil (Committee member) / Acereda, Alberto (Committee member) / Arizona State University (Publisher)
Created2012
Description
This dissertation explores how American Indian literature and the legacy of the Red Power movement are linked in the literary representations of what I call "Indigenous Cosmopolitics." This occurs by way of oral tradition's role in the movement's Pan-Indigenous consciousness and rhetoric. By appealing to communal values and ideals such as solidarity and resistance, homeland, and land-based sovereignty, Red Power activist-writers of 1960s and 1970s mobilized oral tradition to challenge the US-Indigenous colonial relationship, speak for Native communities, and decolonize Native consciousness. The introductory chapter points to Pan-Indigenous practices that constructed a positive identity for the alienated and disempowered experience of Native Americans since Relocation. Chapter one examines the Red Power newspapers and newsletters ABC: Americans Before Columbus, The Warpath, and Alcatraz Newsletter among others. These periodicals served as venues for many Natives to publish their poems in collaborating with the politics of the Red Power movement. Among the poems considered is Miguel Hernandez's "ALCATRAZ," which supports the Native resistance and journey towards sovereignty during the Island's occupation. Chapters two and three explore the use of oral tradition in the journalism of Simon Ortiz (Acoma Pueblo), who was then working within the collaborative contexts of the National Indian Youth Council (NIYC) and ABC: Americans Before Columbus, which represents the Indigenous cosmos and appeal to Indigenous peoples' cosmopolitical alliance and resistance throughout the hemisphere and across the world. The final chapter turns to the work of two poets, Joy Harjo (Muskogee Creek), Wendy Rose (Hopi/Miwok), and a singer-songwriter Buffy Sainte-Marie (Cree), showing their appropriation of storytelling modes and topics from within the inclusive functions of oral tradition - storyweaving, employing persona, and performing folk music. Harjo, Rose and Sainte-Marie push on the boundaries of the movement's rhetoric as they promote solidarity between colonized women in and beyond the US. The Red Power movement's cosmopolitics remains persistent and influential in Native nationalism, which stands as the master expression of the decolonizing process. The flexibility of oral tradition operates as a common ground for reciprocal, transformational, and inclusive interactions between tribal
ational identity and Pan-Indigenous identity, developing Native nationhood's interactions with the world.
ational identity and Pan-Indigenous identity, developing Native nationhood's interactions with the world.
ContributorsKim, Seong-Hoon (Author) / Horan, Elizabeth (Thesis advisor) / Ortiz, Simon J (Committee member) / Castle, Gregory (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project examines the intersections between sexual/cultural cross-dressing and un/documented immigration from the point of view of folklore and immigration studies using Sui Sin Far's short story collection Mrs. Spring Fragrance and Karen Tei Yamashita's novel Tropic of Orange. Using the lenses of folklore theory and cross-dressing highlights aspects of immigration (and its intersection with gender and race) that are otherwise missed; it is necessary to examine the evolving ways in which fictionalized cross-dressers re-craft and occupy the spaces from which they are barred in order to address and redress questions of immigration today. Incorporating anthropology, history, folkloristics, and gender studies, this project shows that historical forms of cross-dressing and immigration lead to the development of unstable identities and pressures to "re-dress" and return to one's original space. More recent studies about gender, however, reveal a historical change in how cross-dressers negotiate their identities and the space(s) they inhabit. Therefore, it is crucial to inspect cross-dressing and immigration as both historical and contemporary phenomena. While Mrs. Spring Fragrance (published in 1912) represents more conventional ideas of cross-dressing and immigration, Tropic of Orange (published in 1997) offers alternative ways to navigate borders, immigration, and identity by using these concepts more playfully and self-consciously. Although sexual/cultural cross-dressing and un/documented immigration are not the same in every case, there are enough similarities between the two to warrant investigating whether some of the solutions reached by modern cross-dressers and gender-ambiguous people might not also help un/documented immigrants to re-negotiate their status, identities, and spaces in the midst of an unstable and at times hostile environment. In fact, an examination of such intersections can address and redress immigration by changing the perceptions of how, and the contexts in which, people view immigration and borders. Thus, this project contends that it is the combination of folkloristics, gender and immigration studies, Mrs. Spring Fragrance, and Tropic of Orange together that precipitates such a reading.
ContributorsZheng, Ding Ding (Author) / Sadowski-Smith, Claudia (Thesis advisor) / Adamson, Joni (Thesis advisor) / Horan, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2013
Description
Kiran Nagarkar, who won the Sahitya Akedemi Award in India for his English language writing, is a man who attracts controversy. Despite the consistent strength of his literary works, his English novels have become a lightning rod - not because they are written in English, but because Nagarkar was a well-respected Marathi writer before he began writing in English. Although there are other writers who have become embroiled in the debate over the politics of discourse, the response to Nagarkar's move from Marathi and his subsequent reactions perfectly illustrate the repercussions that accompany such dialectical decisions. Nagarkar has been accused of myriad crimes against his heritage, from abandoning a dedicated readership to targeting more profitable Western markets. Careful analysis of his writing, however, reveals that his novels are clearly written for a diverse Indian audience and offer few points of accessibility for Western readers. Beyond his English language usage, which is actually intended to provide readability to the most possible Indian nationals, Nagarkar also courts a variegated Indian audience by developing upon traditional Indian literary conceits and allusions. By composing works for a broad Indian audience, which reference cultural elements from an array of Indian ethnic groups, Nagarkar's writing seems to push toward the development of the seemingly impossible: a novel that might unify India, and present such a cohesive cultural face to the world at large.
ContributorsRochester, Rachel (Author) / Bivona, Daniel (Thesis advisor) / Mallot, J. Edward (Thesis advisor) / Horan, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2011
Description
The comparative study of the poetics of landscape of the Argentinian poet Diana Bellessi in Sur (1998) and the U.S. poet Mary Oliver in What Do We Know (2002) reveal how each writer acknowledges discourse and perception as means to bridge the nature/culture dichotomy and to unsettle the American landscape from cultural and epistemological assumptions that perpetuate the disconnection with matter. While Bellessi re–signifies the historical and cultural landscape drawn by European colonization in order to establish a dialogue with the voices of the past related to a present–day quest to reconnect with nature, Oliver articulates an ontological and phenomenological expression to reformulate prevailing notions of cognizing materiality aiming to overcome the culture
ature divide. I therefore examine the interrelationship between perception, language and nature in Bellessi’s and Oliver’s poetic works by deploying Maurice Merleau-Ponty’s phenomenological theory of perception into material feminist theoretical works by Karen Barad and Susan Hekman. In so doing, I demonstrate how both poets act on language to forge a non–dualistic expression that, in allowing matter as an agentic force that relates with humans in dynamics of mutual impact and intra–activity, entails a phenomenological and onto–epistemological approach to ground language in materiality and produce ethical discursive practices to relate with nature. I argue that Bellessi’s and Oliver’s approach toward nature proves as necessary in the articulation of efforts leading to overcome the nature/culture dichotomy and thus, to address ecological and environmental concerns.
ature divide. I therefore examine the interrelationship between perception, language and nature in Bellessi’s and Oliver’s poetic works by deploying Maurice Merleau-Ponty’s phenomenological theory of perception into material feminist theoretical works by Karen Barad and Susan Hekman. In so doing, I demonstrate how both poets act on language to forge a non–dualistic expression that, in allowing matter as an agentic force that relates with humans in dynamics of mutual impact and intra–activity, entails a phenomenological and onto–epistemological approach to ground language in materiality and produce ethical discursive practices to relate with nature. I argue that Bellessi’s and Oliver’s approach toward nature proves as necessary in the articulation of efforts leading to overcome the nature/culture dichotomy and thus, to address ecological and environmental concerns.
ContributorsSan Martín Vásquez, Angela (Author) / Horan, Elizabeth (Thesis advisor) / Tompkins, Cynthia (Committee member) / Hernández-G, Manuel (Committee member) / Arizona State University (Publisher)
Created2011
Description
ABSTRACT Of all the writers associated with the McOndo movement, a literary movement that focuses on the reality of urban life for millions of young Latin Americans, Jorge Franco is perhaps the most distinguished. As the author of Paraíso Travel and Rosario Tijeras, Franco has expertly shown his international audience the brutal conditions under which so many residents of his birth city of Medellín, Colombia, live. In both novels the reader is introduced to a world in which various factors have set up a society characterized by victims and predators. This study will attempt to show how economics, violence, machismo, racism and class discrimination all play a role in establishing a social hierarchy that facilitates anti-social behavior, and how these social institutions perpetuate themselves to the detriment of those caught in the cycle.
ContributorsWise, Kenneth James (Author) / Volek, Emil (Thesis advisor) / Acereda, Alberto (Committee member) / García-Fernández, Carlos Javier (Committee member) / Arizona State University (Publisher)
Created2012
Description
Anchored to the Mexican-American and U.S. Latino historical experience, this dissertation examines how a Latino and Chicano Canibalia manifests itself in literary and cultural production across the different literary periods of the Southwest and the United States as formulated by Luis Leal and Ilan Stavans: Colonization: 1537-1810, Annexations: 1811-1898, Acculturation: 1898-1945, Upheaval: 1946-1979, and the fifth period, Into the Mainstream: 1980-Present. Theoretically, the study is primarily based on the work Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) by Carlos Jauregui. This Canibalia claims that the symbol Caliban, a character taken from the drama The Tempest (1611) by William Shakespeare and interpreted in Calibán (1971) by Roberto Fernández Retamar, is an indispensable reference that, today, links the discourse on Colonial Studies in Latin America and, for us, also in the Mexican-American Southwest. To particularize Jáuregui’s critical perspective, we draw from the work The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) by José David Saldívar, whose call for a School of Caliban not only brings together all subaltern subject positions but marks the value of the “schooling” such an institution will provide. For Saldívar, Chicano and U.S. Latino scholarship needs to be incorporated into Caliban Studies due to a shared anti-imperial resistance. We also rely on the theoretical work Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) by Walter Mignolo, which links colonial difference to border thinking and examines contemporary dialogues on Orientalism, Occidentalism, and post-Occidentalism with regards to Latin American, Chicano, and U.S. Latino cultures. Our study interprets such works as I Am Joaquín (1967) by Rodolfo “Corky” Gonzales, the performances of Guillermo Gómez-Peña, the novels Peregrinos de Aztlán (1974) by Miguel Méndez and Entre la sed y el desierto (2004) by Óscar L. Cordero, US Latino films like Balseros (2002) and Which Way Home (2009), the Mexican film Acorazado (2010), and Chicano and US Latino poetry that features the literary symbol examined under our critical approach; in turn, we have learned that the Chicano and Latino Canibalia is a collection of cannibal discourses which have as an objective stereotyping civilians of Mexican and Latin American descent in the United States. Our critical discourse provides an understanding of today’s complex cultural ties between all countries. A Chicano and Latino Canibalia serves as a bridge of understanding regarding the discursive silences in the history of the United States and Latin America as well as the world.
[TEXT IN SPANISH.]
ABSTRACTO
Anclada a la experiencia histórica mexicoamericana y eulatina, esta disertación examina cómo se manifiesta la Canibalia chicana y eulatina en su producción literaria y cultural de las distintas épocas del Sudoeste como diseñadas por Luis Leal y Ilan Stavans: la Colonización: 1537-1810, las Anexiones: 1811-1898, las Aculturaciones: 1898-1945, la Turbulencia: 1946-1979 y el quinto periodo, Hacia la corriente cultural dominante: 1980-Presente. Se fundamenta en la obra teórica Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) de Carlos Jáuregui. Esta Canibalia afirma que el personaje simbólico Caliban, tomado de la obra The Tempest (1611) de William Shakespeare e interpretado en el ensayo Calibán (1971) de Roberto Fernández Retamar, es un referente indispensable que hoy en día conecta los horizontes de los estudios de la colonialidad en América Latina y, para nosotros, en el Sudoeste de los Estados Unidos. Para profundizar la perspectiva crítica de Jáuregui, se acude el trabajo The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) de José David Saldívar, cuyo llamado por una School of Caliban reúne no sólo las posiciones de los sujetos subalternos, sino que nos acerca a entender la schooling o escolarización sobre lo que significa su resistencia. Para Saldívar, la lucha chicana y eulatina se incorpora a los estudios calibánicos de resistencia anti-imperial. También, nos apoyamos en el trabajo Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) de Walter Mignolo, el cual liga la diferencia colonial con el pensamiento fronterizo y explica los diálogos contemporáneos alrededor del orientalismo, el occidentalismo y el post-occidentalismo con respecto a las culturas latinoamericana, chicana y eulatina. Nuestro estudio se ha enfocado en los trabajos Yo soy Joaquín (1967) de Rodolfo “Corky” Gonzales, las performances de Guillermo Gómez-Peña, las novelas Peregrinos de Aztlán (1974) de Miguel Méndez y Entre la sed y el desierto de Óscar L. Cordero, filmes eulatinos como Balseros (2002) and Which Way Home (2009), la película mexicana Acorazado (2010) y la producción de la poesía chicana y eulatina con el símbolo examinado bajo dicho enfoque crítico; como resultado, hemos aprendido que la Canibalia chicana y eulatina es un conjunto de discursos caníbales los cuales tienen por objetivo estereotipar a los ciudadanos estadounidenses de origen mexicano y latinoamericano en los Estados Unidos. Se trata de una nueva forma de entender los complicados lazos culturales que unen a los países de hoy en día. La Canibalia chicana y eulatina es el puente que conduce al entendimiento de los vacíos discursivos de la historia de los Estados Unidos y América Latina así como el mundo.
[TEXT IN SPANISH.]
ABSTRACTO
Anclada a la experiencia histórica mexicoamericana y eulatina, esta disertación examina cómo se manifiesta la Canibalia chicana y eulatina en su producción literaria y cultural de las distintas épocas del Sudoeste como diseñadas por Luis Leal y Ilan Stavans: la Colonización: 1537-1810, las Anexiones: 1811-1898, las Aculturaciones: 1898-1945, la Turbulencia: 1946-1979 y el quinto periodo, Hacia la corriente cultural dominante: 1980-Presente. Se fundamenta en la obra teórica Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) de Carlos Jáuregui. Esta Canibalia afirma que el personaje simbólico Caliban, tomado de la obra The Tempest (1611) de William Shakespeare e interpretado en el ensayo Calibán (1971) de Roberto Fernández Retamar, es un referente indispensable que hoy en día conecta los horizontes de los estudios de la colonialidad en América Latina y, para nosotros, en el Sudoeste de los Estados Unidos. Para profundizar la perspectiva crítica de Jáuregui, se acude el trabajo The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) de José David Saldívar, cuyo llamado por una School of Caliban reúne no sólo las posiciones de los sujetos subalternos, sino que nos acerca a entender la schooling o escolarización sobre lo que significa su resistencia. Para Saldívar, la lucha chicana y eulatina se incorpora a los estudios calibánicos de resistencia anti-imperial. También, nos apoyamos en el trabajo Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) de Walter Mignolo, el cual liga la diferencia colonial con el pensamiento fronterizo y explica los diálogos contemporáneos alrededor del orientalismo, el occidentalismo y el post-occidentalismo con respecto a las culturas latinoamericana, chicana y eulatina. Nuestro estudio se ha enfocado en los trabajos Yo soy Joaquín (1967) de Rodolfo “Corky” Gonzales, las performances de Guillermo Gómez-Peña, las novelas Peregrinos de Aztlán (1974) de Miguel Méndez y Entre la sed y el desierto de Óscar L. Cordero, filmes eulatinos como Balseros (2002) and Which Way Home (2009), la película mexicana Acorazado (2010) y la producción de la poesía chicana y eulatina con el símbolo examinado bajo dicho enfoque crítico; como resultado, hemos aprendido que la Canibalia chicana y eulatina es un conjunto de discursos caníbales los cuales tienen por objetivo estereotipar a los ciudadanos estadounidenses de origen mexicano y latinoamericano en los Estados Unidos. Se trata de una nueva forma de entender los complicados lazos culturales que unen a los países de hoy en día. La Canibalia chicana y eulatina es el puente que conduce al entendimiento de los vacíos discursivos de la historia de los Estados Unidos y América Latina así como el mundo.
ContributorsRamos Rodríguez, Tomás (Author) / Hernández-G., Manuel De Jesús (Thesis advisor) / Rosales, Jesus (Committee member) / Foster, David William (Committee member) / García-Fernández, Carlos Javier (Committee member) / Arizona State University (Publisher)
Created2015