Matching Items (11)
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
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
La frontera entre México y Estados Unidos es un territorio que se ha conceptualizado y construido por el centralismo mexicano y por el discurso chicano dominante: el de Borderlands. Estos dos focos equidistantes establecen sus perspectivas a partir del contacto que la región fronteriza tiene con los Estados Unidos en términos de intercambios económicos y culturales. La tradición de definir la zona fronteriza se inicia a partir de 1848 con el Tratado de Guadalupe Hidalgo. Más tarde, dicha región estaría en indiferencia por su distancia geográfica con el centro mexicano, excepto durante la Revolución mexicana. Sin embargo, la región fronteriza empieza a recibir gran atención hacia finales del Siglo XX, cuando nuevas formas de intercambio económico entre México y Estados Unidos se empiezan a desarrollar. La frontera, entonces experimenta un crecimiento económico que se refleja, a su vez, en el resurgimiento y crecimiento de la cultura fronteriza. El antropólogo cultural, Nestor García Canclini intentó definir la cultura fronteriza al analizar el uso del idioma inglés en Tijuana. En sus estudios, tanto Tijuana: la casa de toda la gente (1989) como Culturas híbridas: Cómo entrar y salir de la modernidad (1992), García Canclini sostiene que la frontera es un espacio de hibridación cultural. Por otro lado, las teorías dominantes dentro del campo chicano definen la frontera en términos metafísicos. Para Gloria Anzaldúa, el espacio fronterizo es el Borderlands: un área geográfica en donde los paradigmas de la psicología del individuo están en constante conflicto. Considerando estos antecedentes como punto de partida, esta investigación se enfoca en el estudio de la cultura fronteriza como múltiples universos de signos que entran en contacto unos con otros. Tal como lo establece Iury Lotman en su estudio teórico La semiosfera (1996), una semiosfera es un espacio delimitado por una frontera que, a su vez, tiene la función de traducir información de otras semiosferas. De manera que dicho concepto se muestra adecuado para analizar El gran preténder (1992) de Luis Humberto Crosthwaite y Berlín 77 (y otros relatos) (2003) de Carlos Adolfo Gutiérrez Vidal. En última instancia, al establecer los espacios fronterizos como universos culturales (semiosferas) se devela el nivel de contacto entre éstas, especialmente entre las semiosferas mexicana/americana y la fronteriza.
ContributorsEncinas, Diana (Author) / Volek, Emil (Committee member) / Hernández-G., Manuel De Jesús (Committee member) / Acereda, Alberto (Committee member) / Arizona State University (Publisher)
Created2011
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
Description
The term “friend zone” has been used in various areas of social media and pop culture to define a situation where one individual covets a relationship with a close friend that never evolves; typically the situation includes a male seeking a potential romantic partner with a female. Although friendship is often viewed in a positive format and sometimes the foundation of a healthy relationship, this term has been stigmatized as an unfortunate situation and counterproductive to obtaining a fulfilling relationship.
To approach the multi-faceted concern of friend zone phenomena and the many areas damaging messages that occur, my thesis starts with the history of friend zone phenomena, establishing a definition of friend zone phenomena for future scholars. Next literature on friendship and love, and Galician’s work used for both the methodology and theoretical framework is introduced leading to the analysis. The methodology and theoretical framework for the analysis uses Mary-Lou Galician’s 7-Step-Reality-Check-Up, twelve Myths social media promoted as the preferred reading and the Twelve Prescriptions (Rxs) for Getting Real About Romance. Resources on the discourses of gender performativity, psychology, and sociology are also included in the theoretical framework.
I start with an introduction to retrograde misogyny, The Manosphere (including The Red Pill [TRP]), the Elliot Rodger case and rape culture. This initial segment is analyzed differently from the other texts to describe the crux of social justice issues within friend zone phenomena. I then analyze 10 online memes related to friend zone phenomena. Lastly, I analyze Jet and Star’s new book, How to Get out of the Friend Zone –their book is a textual version of the advice they give on their YouTube channel.
Throughout all the texts Myths 5 (Physical Attraction), 6 (Man = Stronger), and 13 (No Cross-Sexual Friends) were all proposed as the preferred reading. Myth 14 (Men Want Sex/Women Want Money) was prevalent across the memes and TRP/Rational Male. All four myths are laden with gender performativity with damaging perceptions of healthy and respectful relationships. Additional research on friend zone phenomena in the form of interviews and surveys is recommended as research is still sparse.
To approach the multi-faceted concern of friend zone phenomena and the many areas damaging messages that occur, my thesis starts with the history of friend zone phenomena, establishing a definition of friend zone phenomena for future scholars. Next literature on friendship and love, and Galician’s work used for both the methodology and theoretical framework is introduced leading to the analysis. The methodology and theoretical framework for the analysis uses Mary-Lou Galician’s 7-Step-Reality-Check-Up, twelve Myths social media promoted as the preferred reading and the Twelve Prescriptions (Rxs) for Getting Real About Romance. Resources on the discourses of gender performativity, psychology, and sociology are also included in the theoretical framework.
I start with an introduction to retrograde misogyny, The Manosphere (including The Red Pill [TRP]), the Elliot Rodger case and rape culture. This initial segment is analyzed differently from the other texts to describe the crux of social justice issues within friend zone phenomena. I then analyze 10 online memes related to friend zone phenomena. Lastly, I analyze Jet and Star’s new book, How to Get out of the Friend Zone –their book is a textual version of the advice they give on their YouTube channel.
Throughout all the texts Myths 5 (Physical Attraction), 6 (Man = Stronger), and 13 (No Cross-Sexual Friends) were all proposed as the preferred reading. Myth 14 (Men Want Sex/Women Want Money) was prevalent across the memes and TRP/Rational Male. All four myths are laden with gender performativity with damaging perceptions of healthy and respectful relationships. Additional research on friend zone phenomena in the form of interviews and surveys is recommended as research is still sparse.
ContributorsMichael, Cherish Krista (Author) / Elenes, C. Alejandra (Thesis advisor) / Hall, Deborah (Committee member) / Murphy-Erfani, Julie (Committee member) / Arizona State University (Publisher)
Created2015
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
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
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
ABSTRACT
As a graduate student earning both a Master of Arts in Social Justice and Human Rights and a Graduate Certificate in Nonprofit Leadership Management, I have tried to bridge the theoretical and the empirical in a meaningful way. A problematic chasm between the nonprofit professional and the client being served existed, and I wanted to research this chasm. I wanted to understand what challenges a woman of color faced if she was both a client and a nonprofit professional, possessing dual identities and engaging in a sort of welfare system border crossing. There was a gap in the academic research on women in the nonprofit sector, more specifically the charitable, human services sector, and there was little to no research on women who have been both clients and caseworkers. Therefore, I conducted a series five of in-depth, semi-structured interviews with women of color working at a local food bank. As an employee of the food bank, I recorded my own observations and field notes in order to write a feminist institutional ethnography. I employed interpretive, less conventional design methods, which were aligned with my commitment to social justice. The research highlighted many negative stories about oppression and exclusion women faced in the nonprofit sector. It also confronted the problematic stereotype welfare recipients, specifically women of color, are faced with as a result of the politics of disgust and dominant myth of the Welfare Queen. The research sought to explain how and why women of color transition in and out of the welfare state, and how they manage to work within a food bank, where they are constantly surrounded by inequalities.
As a graduate student earning both a Master of Arts in Social Justice and Human Rights and a Graduate Certificate in Nonprofit Leadership Management, I have tried to bridge the theoretical and the empirical in a meaningful way. A problematic chasm between the nonprofit professional and the client being served existed, and I wanted to research this chasm. I wanted to understand what challenges a woman of color faced if she was both a client and a nonprofit professional, possessing dual identities and engaging in a sort of welfare system border crossing. There was a gap in the academic research on women in the nonprofit sector, more specifically the charitable, human services sector, and there was little to no research on women who have been both clients and caseworkers. Therefore, I conducted a series five of in-depth, semi-structured interviews with women of color working at a local food bank. As an employee of the food bank, I recorded my own observations and field notes in order to write a feminist institutional ethnography. I employed interpretive, less conventional design methods, which were aligned with my commitment to social justice. The research highlighted many negative stories about oppression and exclusion women faced in the nonprofit sector. It also confronted the problematic stereotype welfare recipients, specifically women of color, are faced with as a result of the politics of disgust and dominant myth of the Welfare Queen. The research sought to explain how and why women of color transition in and out of the welfare state, and how they manage to work within a food bank, where they are constantly surrounded by inequalities.
ContributorsRoland, Kimberly (Author) / Behl, Natasha (Thesis advisor) / Murphy Erfani, Julie (Committee member) / Elenes, C. Alejandra (Committee member) / Arizona State University (Publisher)
Created2015