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Description
In 1981, Fernando Valenzuela had one of the most unlikely rookie seasons for theLos Angeles Dodgers. Originally from a rural farm town in northern Mexico, he left an enduring legacy that persists within Mexican/American and Latinx fans and communities throughout Los Angeles. Not only did Fernando help the Dodgers capture the World Series, he captured the hearts of the people and the communities who had shunned the Dodgers for decades. This act of protest was a response to the destruction of three neighborhoods—La Paloma, Palo Verde, and Bishop—that were destroyed amid a protracted legal battle with the city of Los Angeles throughout the 1950’s that culminated in coercion, violence, and a new baseball stadium. This project intends to remember the neighborhoods of La Paloma, Palo Verde, and Bishop and those who lost their homes alongside the public memory of Fernando Valenzuela’s unlikely rookie season, dubbed Fernandomania, and his career with the Los Angeles Dodgers. I illumine how the public memories of Fernandomania, a moment of communitas, and Fernando Valenzuela have facilitated the public forgetting of La Loma, Palo Verde, and Bishop by making Chavez Ravine into a novel public idiom for American baseball rather than a site of violence and resistance. In the process of facilitating the public forgetting of these neighborhoods, the sports media commits a pernicious discursive violence upon Fernando Valenzuela’s hyper-visible brown body that reveals the workings of a white racial frame designed to protect American baseball’s white masculine ideology. Ultimately, the Los Angeles Dodgers benefit from Fernando’s unmistakably cultural and racial Mexican identity—the source of his otherization and incongruity with American baseball’s white heroism—as the transgressions of the past are slowly forgotten.
ContributorsZamora, Erin Victoria (Author) / Brouwer, Daniel C (Thesis advisor) / Meân, Lindsey J. (Committee member) / Ore, Ersula J. (Committee member) / Arizona State University (Publisher)
Created2020
Description
While the African American civil rights movement of the 1950s and 60s is one of the most famous and celebrated parts of American history, rhetoric scholars have illuminated the ways this subversive movement has been manipulated beyond recognition over time. These narrative constructions play a role in preserving what Maegan Parker Brooks calls the "conservative master narrative of civil rights history," a narrative that diminishes the work of activists while simultaneously promoting complacency to prevent any challenge to the white supremacist hegemony. This dissertation argues that the graphic memoir trilogy March by John Lewis, Andrew Aydin, and Nate Powell challenges this conservative master narrative through visual rhetoric, in particular through the comics techniques "braiding" and "weaving."
Braiding occurs when authors create "webs of interrelation" (Miodrag 134) by repeating a technique throughout the text, which can sometimes involve a secondary narrative (Groensteen). Braids are associations in the network of panels of the comic that go beyond the parameters of strictly linear storytelling as panels echo those the reader has encountered before. The braids in March compare the past and present through a direct juxtaposition of January 20, 2009—the inauguration day of Barack Obama—with John Lewis' activism from 1959 to 1965. While this juxtaposition risks reinforcing a progress narrative that suggests racism is in the past, in fact, the braided inauguration scenes help the reader connect the moments of the past with their present, calling to mind the ways white supremacy endures in contemporary America. Weaving refers to the reader’s action of moving back and forth in the comics narrative to create meaning, and artists use techniques that facilitate this behavior, such as leaving out or minimizing significant cues and creating a sense of ambiguity that leads the reader to become curious about the events in the sequence. Weaving can disrupt an easy linear narrative of depicted events—such as Fannie Lou Hamer's testimony at the Democratic National Convention—as artists present several opportunities for the reader to interpret these stories in ways that challenge a conservative master narrative of the events in the trilogy.
Braiding occurs when authors create "webs of interrelation" (Miodrag 134) by repeating a technique throughout the text, which can sometimes involve a secondary narrative (Groensteen). Braids are associations in the network of panels of the comic that go beyond the parameters of strictly linear storytelling as panels echo those the reader has encountered before. The braids in March compare the past and present through a direct juxtaposition of January 20, 2009—the inauguration day of Barack Obama—with John Lewis' activism from 1959 to 1965. While this juxtaposition risks reinforcing a progress narrative that suggests racism is in the past, in fact, the braided inauguration scenes help the reader connect the moments of the past with their present, calling to mind the ways white supremacy endures in contemporary America. Weaving refers to the reader’s action of moving back and forth in the comics narrative to create meaning, and artists use techniques that facilitate this behavior, such as leaving out or minimizing significant cues and creating a sense of ambiguity that leads the reader to become curious about the events in the sequence. Weaving can disrupt an easy linear narrative of depicted events—such as Fannie Lou Hamer's testimony at the Democratic National Convention—as artists present several opportunities for the reader to interpret these stories in ways that challenge a conservative master narrative of the events in the trilogy.
ContributorsBoykin, Jessica (Author) / Miller, Keith D. (Thesis advisor) / Lamp-Fortuno, Kathleen (Committee member) / Ore, Ersula J. (Committee member) / Serafini, Frank (Committee member) / Arizona State University (Publisher)
Created2019