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- Genre: Doctoral Dissertation
- Language: Spanish
Description
Unauthorized immigrants account for approximately one fourth of all immigrants in the United States, yet they dominate public perceptions and are at the heart of a policy impasse. Caught in the middle are the children of these immigrants--youth who are coming of age and living in the shadows; they are an invisible cohort. An estimated 5.5 million children and adolescents are growing up with unauthorized immigrant parents, and are experiencing multiple, and yet unrecognized developmental consequences of their families' existence in the shadow of the law. Although these youth are American in spirit and voice, they are, nonetheless, members of families that are "illegal" in the eyes of the law. Many children have been exiled to México; these are the children living in the shadows of Mexican diaspora, Los Retornos. This phenomenological study developed a conceptual framework to examine the effects in which being an exiled United States citizen living in Morelia, Michoacán, affected these many children and adolescents. Bourdieu's (1977) theoretical framework is used in this study and is based on his social, cultural capital concept; the assumption is that Los Retornos carry valuable sociocultural, bilingual and monoliterate capital that is endangered, unrecognized, replaceable, and not used to the best interest of students in schools. This study made use of this framework to answer the following questions: 1. How do Retorno families (nuclear and extended) develop the self-efficacy needed to preserve the social and cultural capital they bring with them to Michoacán? 2. How are communities and identity forms imagined and created in the context of this new migration shift? 3. How are Los Retornos responding to the involuntary shift (N=7) from the U.S to Michoacán? 4. How are teachers adjusting their classroom practices and curriculum to meet the academic needs of Los Retornos? The purpose of this qualitative phenomenological study is to improve understanding of Los Retornos. This phenomenological case study is focused on identifying experiences Los Retornos encounter in their schools and family lives through their personal migration experience to illuminate how best to help them preserve the social and cultural, capital they bring with them. The findings from this study may assist educators and policy makers in developing interventions and policies that meet the needs of this cohort.
ContributorsQuezada Sanders, Irene Genevieve (Author) / Ovando, Carlos J. (Thesis advisor) / Mccarty, Teresa L. (Committee member) / De Los Santos Jr., Alfredo G. (Committee member) / Arizona State University (Publisher)
Created2013
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
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
ABSTRACT Mexican Golden Age Cinema materialized the narratives of identity, unity and morality that became the obligated point of reference to understand social stability and mexicaness during the post-revolutionary period. Hence, film stars evolved into cultural icons that embodied the representation of patriarchal order as a synonym for nationalism. However, dissident depictions that challenged carefully tailored heteronormative roles were as much a part of the post-revolutionary reality as was the attempt to manufacture a utopic heterosexual family on screen, that functioned as a metaphor for national reunification under the law of the father/president of the Mexican Republic. Nonetheless, even when an distinguished member of the Mexican star system, Sara García´s queer performativity of her quintessential sainted mother and even more revered grandmother characters highlights fissures in the effort to naturalize sexual passivity and heterosexual motherhood as the core of Mexican women identity. Furthermore, García took advantage of her romanticized butch characters in order to revert lesbian invisibility in movies where she portrait roles that exemplified sapphic households. In most of García's films masculine presence became redundant, hence challenging male privilege. Not very far from her own reality, García's queer women of a certain age, involved in female marriages, contested the post-revolutionary discourse of stability and mexicaness even in the heteronormative realm of Golden Age Filmmaking. Regardless of her queerness, unlike any other transgressive figure, Sara García became a national icon in her time and her image continues to hold relevance in current Mexican popular culture. More than five decades after her death young generations are still familiar with her legacy and her image has evolved into the representation of the nostalgia for tradition and alleged "more simple" times.
ContributorsBaeza Lope, Ileana (Author) / Foster, David W (Thesis advisor) / De Urioste, Carmen (Committee member) / Rosales, Jesus (Committee member) / Arizona State University (Publisher)
Created2014
Description
After the implementation of the racial laws sanctioned by Mussolini in 1938, many Italians Jews looked for safe haven in Argentina and Uruguay. This research study aims to investigate the transnational cultural space that emerges as result of the Italian Jewish diaspora to the La Plata River during fascism. This phenomenon has not been fully addressed by contemporary Jewish Latin American Studies conducted in the US and in Latin America. This study attempts to illustrate how this particular diaspora is closely linked to the specific nature of the host countries, in particular, to the fact that these are countries with a strong immigration tradition and with a significant representation of Italians. This research emphasizes the transnational dimension of the experience, the phenomenon is approached from a regional perspective, encompassing two countries that share common cultural and historical roots, Argentina and Uruguay. The study is also rooted in a global perspective, linking the region with Italy in the context of the Europe of the time. On this basis, the study is guided by the following main assumption: The specific Italian diaspora generated original spaces of transnational cultural production that had an impact in the River Plate region and in Italy. This is done by studying some of the cultural manifestations of this multifaceted experience. This work is theoretically guided by an integration of perspectives emerging from cosmopolitanism, diasporic criticism and Bakhtinian dialogism. More specifically, when studying autobiographical texts, the research focused on critical essays on life narratives in general and on studies linking this discursive typology to the narratives of the Shoah, including the human capacity for resilience and adaptation in the face of adversity and trauma. The diaspora has created a prolific and unique body of transnational cultural expressions and, moreover, this particular diaspora has proved to be closely linked to the specific nature of the host countries. The findings make contributions to the field of Jewish Latin American Studies and Transatlantic Studies.
ContributorsMarsiglia, Edith (Author) / Volek, Emil (Thesis advisor) / Rosales, Jesus (Committee member) / García-Fernández, Carlos (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT
The analytical sensitivity of Nellie Campobello allows her to perceive and draw several contexts into her fiction. Her work offers the reader a glimpse of the subtle connections between the individual experience and the social milieu that make up history. In the two editions of Cartucho (1931 and 1940) the reader encounters the Mexican Revolution as a plausible setting. By transferring this context into fiction, the author deals with core social matters that fostered the disfunctionality of Mexican society, at the time the novel was written. Furthermore, her intuition allows her to depict in her literary work many aspects of dehumanization that are timeless and universal. This depth of social cognition is expressed freely, producing a literary style that communicates a modern worldview.
Therefore, a critical analysis of the book should supersede historical facts to discern the expression of an object of ethical appreciation. The active reading of Cartucho forces us to appreciate the precise aesthetic form that communicates, through a plurality of voices, history to reconfigure -through discourse- diverse social contexts that are accessible, identifiable and pertinent to readers from different epochs. This is perhaps the value of the book for the social sciences. However, our study seeks to understand the social and historic minutiae of the text to better equip the reader to achieve an ethical catharsis through the reading of fiction. We believe that it is only when the reader surpasses the historic level of discourse that he or she can fully identify himself or herself with the characters, thus restoring their humanity and at the same time becoming more fully human.
SÍNTESIS
El temperamento analítico y sensible de Nellie Campobello le permite abordar aspectos sociológicos de múltiples contextos; derivando además los puntos de contacto entre el desarrollo social y la experiencia individual. Cartucho nos presenta, en sus dos versiones (1931 y 1940), la Revolución Mexicana como un contexto verosímil que permite expresar los temas que preocupan a la autora. A partir de esta ambientación ficcional, ella expone las causas del estado en el que se encuentra la nación en el momento en el que escribe la obra. Además, su intuición la lleva a trazar procesos de deshumanización inherentemente humanos con los que se puede identificar un lector universal. Esta profundidad de pensamiento se formula libremente dando lugar a un estilo propio que comunica una cosmovisión moderna.
Una lectura crítica de la obra debe partir del contexto de la Revolución Mexicana. Pero debe también rebasarlo para observar que Cartucho no es un receptáculo de voces rescatadas del pasado, sino la expresión de un objeto de apreciación ética formulado mediante una estética precisa que complementa y enuncia el discurso de la autora con la pluralidad de voces que reconstituyen, discursivamente, contextos sociales con los que el lector de cualquier época se puede identificar. En esta observación recae el valor de la obra camposiana para las ciencias sociales. Sin embargo, nuestro trabajo busca alcanzar una mejor apreciación del discurso histórico y sociológico para que el mensaje de la obra surta un efecto ético. Consideramos que es mediante este tipo de análisis que el lector logra identificarse con los personajes de Cartucho humanizándolos y humanizándose mediante la lectura de un texto de ficción.
The analytical sensitivity of Nellie Campobello allows her to perceive and draw several contexts into her fiction. Her work offers the reader a glimpse of the subtle connections between the individual experience and the social milieu that make up history. In the two editions of Cartucho (1931 and 1940) the reader encounters the Mexican Revolution as a plausible setting. By transferring this context into fiction, the author deals with core social matters that fostered the disfunctionality of Mexican society, at the time the novel was written. Furthermore, her intuition allows her to depict in her literary work many aspects of dehumanization that are timeless and universal. This depth of social cognition is expressed freely, producing a literary style that communicates a modern worldview.
Therefore, a critical analysis of the book should supersede historical facts to discern the expression of an object of ethical appreciation. The active reading of Cartucho forces us to appreciate the precise aesthetic form that communicates, through a plurality of voices, history to reconfigure -through discourse- diverse social contexts that are accessible, identifiable and pertinent to readers from different epochs. This is perhaps the value of the book for the social sciences. However, our study seeks to understand the social and historic minutiae of the text to better equip the reader to achieve an ethical catharsis through the reading of fiction. We believe that it is only when the reader surpasses the historic level of discourse that he or she can fully identify himself or herself with the characters, thus restoring their humanity and at the same time becoming more fully human.
SÍNTESIS
El temperamento analítico y sensible de Nellie Campobello le permite abordar aspectos sociológicos de múltiples contextos; derivando además los puntos de contacto entre el desarrollo social y la experiencia individual. Cartucho nos presenta, en sus dos versiones (1931 y 1940), la Revolución Mexicana como un contexto verosímil que permite expresar los temas que preocupan a la autora. A partir de esta ambientación ficcional, ella expone las causas del estado en el que se encuentra la nación en el momento en el que escribe la obra. Además, su intuición la lleva a trazar procesos de deshumanización inherentemente humanos con los que se puede identificar un lector universal. Esta profundidad de pensamiento se formula libremente dando lugar a un estilo propio que comunica una cosmovisión moderna.
Una lectura crítica de la obra debe partir del contexto de la Revolución Mexicana. Pero debe también rebasarlo para observar que Cartucho no es un receptáculo de voces rescatadas del pasado, sino la expresión de un objeto de apreciación ética formulado mediante una estética precisa que complementa y enuncia el discurso de la autora con la pluralidad de voces que reconstituyen, discursivamente, contextos sociales con los que el lector de cualquier época se puede identificar. En esta observación recae el valor de la obra camposiana para las ciencias sociales. Sin embargo, nuestro trabajo busca alcanzar una mejor apreciación del discurso histórico y sociológico para que el mensaje de la obra surta un efecto ético. Consideramos que es mediante este tipo de análisis que el lector logra identificarse con los personajes de Cartucho humanizándolos y humanizándose mediante la lectura de un texto de ficción.
ContributorsEstevez, Dulce (Author) / Volek, Emil (Thesis advisor) / García-Fernández, Carlos (Committee member) / Keller, Garry (Committee member) / Arizona State University (Publisher)
Created2014
Description
This dissertation investigates the life and career of singer Celia Cruz and the cultural legacy she has left the Hispanic culture in the United States and the world. It explores the musical journey of the Queen of Salsa and analyzes the different genres and themes that she developed in her performances during the years of her dedication to the public professional career. Among the various topics, this work discusses the African influence on the music of Celia Cruz because she made her first step to fame with the music and lyrics from African religious traditions. Additionally, this project investigates the theme of nostalgia and how Celia Cruz, with her music, helped to perpetuate the nostalgic feelings of Cuban exiles. It surveys the repertoire of songs with nostalgic themes that helps to perpetuate in the memory of the Cuban diaspora, a Cuba that no longer exists and is reflected only in their imagination. This work also examines feminist and queer issues in the life of Celia Cruz, in the lyrics of her songs and in many of her performances. Finally, it explores various stages in Celia Cruz's career that stand out: first, her beginnings in Cuba and Latin America where she soon became known as the Guarachera of Cuba; then, the contribution of Celia Cruz to the salsa music since its appearance in New York, its development in the United States, and its rapid international spread. Similarly, this project shows that Celia Cruz, with her performances worldwide, gained popularity and became the Queen of Salsa. She excelled on indoor and outdoor stages, on the small and big screen, and took her musical talent around the world. Because of her great artistic work, she was recognized for her achievements multiple times and won awards in the United States, Latin America, Africa, Europe, and Asia, finally winning the title of Global Salsa Icon.
ContributorsRodríguez Torres, Caridad Milagros (Author) / Foster, David W (Thesis advisor) / Tompkins, Cynthia M (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2014
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
The hagiographic comedy written by Tirso de Molina Los lagos de San Vicente (1607) presents the journey of Santa Casilda in search of the cure of an illness in her blood that affects her. Casilda rejects the medical assistance offered to her by Muslim doctors and miraculously she finds the cure in the Christian world. In this quest, the intellectual and theological evolution of the future saint in defense of the Christian faith is presented. This dissertation will study the resources that Tirso de Molina employs to show the rejection and displacement against the Islamic world represented by a series of erotic behaviors that, in the effort of dramatizing these impertinences they are characterized within a second discourse. Tirso de Molina takes advantage of the hagiographic comedy's discourse nature and the baroque's obscure literary characteristics to express his messages. This dissertation will study in detail how the combination of hagiographic theatrical elements with linguistic expressions are used to convey a subversive discourse that therefore suggests the application of queer theory as a frame of reference. As a result of this investigation it is concluded that Tirso de Molina promotes the hagiographic model and in order to contrast the triumph of the moral Catholic world over the immoral Muslim world the play writer makes references to the nefarious sin.
ContributorsMurphy, Anayanci (Author) / Foster, David William (Thesis advisor) / Sanchez, Angel (Committee member) / Acereda, Alberto (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Volek, Emil (Committee member) / Arizona State University (Publisher)
Created2011
Description
En esta disertación se exploró el desarrollo del sistema de la literatura infantil decimonónica en México. La investigación se inscribió dentro de una perspectiva interdisciplinaria, exploratoria y descriptiva (e interpretativa, aunque en menor medida) de los aspectos histórico-culturales y literarios a los que pertenece el sistema, autor y obra. En la búsqueda de una todavía limitada pretensión interpretativa, en este estudio se trazó una periodización para caracterizar el desarrollo que la literatura infantil adquiere en los dos períodos delimitados para el siglo XIX: sujeto educando de la divina revelación y sujeto educando de la ciudadanía. Se concluyó que en la fábula compleja de la literatura infantil se introduce y construye un discurso integrador de la nación mexicana. En esta formación identitaria, las publicaciones periódicas y los libros para niños fueron un discurso formativo de fundamental soporte a las políticas sociales que guiaban al país, la joven nación republicana. De igual forma, se recopiló una valiosa información sobre el estado del arte de la literatura infantil latinoamericana y mexicana; se exploraron los textos precursores del haz de escritores fundacionales de la literatura infantil latinoamericana; se delimitó el surgimiento, desarrollo y consolidación de la LI en México y, por último, se compiló una lista de publicaciones sobre historia, consulta y crítica de la literatura infantil y juvenil en Latinoamérica con el propósito de establecer líneas futuras de investigación.
ContributorsRuiz Murrieta, Rosa María (Author) / Murrieta, Rosa Maria R (Thesis advisor) / Volek, Emil (Committee member) / Acereda, Alberto (Committee member) / García-Fernández, Carlos (Committee member) / Arizona State University (Publisher)
Created2012