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- All Subjects: literature
- Creators: Urioste-Azcorra, Carmen
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
This work aims to deepen the construction of identity of the Korean-argentinian through the "koreanity" and "koreanism". Therefore, we will analyze the short story collection La peonia y su sombra (2002) in search of evidence that discover the difficult definition of the "koreanism", or the practice of Korean culture, in which the language is included. The "koreanity" is a feature based on physical traits, while the "koreanism" is defined by the use of the language and the culture. While the "koreanity" is an exogenous factor, and it is well defined, the "koreanism" is defined through cultural impressions that are more difficult to distinguish. To do this we will use the Argentine native vision to find the "koreanism" and, if necessary, will exhibit different forms of subsistence of the "koreanism" in Argentina.
ContributorsLee, Jaekeun (Author) / Foster, David W (Thesis advisor) / De Jesús Hernández-G., Manuel (Committee member) / Tompkins, Cynthia (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 examines neoliberal discourse’s construction and its impact represented in short stories published during the late 1980s and 1990s in the northern and central part of Mexico. Focusing primarily on short stories by authors Luis Humberto Crosthwaite, Rafael Saavedra, Oscar de la Borbolla, and Rosario Sanmiguel, this study analyzes how re-imagined, in their literary texts, the immediate aftermath of neoliberal policies in Mexican’s society, economy, culture, and politics. By re-imagining neoliberalism, I propose that each text creates a dialogue with and a juxtaposition of reality to the rhetoric constructed by the state apparatuses; and, at the same time, by exploring Mexicans’ daily lives, each text offers a different perspective on neoliberalism’s effects on them. Each chapter draws on an interdisciplinary theoretical framework to provide a complete understanding of the origin of neoliberalism, its discursive evolution, its implementation in Mexico, its benefits and consequences, and its influence on the transformation of language, culture, politics, and feminism. Part I discusses the linguistic transformations on the Mexican side of the border after the arrival of neoliberal policies in areas of commerce, as presented in the short stories by Luis Humberto Crosthwaite and Rafael Saavedra. The conclusion of this analysis is that a kind of transitory bilingualism has emerged and, eventually, has become part of Tijuana’s linguistic identity. Part II explores the transformation of Mexico City represented in the book of Ucronías of Oscar de la Borbolla. In this part, I propose that these texts are ucronías políticas (political uchronies) –hybrid, humoristic news reports– that subvert neoliberal discourse by staging the negative effects of neoliberalism through the portrayal of marginalized spaces to make visible those forgotten by an apparently progressive rhetoric. Part III presents a rereading through an economic lens of Callejón Sucre y otros relatos, by Rosario Sanmiguel. The primary argument is that although the short stories in this book present feminist characters, some of them are neoliberal feminists. Neoliberal feminists are women in a privileged position of agency and empowerment; they can or need not accept patriarchal norms, and some characters in these stories decide to accept them.
ContributorsHernandez, Alfredo (Author) / Volek, Emil (Thesis advisor) / Urioste-Azcorra, Carmen (Committee member) / Rosales, Jesus (Committee member) / Arizona State University (Publisher)
Created2023
Description
The surge of the chola alteña in Bolivia as a woman who, after being historically discriminated, has achieved her empowerment through her practices of resistance and agency is a very particular and new phenomenon hardly studied. The contribution of this research is in principle to describe and discover the complexity of this occurrence, but at the same time to open a field of understanding the works of the chola as a preliminary input for alternative feminisms, in accordance to the particularity of each context. As a result, an eclectic perspective from different non-canonical theories stemming from the Americas has been adopted. For example, intersectionality stemming from various social, cultural, racial, and gender contexts is addressed by Kimberlé Crenshaw, Dora Inés Munévar, Ann Phoenix, Breny Mendoza y Sonia Montecinos. Research from Aníbal Quijano, Walter Mignolo and María Lugones proposes the decolonization of knowledge. From a Bolivian perspective, the proposal of communitarian feminism by Julieta Paredes and the chi’xi approach by Silvia Rivera Cusicanqui. At the same time, the documenting of the chola practices has been obtained from non-conventional digital and oral sources. Thus, this research becomes a referent for future feminist research about the chola, but also for understanding other movements and practices of subaltern and discriminated women in similar or different contexts.
The chola is characterized by her peculiar garment which was imposed by the colonizer in the XVIII century, nullifying her indigenous identity. However, this woman has continued to wear it to the present day as much as a tactic of resistance as of empowerment and agency and has transformed it into a current fashion for the valorization of her identity. She is a chi’xi subject who complements or antagonizes opposites without subsuming them. Finally, what guides her practices and strategies are her native cultural values, such as the principle of Living Well, cooperation, reciprocity, and godfatherhood.
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The chola is characterized by her peculiar garment which was imposed by the colonizer in the XVIII century, nullifying her indigenous identity. However, this woman has continued to wear it to the present day as much as a tactic of resistance as of empowerment and agency and has transformed it into a current fashion for the valorization of her identity. She is a chi’xi subject who complements or antagonizes opposites without subsuming them. Finally, what guides her practices and strategies are her native cultural values, such as the principle of Living Well, cooperation, reciprocity, and godfatherhood.
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ContributorsLopez, Norma (Author) / Urioste-Azcorra, Carmen (Thesis advisor) / Foster, David (Committee member) / Thompkins, Cynthia (Committee member) / Arizona State University (Publisher)
Created2019
Description
Due to its interdisciplinary nature, the history of emotions has engaged much scholarly interest. This project draws from the historical, sociological and philosophical research on emotions to analyze the representation of emotions in narratives from Argentina and Chile. This historical investigation posits that socio-political, cultural and economic forces, which are represented in literature and film, shape emotions and emotional standards. The analysis of Rayuela (1963) by Julio Cortázar and Raúl Ruiz’s Tres Tristes Tigres (1968) is centered on the impact of Existentialism, capitalism and modernity on the construction of emotional standards in urban societies. The impact of militant groups in the shaping of collective emotions in Latin America during the 1960s and 70s is examined in Reina Roffé’s novel Monte de Venus (1973) and Aldo Francia’s film Ya no basta con rezar (1972). The analysis of Alberto Fuguet’s Las películas de mi vida (2002) and Pablo Larraín’s No (2012) sheds light on the paradigmatic shift in the construction of emotional standards resulting from the implementation of neoliberalism through dictatorships as well as the insertion into the globalized consumerist culture by way of technology and media. Finally, this project encourages future research of the emotions in literary and cultural studies of Latin America.
ContributorsBondi, Erika (Author) / Tompkins, Cynthia (Thesis advisor) / Foster, David W (Committee member) / Gil-Osle, Juan Pablo (Committee member) / Arizona State University (Publisher)
Created2016
Description
In the last three years, a transition from Catholicism to other religious affiliations has been observed of Hispanic Americans. According to a study by the Pew Research Center in 2013, there are now 24% Hispanics who are now ex-Catholics. This dissertation examines the religious trending away of Chicanas and Chicanos from Catholicism in particular. It contributes to the field of Chicano cultural studies by exploring religious expressions and spiritualities that are an alternative to traditional Catholicism from 1960 to 2014. Chapters One and Two are a foundation to this investigation, as they provide a brief historical contextualization of religiosity in Chicano culture, as well as explain the theoretical framework utilized throughout the dissertation. Chapter Three examines the activism of Reies López Tijerina, a Pentecostal preacher, and Ignacio García, a devout Mormon, in the 1960s and 1970s. Their autobiographies are studied, particularly focusing on how their religion became an integral part to in their awareness as they became involved in the Chicano Movement. Chapter Four explores the representation and relationships between spiritual figures of the Chicana mother in the following works: the artworks Housewife Battles Self (1994) by Max-Carlos Martínez, Tonantzin, the Aztec Earth Goddess (2001) by Dolores Guerrero, and the novels So Far from God (1993) by Ana Castillo and Esperanza’s Box of Saints (1999) by María Amparo Escandón. Finally, Chapter Five presents religious expression and spirituality in the borderlands experience. In this chapter several popular saints are studied, including the Texas curandero, don Pedrito Jaramillo, and the images of Jesús Malverde and la Santa Muerte.
ContributorsBelmonte, Laura Elena (Author) / Rosales, Jesus (Thesis advisor) / Foster, David W (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2016
Description
The popularity that regional Mexican music has achieved in the last years is impressive. The population increase of Mexican nationals in the United States and the availability to share information via web has increased the popularity of the musical genre, specially the subgenres of música norteña and banda. Regarless of the low economic class that is associated with the subgenres of música norteña and banda, nowadays they are a fundamental asset in the music industry, impart to the high volume of sales and popularity. However, even with a high index of popularity at a multinational level, the world of música grupera, how is categorized for subgenres of banda, música norteña, conjunto and duranguense, there is a low number of feminine artist that participate. The participation of women in the gupera world is very scarce, due to the patriarchal hegemony and machismo that spreads through the subgenres. Because of the low participation of women in the subgenres, they get classified the passive voice. The absence of a strong female representation has caused the expansion of a machista message though the songs implemented in the regional Mexican music. This phenomenon can be clearly appreciated in the songs "El carrito" (n.d.). "Disfruté engañarte" (2013), "La fory fay" (2013) and "Soy un desmadre" (2014). Using the ideology of power of Michel Foucault and complemented with the feminism of Hélène Cixious, the analysis and identification of the marginalized women in this examples can be reached. However, even though there are a low number of feminine artists that participate in the subgenres of música norteña and banda, their success has achieved the distortion of the hegemonic barrier imposed on society. Artist like Jenni Rivera and Los Horóscopos de Durango are some of the few artist that have distorted this socio and cultural hegemony that preexist in regional Mexican music. With the success of their songs, they have created a space of feminine expression against the machista message that marginalizes women, and opens new doors of opportunities for others. All this efforts have the intent to create equality of power in the sphere of regional Mexican music.
ContributorsCórdova, Martín (Author) / Hernández-G., Manuel J (Thesis advisor) / Foster, David W (Committee member) / Garcia-Fernandez, Carlos J (Committee member) / Arizona State University (Publisher)
Created2015
Description
Beginning in the late 20th century, Spanish writers have shown great concern for matters relating to the Spanish Civil War (1936-39) and its aftermath. In narratives, they reveal, explicitly or implicitly, hidden events covered by the Franco dictatorship (1939-75). This persistence in their works about the past has been examined as necessary to society in overcoming the terrible events that occurred during the Franco's regime. Also, these narratives stand as a loud voice against impunity regarding crimes committed for almost half a century and the actual ongoing denial of the State to investigate, in depth, the crimes carried out in the past. Within this denial of the State, the disappearance of children took place during the postwar up until the first democratic government, established in 1978.
The objective of this research is to show, via fiction, the oppression and the manipulation of women during the Francoist period through different institutions, among them, Sección Femenina. Also, this study aims to prove that the separation of children from Republican mothers during the dictatorship, and later on from single poor mothers during the early years of the first democracy, was in violation of both the maternity rights of women and the children's rights. This investigation focuses on the novels Mala gente que camina (2006) by Benjamín Prado, Si a los tres años no he vuelto (2011) by Ana R. Cañil and Mientras pueda pensarte (2013) by Inmaculada Chacón. These literary works contest the stealing of children as a legitimized action with the appearance of goodness. The theoretical approaches selected for this study are: the abjection concept of Julia Kristeva, the hegemonic ideology of Antonio Gramsci; and lastly, the legalization of punishment of Michel Foucault.
The originality of this research as thesis lies to shine a light on the novels mentioned above as the evidence of the violation of the rights of motherhood and the biological family as a whole during the Franco dictatorship and again later during the early stages of Spanish democracy.
The objective of this research is to show, via fiction, the oppression and the manipulation of women during the Francoist period through different institutions, among them, Sección Femenina. Also, this study aims to prove that the separation of children from Republican mothers during the dictatorship, and later on from single poor mothers during the early years of the first democracy, was in violation of both the maternity rights of women and the children's rights. This investigation focuses on the novels Mala gente que camina (2006) by Benjamín Prado, Si a los tres años no he vuelto (2011) by Ana R. Cañil and Mientras pueda pensarte (2013) by Inmaculada Chacón. These literary works contest the stealing of children as a legitimized action with the appearance of goodness. The theoretical approaches selected for this study are: the abjection concept of Julia Kristeva, the hegemonic ideology of Antonio Gramsci; and lastly, the legalization of punishment of Michel Foucault.
The originality of this research as thesis lies to shine a light on the novels mentioned above as the evidence of the violation of the rights of motherhood and the biological family as a whole during the Franco dictatorship and again later during the early stages of Spanish democracy.
ContributorsAcosta-Cadena, Elizabeth (Author) / Urioste-Azcorra, Carmen (Thesis advisor) / Hernández, Manuel D (Committee member) / Tompkins, Cynthia M (Committee member) / Arizona State University (Publisher)
Created2015
Description
In this work we review certain biographical and historical data concerning Sor Juana and María Luisa, Condesa de Paredes. In addition, we have chosen Ovillejos 214, Romance 61, Redondillas 90 and 91 as poems that provides important insight into their relationship of patronage and friendship. In order to delineate theoretically both aspects of this relationship --the public and the personal-- we make use of the concept of ekphrasis proposed by Frederick de Armas. This concept is applied to the analysis of Romance 61, which is in the tradition of the lyrical Petrarchan portrait. Redondillas 90 and 91 are examined from the theoretical perspective of Cicero's amicitia, which serves to define an alternative model of feminine amicitia. In constructing this model, we review the written criticism surrounding María de Zayas' comedy, La traición en la amistad (1635). This criticism insists on a certain configuration of feminine friendship necessary for understanding the relationship between the two women. As is demonstrated in the analysis of the poems, the two women developed a mutual and permanent affection for one another until the death of Sor Juana in 1695. The Condesa de Paredes also provided practical support to Sor Juana for the publication of her first book, Inundación castálida (1689), which launched her to literary fame. To date there have been no critical studies that apply the concepts of ekphrasis and feminine friendship to the study of anecdotal clues found in the poems of Sor Juana for analyzing the nature of her relationship with the Condesa. This is the contribution of the present work.
ContributorsZaragoza-Huerta, Susana (Author) / Volek, Emil (Thesis advisor) / Gil-Osle, Juan Pablo (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2014