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- All Subjects: Latin American History
- All Subjects: American literature--Hispanic American authors--History and criticism.
- Creators: Acereda, Alberto
Description
Antonio López de Santa Anna (1794-1876) is considered as one of the biggest villains of Mexican history. This frequent president in the first decades of Independence of México is the main character portrayed in the novels analyzed in this dissertation: Su alteza serenísima (1895-1896) by Ireneo Paz, Santa Anna, el dictador resplandeciente (1936) by Rafael F. Muñoz, El seductor de la patria (1999) by Enrique Serna, and México mutilado (2006) by Francisco Martín Moreno. Many Mexican novelists have tackled iconic personalities from Mexican history. However, based upon the historical context that occurred within their lifetime, each author takes a different approach to the story and characters they portray. In the novel Su alteza serenísima, Santa Anna is presented with identical characteristics as in the official history. That was written for other liberals, like Paz, the author. In El dictador resplandeciente an image almost romantic of the leader is presented through the valorization of his role in history. The narrator shows the contradictions of Santa Anna, who was a hero and villain. Santa Anna is presented from different perspectives in El seductor de la patria. The narrator uses Santa Anna's voice projecting a consciousness of the future's judgment of history upon his actions and the voices of "the others" that live around him. In México mutilado Santa Anna is presented from the same perspective as the official history, although other traitors are added to distribute the fault among various important figures. This dissertation works through the analysis of the discursive mechanisms used in these novels, of the configuration of the message that they wish to convey to the reader, of the level of re-writing official history, of the perspective from which each author is reviewing the history, of the recount of what historical aspects and voices were chosen for inclusion in each novel, and through the evaluation of how the authors recover the figure of Santa Anna. This study follows an eclectic model of cultural commentary, taking up critical concepts from Latin American literary scholars such as Perkowska, Pons, Jitrik, Aínsa, among others.
ContributorsSigüenza Ponce, Olga (Author) / Volek, Emil (Thesis advisor) / Acereda, Alberto (Committee member) / Hernández-Gutierrez, Manuel J (Committee member) / Arizona State University (Publisher)
Created2011
Description
The revolution that took place in Nicaragua during the 70's led the country into misery; this war was a consequence of the Somoza dictatorship that had been in power for forty-five years. The Nicaraguan people were hoping to recover their peace and freedom by rising in arms against the dictatorship. Augusto Cesar Sandino is known to be the most significant patriotic figure for the Sandinista revolutionaries. His legacy inspired the foundation of the revolutionary party Frente Sandinista de Liberación Nacional (FSLN). The FSLN was able to overthrow the Anastasio Somoza regime and declared their victory on July 19, 1979. The memories of the Sandinista Revolution are portrayed in the autobiographies of two Nicaraguan writers: Gioconda Belli and Sergio Ramirez. El país bajo mi piel (2001) y Adiós muchachos. Una memoria de la revolución sandinista (1999) are the texts analyzed in this study as part of those remembrances that revive the most significant events of the revolution from very unique perspectives. In order to develop this analysis we have consider the theoretical work of Phillip Lejeune. We have based our research in his definition of autobiography, his concept of autobiographical pact and the idea of contract between author and reader. Also, we have incorporated Evelyne Ender´s research on memory as the principal element in the literary construction of reminiscences. Ender explains the role of the rememberer, who is responsible of constructing their memories based on a subjective, cognitive, emotional and esthetic performance. At the same time, we have included the concept of biographical space explained by Leonor Arfuch, which is perceived as multi-faced space where different tendencies coexist. The purpose of this study is to explore the autobiographies of these Nicaraguan writers as an esthetical process where remembrances of the Sandinista Revolution come to live in a prose reflective narrative. Analyzing Belli and Ramirez's memoirs, we perceived their private and public stories of life that depict the most significant events of their lives and nation. The Sandinista Revolution is part of the Nicaraguan history and it cannot be forgotten that's the purpose behind this autobiographies to document these transcendental happenings.
ContributorsMorales, Nallely (Author) / Volek, Emil (Thesis advisor) / Acereda, Alberto (Committee member) / García-Fernández, Carlos J. (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