Relevant bibliographies by topics / Epigrams, mexican

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Academic literature on the topic 'Epigrams, mexican'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Epigrams, mexican"

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French, Lydia A. "Woman Hollering Creek a Través de la Música." Aztlán: A Journal of Chicano Studies 36, no. 1 (2011): 99–127. http://dx.doi.org/10.1525/azt.2011.36.1.99.

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This essay intervenes in contemporary scholarship on Sandra Cisneros’s Woman Hollering Creek (1991) by examining the canciones she uses as epigraphs and their relationship to the multiple nationalisms that Chicana/os actively negotiate. I argue that Cisneros’s decision to include powerfully nationalist Mexican canción traditions directs the reader-listener to the role that mexicanidad plays in the collection’s stories and in Chicana/o nationalism and identity more generally. This examination of the songs reveals Cisneros’s critique of a wholesale adoption of discourses of Mexico that depict me
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2

González Arce, Teresa. "Reflejos de schwob en Arreola: Vidas imaginarias en "Nabónides" y "Epitafio"." Revista de Filología y Lingüística de la Universidad de Costa Rica 36, no. 2 (2012): 87. http://dx.doi.org/10.15517/rfl.v36i2.1106.

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En Vidas imaginarias, el escritor francés Marcel Schwob elabora las biografías de veintidós personajes marginales con respecto a los grandes relatos históricos. La atención a lo secundario, la libertad con respecto a los datos verídicos y la asimilación entre la vida y la obra de los escritores incluidos son algunas de las características de un modelo estético que el escritor mexicano Juan José Arreola hace suyo. A partir de dos textos de Arreola –“Nabónides y “Epitafio”– y apoyándose en consideraciones genéricas sobre las formas literarias que intervienen en las obras de ambos escritores –el
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3

Sasikala, P., and M. Muthumeena. "Food as an Imagery in Laura Beatriz Esquivel Valdes’ Like Water for Chocolate." Shanlax International Journal of Arts, Science and Humanities 11, S5 (2024): 21–25. http://dx.doi.org/10.34293/sijash.v11is5.7645.

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The captivating novel Like Water for Chocolate by Laura Esquivel was translated into English by Carol and Thomas Christensen. This book has been a worldwide bestseller since it was published in 1993. Magical realism, love, and tradition are among the book’s key themes. Tita, a young Mexican woman whose emotions and cooking are closely related, is the protagonist of the story. Her emotions are evident in every meal she prepares, and the effects it has on those who consume it are often unexpected. The constraints of patriarchy, familial expectations, and the power of passion are all explored in
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Books on the topic "Epigrams, mexican"

1

Dufoo, Carlos Díaz. Epigramas. Tumbona Ediciones, 2008.

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2

Vigil, Arnulfo. Epigramas de amor y de ira. Alebrije Ediciones, 1993.

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Book chapters on the topic "Epigrams, mexican"

1

"Epigraph." In Mexican Labor and World War II. University of Washington Press, 2015. https://doi.org/10.1515/9780295998398-004.

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Gladoshchuk, Anastasia V. "God on Earth: Mexican Reception of Notes from Underground." In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-607-615.

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The paper focuses on two short stories from the collection “God on Earth” (1944) of the Mexican author Jose Revueltas (1914–1976). The texts are being analysed in the perspective suggested by the only epigraph which is a citation from the IX chapter of the first part of Notes from the Underground: “And yet I think man will never renounce real suffering, that is, destruction and chaos”. It is being argued that Revueltas didn’t read Dostoevski directly, but through Lev Chestov’s essay The Conquest of the Self-Evident (1921). Forming a conceptual mark, the first (God on Earth) and the last (How g
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3

Alonso-Minutti, Ana R. "Permuting Cage, Permuting Music." In Mario Lavista. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190212728.003.0003.

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Abstract This chapter explores Mario Lavista’s relationship with U.S. composer John Cage (1912–1992). A close look at Lavista’s adoption of Cage’s philosophy shows that, through performative processes of interpretation and resignification, Cage becomes a symbol, Cage-the-jaula—a container that, far from being restrictive, allows for multiple permutations. Lavista and his collaborators embraced chance, indeterminacy, and graphic scores in response to a performative engagement with Cage. In conjunction with visual artist Arnaldo Coen, Lavista created the graphic score Jaula for prepared piano as
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