Journal articles: 'Mexican literary culture'

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Rodrííguez, Blanca. "Fronteras y literatura: El perióódico La Patria (El Paso, Texas, 1919-1925)." Mexican Studies/Estudios Mexicanos 19, no. 1 (2003): 107–25. http://dx.doi.org/10.1525/msem.2003.19.1.107.

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This essay examines the contributions of the newspaper La Patria, published in El Paso, Texas, from 1919 to 1925, to the formation of a literary culture. Based on research in the archives of the paper's founder, Silvestre Terrazas, the essay discusses the political identity of the newspaper, its production and distribution, as well as various literary and journalistic genres given voice in the paper. The author also assesses the role of the Mexican press in the United States in establishing the foundation for the Spanish literary boom on both sides of the border. The study also attempts to rescue Mexican journalism born beyond our border. Sustentado en el archivo de Silvestre Terrazas y en el perióódico La Patria, este ensayo examina principalmente sus contribuciones a la formacióón de una cultura literaria. Se ofrece una semblanza de su filiacióón políítica y datos sobre su produccióón y distribucióón; informa sobre la difusióón de algunos gééneros literarios y periodíísticos para concluir con una valoracióón de la prensa mexicana en los Estados Unidos, que sentóó algunas bases para el auge literario en españñol en ambas fronteras.

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Alvarez, Alma Rosa. "National Traitors In Chicano Culture and Literature: Malinche and Chicano Homosexuals." Ethnic Studies Review 20, no. 1 (1997): 1–10. http://dx.doi.org/10.1525/esr.1997.20.1.1.

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This article examines the literary representation of a treatment of homosexuality in Mexican/Chicano culture. In this study, Alvarez argues that this cultural treatment is rooted in the gender paradigm central to Mexican/Chicano culture: the narrative of La Malinche.

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McGuire, Sarah. "The representation of machismo in literary journalism: How Luis Alberto Urrea, Ruben Martinez, and Mexicans narrate stories of machismo." SURG Journal 6, no. 2 (2013): 49–54. http://dx.doi.org/10.21083/surg.v6i2.2062.

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This article uses critical discourse on the genre of literary journalism to conceptualize machismo as a primary means of representing the male gender in Mexico. The way gender and machismo are socially constructed and the stories Mexican men tell themselves about machismo influences their performance of it. This article addresses issues of gender representation and discusses what literary techniques authors of literary journalism employ to investigate the construction of Mexican masculinity. Modern day conceptions of machismo are still associated with traditional connotations of hyper-masculinity; it is a socially prescribed role internalized as the public ideal acting to inform women of societal expectations of men. Engrained deep in the culture, machismo is to a degree exacerbated by alcohol, leading to violence and spousal abuse. One major question is whether literary journalism can lead to a greater truth if authors use stylistic techniques that limit the reader’s understanding of how conclusions were formed. However, this question is inconsequential if it can lead people to find their own truths and start social change. Whether the actual connotations of machismo within the Mexican culture are changing is minor compared to whether Mexicans can reach a higher truth by negotiating the representation of gender and machismo in their own lives. How machismo is represented can lead to social change as stories are constantly changing.  Keywords: machismo (representations of); male gender (social constructions of); gender representation; Mexico; stylistic techniques (writing); literary journalism

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Ángel Miquel. "A Difficult Assimilation: American Silent Movies and Mexican Literary Culture." Film History 29, no. 1 (2017): 84. http://dx.doi.org/10.2979/filmhistory.29.1.05.

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Vilches, Patricia. "Cervantes, Lizardi, and the Literary Construction of The Mexican Rogue in Don Catrín de la fachenda." Open Cultural Studies 1, no. 1 (2017): 428–41. http://dx.doi.org/10.1515/culture-2017-0040.

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Abstract This study explores the socio-economic legacies and critique of nation-building found in the work of Jose Joaquin Fernandez de Lizardi (1776-1827). In the nineteenth century, the Latin American elite struggled to disassociate itself from a suffocating colonial machine; they sought their own identity, and writing became a way to express their frustration. As in other parts of Latin America, Mexican intellectuals protested fossilisation via Cervantes’s Don Quijote. Using the Spanish author’s text as a blueprint, Lizardi’s Don Catrín de la fachenda depicted a turbulent society that was in the process of abandoning a decaying colonial order. Don Quijote’s characters engaged in power struggles and were involved in a variety of forms of social antagonism. Lizardi juxtaposed and superimposed these on an American geographical and socio-economic space where there was much dissension around the nation’s direction. The social and economic rules of Mexico (and Latin America) today can be said to be already present in the social exchanges in Don Catrín. It was in this context that Don Quijote was “Mexicanised” by Lizardi and thereby made to participate in local reflections on liberty, patriotism, capitalism, and citizenship. Cervantes’s text thus took on a socio-political meaning in the narrative of Latin America’s past and present.

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Monsiváis, Carlos, and Lois Parkinson Zamora. "The Neobaroque and Popular Culture." PMLA/Publications of the Modern Language Association of America 124, no. 1 (2009): 180–88. http://dx.doi.org/10.1632/pmla.2009.124.1.180.

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Carlos Monsiváis is hard to pin down. He is a chronicler of every aspect of Mexican reality past and present; A cultural critic focusing on poetry, film, art, and music; and an erudite essayist committed to the connections between elite and popular cultures. His style is both acerbic and festive in ways that epitomize the Mexican character, and nothing escapes his incisive curiosity: the cult of national heroes that finds its twin in the society of spectacle, the cultural migrations between television talk and devotional discourse, the mass movements that advance and recede in a welter of democratic projects. As an intellectual, Carlos Monsiváis is unique in (and to) Mexico. You cannot walk in this country without seeing or hearing him on every street corner, nor can you open a book without sensing his influence. His presence is so omnímoda—so omnimodal—that we no longer know which came first: Mexican culture as Monsiváis observes it, or Monsiváis observing Mexican culture.

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Maszewska, Jadwiga. "Mexican Village: Josefina Niggli’s Border Crossing Narrative." Text Matters, no. 8 (October 24, 2018): 353–64. http://dx.doi.org/10.1515/texmat-2018-0021.

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The paper presents Josefina Niggli (1910–83), an American mid-twentieth-century writer who was born and grew up in Mexico, and her novel Mexican Village (1945). A connoisseur of Mexican culture and tradition, and at the same time conscious of the stereotypical perceptions of Mexico in the United States, Niggli saw it as her literary goal to “reveal” the “true” Mexico as she remembered it to her American readers. Somewhat forgotten for several decades, Niggli, preoccupied with issues of marginalization, hybridization, and ambiguity, is now becoming of interest to literary critics as a forerunner of Chicano/a literature. In her novel Mexican Village, set in the times of the Mexican Revolution, she creates a prototypical bicultural and bilingual Chicano protagonist, who becomes witness to the rise of Mexico’s modern national identity.

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Lopez, M. "The Emergence of Mexican America: Recovering Stories of Mexican Peoplehood in U.S. Culture; The Borderlands of Culture: Americo Paredes and the Transnational Imaginary." American Literature 81, no. 2 (2009): 405–7. http://dx.doi.org/10.1215/00029831-2009-014.

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Rich, Paul, and Guillermo De Los Reyes. "Mexican Caricature and the Politics of Popular Culture." Journal of Popular Culture 30, no. 1 (1996): 133–45. http://dx.doi.org/10.1111/j.0022-3840.1996.00133.x.

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Zoreda, Margaret Lee. "Anglophone Popular Culture in the Mexican University English Curriculum." Journal of Popular Culture 30, no. 1 (1996): 103–14. http://dx.doi.org/10.1111/j.0022-3840.1996.545103.x.

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Staten, Henry. "Ethnic Authenticity, Class, and Autobiography: The Case of Hunger of Memory." PMLA/Publications of the Modern Language Association of America 113, no. 1 (1998): 103–16. http://dx.doi.org/10.2307/463412.

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Richard Rodriguez's autobiographical Hunger of Memory (1982) is assigned to Chicano-Chicana literature because the book tells a story of growing up the child of Mexican immigrants, but Rodriguez rejects the term Chicano for himself and denies that it is possible or desirable for Americans of Mexican descent to retain an identification with their culture of origin. Rodriguez has been widely criticized as a sellout to white bourgeois culture, but his life narrative shows that his rejection of Chicano identity is rooted in the class-and-race ideology of his Mexican parents and thus in the contradictions of Mexican history. Chicano-Chicana nationalism assumes a simple dichotomy between the proletarian mestizo or mestiza and the bourgeois white oppressor. Rodriguez's family history, however, points toward race and class divisions within the population of Mexican descent that call into question the monolithic conceptions of Chicano-Chicana identity on the basis of which Rodriguez has been attacked.

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Khalid, Najwa A. "Cultural Ecofeminism in Pat Mora's Poetry." Al-Adab Journal 1, no. 136 (2021): 107–20. http://dx.doi.org/10.31973/aj.v1i136.1027.

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Eco-feminist writers, in general, investigate the relationship between the oppression of women and the degradation of nature. Cultural ecofeminism, as a branch of ecofeminism, reclaims the twinning of nature with women in terms of productivity and bounty. Cultural eco-feminists emphasize a kind of affinity between elements of nature such as land, woods, desert….etc. and women, in an attempt to reach out to a better cultural community. They try to integrate their views of nature with culture. With such perspective, the current study approaches the poetry of the Mexican American poet, Pat Mora (1942-). Mora's attachment to the Mexican environment and culture greatly influences her literary output which is imbued with images of the desert stressing the cultural concept of the desert as a mother who is endowed with a healing power. She believes that one's culture and environment knit one's heritage and the process of recovering heritage conditions reviving cultural traditions, concepts, practices, values, beliefs and character of place. Thus, her writings focus on the cultural value of land, of communal identities and the Latino mythologies. She depicts Latino people who dwell in a harsh desert from which she unearths the stories of the past to heal the present with special emphasis on the role of land/ desert as a healer by exploiting the image of the curandera, the woman healer in the Mexican culture.

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Duran, Javier. "Nation and Translation: The "Pachuco" in Mexican Popular Culture: German Valdez's Tin Tan." Journal of the Midwest Modern Language Association 35, no. 2 (2002): 41. http://dx.doi.org/10.2307/1315165.

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Montgomery, Harper. "Introduction to Carlos Mérida's “The True Meaning of the Work of Saturnino Herrán”." ARTMargins 7, no. 1 (2018): 115–27. http://dx.doi.org/10.1162/artm_a_00203.

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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Saturnino Herrán: The False Critics,” Mérida lashed out at Mexican critics for praising Herrán as the best and most Mexican painter of the time, arguing, instead that the realism and sentimentalism of Herrán's paintings dishonored national themes by presenting them as picturesque stereotypes. Published in the widely-read magazine El Universal Ilustrado, the text attacks Herrán's paintings and the critics who praise them while also arguing that the predominance of the artist is symptomatic of the predominant problem of the literary nature of Mexican artists’ engagement with autochthonous art and culture.

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Mérida, Carlos. "The True Meaning of the Work of Saturnino Herrán: The False Critics." ARTMargins 7, no. 1 (2018): 128–30. http://dx.doi.org/10.1162/artm_a_00204.

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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Saturnino Herrán: The False Critics,” Mérida lashed out at Mexican critics for praising Herrán as the best and most Mexican painter of the time, arguing, instead that the realism and sentimentalism of Herrán's paintings dishonored national themes by presenting them as picturesque stereotypes. Published in the widely-read magazine El Universal Ilustrado, the text attacks Herrán's paintings and the critics who praise them while also arguing that the predominance of the artist is symptomatic of the predominant problem of the literary nature of Mexican artists’ engagement with autochthonous art and culture.

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Marta Marini, Anna. "The Hybridization Of The Noir Genre As Expression Of Ethnic Heritage: Rafael Navarro’s Sonambulo." Revista de Estudios Norteamericanos, no. 25 (2021): 137–61. http://dx.doi.org/10.12795/ren.2021.i25.07.

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In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as ethnocultural pivots, this comic book series carves out a definite space in the panorama of the Mexican American production of popular culture, adding a powerful voice to the expression of US ethnic minorities.

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Vasconcelos, José, and Ruben Gallo. "The First Published Review of Octavio Paz's The Labyrinth of Solitude." PMLA/Publications of the Modern Language Association of America 121, no. 5 (2006): 1509–11. http://dx.doi.org/10.1632/pmla.2006.121.5.1509.

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UNTIL RECENTLY, LITERARY HISTORIANS BELIEVED THAT OCTAVIO PAZ'S THE LABYRINTH OF SOLITUDE (EL LABERINTO DE LA S0LEDAD)—NOW considered one of the most influential analyses of Mexican culture written in the twentieth century—was ignored by Mexico's intellectuals for several years after its publication in February 1950. The country's most influential thinkers, from Samuel Ramos to Alfonso Reyes, remained silent after the book's release, even though Paz touched on many subjects, from political history to the origins of national identity, that they had explored in their work. The Labyrinth received only a handful of reviews, mostly by minor writers who merely summarized its arguments. The critic Enrico Mario Santf has interpreted this silence as a veiled form of ninguneo, the passive-aggressive tendency to turn one's adversaries into “nobodies” by ignoring their work—one of the vicissitudes of Mexican cultural life analyzed in The Labyrinth (49).

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Downs, Cathy, and LuAnne Ktiri-Idrissi. "Comparing South Texas and Qatari readers’ responses to short stories from three cultures." Learning and Teaching in Higher Education: Gulf Perspectives 11, no. 2 (2014): 68–90. http://dx.doi.org/10.18538/lthe.v11.n2.153.

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Emotional and interpretive responses to three short stories were noted in two study populations of similar age: Qatari students in a post-highschool foundation program preparing to attend branch campuses of western universities located in Qatar, and American students, many of Mexican-American heritage, from a small college in a rural setting in South Texas. It has long been thought that reading literature from a foreign culture confers educational value on the reader; in this investigation the nature of that ‘value’ was placed under study. Written responses to quiz questions or assignments were used as data; responses critical of or affirming of character, setting, plot, and literary tropes were particularly noted. Our data show that readings from an author whose culture was similar to the reader’s created interest and urged both intellectual and affective types of understanding, such as remembering, grieving, healing, forgiving, and feeling pride. Readings from ‘classic’ literature presented in historical context strongly enabled critical discussion among students in a multicultural setting, since the author’s absence from the scene ‘allows’ free conversation about his or her work without fear of insulting the author’s culture. Readings by contemporary writers from outside the reader’s culture, or ‘multicultural literature’, may cause some readers to shy away from the challenge of understanding another culture or to voice stereotypes instead of seeking ideas. Readings from outsider cultures, however, and the affective distancing of ‘othering’, enable the well-prepared educator and student to discuss how culture patterns our lives.

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Streeby, S. "Labor, Memory, and the Boundaries of Print Culture: From Haymarket to the Mexican Revolution." American Literary History 19, no. 2 (2007): 406–33. http://dx.doi.org/10.1093/alh/ajm008.

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Kępka, Malwina. "Two Women, Two Literatures and One Fight for Dignity and Voice in the Society - About the Mexican Jesusa of Elena Poniatowska and the Polish Marta of Eliza Orzeszkowa." CLEaR 4, no. 1 (2017): 1–10. http://dx.doi.org/10.1515/clear-2017-0001.

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Abstract Over the last centuries women have fought for their rights. On the pages of literature appeared hundreds of heroines who wanted to change the world. Poniatowska and Orzeszkowa - two women from distant cultures and times - created outstanding literary characters. The novel of Elena Poniatowska, published in 1969, was the chronicle of 20th century in Mexico, which included documentary material about Jesusa Palancares and her story about the revolution in 1910. The work is the epic of the folk hero closed in the labyrinth of solitude and attempt to determine his own character. Jesusa will be compared with Marta, the main character of Eliza Orzeszkowa’s novel, which was published in 1873 and is dedicated to the social rights of women. This contribution aims to discuss the literary techniques and topics in works of the important women-writers in Poland and Mexico. This paper analyses the novels not through feminism, but through the study of culture and politics. In the comparative analysis of Marta and Hasta no verte Jesús mío the paper shows similarities and diversities in the texts, considering differences in national identity and similar social-political situation as a bridge between the cultures.

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Bratzel, John F. "History, Culture, and the Mexican-American War: Robert Lewis Taylor's Two Roads to Guadalupé." Journal of Popular Culture 35, no. 2 (2001): 51–59. http://dx.doi.org/10.1111/j.0022-3840.2001.00051.x.

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Haidar, Julieta, and Eduardo Chávez Herrera. "Narcoculture? Narco-trafficking as a semiosphere of anticulture." Semiotica 2018, no. 222 (2018): 133–62. http://dx.doi.org/10.1515/sem-2016-0151.

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AbstractIn this paper we approach a current issue related to the so-called concept of narcoculture. Several works in Latin America and the United States have addressed this matter and not only accept the term narcoculture, but also stress both the symbolic and aesthetic perspectives. In order to rethink the concept of narcoculture from different angles, we appeal to Juri Lotman and Boris Uspensky’s proposals regarding the concepts of culture, non-culture and anticulture. Rather than accept and reproduce the concept of narcoculture, by means of linking Lotman and Uspensky’s approach with the standpoint of complexity thinking and transdisciplinarity, we propose the treatment of drug trafficking as a semiosphere of anticulture. We emphasize the contradictions inherent in the actors dwelling in this semiosphere, incorporating reflections from chaotic and barbaric processes designed to wreak havoc in Mexican society. The common acceptance of the concept of narcoculture does not acknowledge the current devastation and bloodshed produced by narco-traffickers and others in cahoots with the Mexican government and its militarized drug war strategy. During the last few decades, drug trafficking has inspired organized crime and their actors, spurring the representation of everyday societal features such as music, fashion, architecture, or traffickers’ social status.

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Díaz-Dávalos, Angel M. "Tales of (Self-)Destruction." Mexican Studies/Estudios Mexicanos 37, no. 2 (2021): 290–314. http://dx.doi.org/10.1525/msem.2021.37.2.290.

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Narconarratives often portray drug-trafficking culture through an “us versus them” or “friend versus enemy” Manicheism. This dichotomy erases the role of the government in the history of narcoviolence and reproduces a formulaic and a marketable “good versus evil” distinction commonly found throughout the Mexican literary field. In this article, I analyze two short stories that deconstruct this narrative, “Z” (Julián Herbert) and “Hombres armados” (Daniel Espartaco Sánchez), from the collection Narcocuentos. I approach these stories through the concept of biopolitics, emphasizing the relationship between state and (il)legal violence(s), as well as the authors’ positions in the literary field. These stories reframe the friend-versus-enemy rhetoric, offering unidentifiable perpetrators and victims instead. Moreover, they challenge the hegemonic discourse by using two figures that thrive at the boundaries between life and death: the zombie and the homo sacer. However, the anthology’s failure to attract a wide readership reveals that Herbert’s and Espartaco Sánchez’s attempts to subvert the traditional drug-trafficking “grand narrative” has not been commercially successful in challenging the deeply engrained us-versus-them Manicheism.

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Guerrero, Gustavo. "Andrés Sánchez Robayna, latitudes americanas." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 29 (January 31, 2018): 173–82. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018292557.

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Este artículo propone una lectura postcolonial de los numerosos vínculos lazos que la obra del poeta canario Andrés Sánchez Robayna (1952) teje con el mundo latinoamericano y, en particular, con el pensamiento del poeta cubano José Lezama Lima (1910-1976), del mexicano Octavio Paz (1914-1998) y del brasileño Haroldo de Campos (1929-2003). Dichos lazos son interpretados como parte de un proyecto poético y político que busca simultáneamente en la realidad canaria y en su vocación atlántica, las materias y los patrones necesarios para componer una obra singular, autónoma y dialogante, capaz de apropiarse críticamente de su pasado y de generar asimismo espacios para defender el ideal de un cosmopolitismo plural y disruptivo. This article offers a postcolonial reading of the tight bonds that the work of the Canary poet Andrés Sánchez Robayna (1952) weaves with the Latin American culture and, in particular, with the literary thought of Cuban poet Jose Lezama Lima (1910-1976), Mexican Octavio Paz (1914-1998) and Brazilian Haroldo de Campos (1929-2003). These relations are interpreted here as part of a poetic and political project, seeking simultaneously in the Canarian reality and in its Atlantic counterpart, the examples and the necessary patterns to compose a singular, autonomous and dialogical work, capable of critically appropriating the past and of generating also a new space to defend the ideal of a plural and disrupting cosmopolitanism.

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Connaughton, Brian. "Embracing Hugh Blair. Rhetoric, Faith and Citizenship in 19th Century Mexico." Anuario de Historia de América Latina 56 (December 19, 2019): 319–43. http://dx.doi.org/10.15460/jbla.56.149.

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This is a study of the key role of Hugh Blair, a Scottish Enlightened scholar and minister, in the understanding and teaching of rhetoric in a quarrelsome 19th-Century Mexico. His role as a master of multiple rhetorical forms, including legal prose, literary production and the sermon, emphasized effective communication to a broadening public audience in an age of expanding citizenship. First his Lectures on Rhetoric and Belles Lettres, and then several selections of his sermons, were introduced in Spanish to the Mexican public. Somewhat surprisingly, his works were highly celebrated and widely recommended, by persons on the whole political spectrum, with virtually no discussion of Blair’s political concerns or religious faith. His approach was useful, it was made clear, in a more fluid society aimed at modernization, but simultaneously contained a top-down view of life in society which seriously restricted sensitivity to the voice of common people. This article discusses his general acclaim and those limitations within the context of local and Atlantic history, taking into account the critical views of some of the numerous authors who have studied Blair’s work and his enormous influence during the 19th century. In the perspectives offered, his impact can be judged more critically in terms of an undoubtedly changing Mexican political culture, but one simultaneously opening and closing admission to effective citizenship.

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Taylor, Diana. "Culture Across Borders: Mexican Immigration & Popular Culture. Edited by David R. Maciel and María Herrera-Sobek. Tucson: University of Arizona Press, 1998; 268 pp. $16.95." TDR/The Drama Review 43, no. 2 (1999): 154–57. http://dx.doi.org/10.1162/dram.1999.43.2.154.

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Nair María, Anaya-Ferreira. "Teaching Literature under the Volcano." PMLA/Publications of the Modern Language Association of America 131, no. 5 (2016): 1523–26. http://dx.doi.org/10.1632/pmla.2016.131.5.1523.

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I Have Been Teaching Literatures in English for Over Twenty-Five Years at the Universidad Nacional AutóNoma de México (Unam), Mexico's national university, where I received my undergraduate degree. My formative years were marked, undoubtedly, by the universalist ideal that defines the motto of the university, “Por mi raza hablará el espíritu” (“The spirit will speak on behalf of my race”). I cannot recall whether I was aware of the motto's real meaning, or of its cultural and social implications, but I suppose I took for granted that what I was taught as a student was as much part of a Mexican culture as it was of a “universal” one. Reading English literature at the department of modern languages and literatures in the late 1970s meant that I was exposed to a canonical view of literature shaped as much by The Oxford Anthology of English Literature and by our lecturers' (primarily) aesthetic approach to it as by the idea of “universal” literature conveyed in the textbooks for elementary and secondary education in Mexico. This conviction that as a Mexican I belonged to “Western” civilization greatly diminished when in the early 1980s I traveled to London for graduate studies and was almost shattered by the attitudes I encountered while conducting my doctoral research on the image of Latin America in British fiction. I was often asked whether I had ever seen a car (let alone ridden in one), or if there was electricity in my country, and the ambivalent, mostly negative, view of Latin Americans and Mexicans in what I read (authors like Joseph Conrad, D. H. Lawrence, Graham Greene, and Aldous Huxley, as well as more than three hundred adventure novels set in the continent) forced me to question the idea that one ought to read literature merely for the enjoyment (and admiration) of it or to analyze it with assumptions that fall roughly in the category of “expressive,” or “mimetic,” criticism, which was common in those days and often took the form of monographic studies, which relied heavily on paraphrase.

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Muñoz, Elizabeth Cummins. "La historia encarnada, Llanto de Carmen Boullosa." Mexican Studies/Estudios Mexicanos 29, no. 2 (2013): 459–77. http://dx.doi.org/10.1525/msem.2013.29.2.459.

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En su novela Llanto, novelas imposibles (1992), Carmen Boullosa explora el uso del cuerpo como una herramienta epistemológica para indagar en las tensiones entre el discurso tradicional de la historia mexicana y la lógica literaria de la novela moderna. Desde su momento posmoderno, la autora reconoce que la historiografía tradicional ya no es fiable y quiere encontrar el significado perdido mediante la dramatización literaria del cuerpo histórico y su entorno físico. Al fracasar como novela histórica moderna, su proyecto cumple con un rito íntimo y personal en el que la ausencia del pasado indígena colectivo se asimila por un proceso de duelo individual que está firmemente localizado en el cuerpo y representado por el llanto. In her novel Llanto, novelas imposibles (1992), Carmen Boullosa explores the body as an epistemological means to examine the tensions between the traditional discourse of Mexican history and the literary logic of the modern novel. From her postmodern stance, she recognizes that traditional historiography is no longer reliable and wants to recover meaning through a literary dramatization of the historical body and its physical environment. Her project fails as a modern historical novel, but undergoes an intimate and personal rite in which the absence of the collective indigenous past is assimilated through an individual grieving process firmly located in the body and represented by tears.

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Gondor-Wierciuch, Agnieszka. "Ethnic and Feminist Homecoming in “ Eyes of Zapata” by Sandra Cisneros." Kultura Popularna 4, no. 58 (2018): 40–49. http://dx.doi.org/10.5604/01.3001.0012.8080.

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In her short story published in 1991 collection Woman Hollering Creek and Other Stories Chicana writer Sandra Cisneros addresses the issue of reconstructing ethnic counter- history through feminist perspective of the main protagonist and narrator Inés Alfaro. This female character gradually moves from the margins of history into its center when it takes control of the powerful figure of her husband, historical Emiliano Zapata, who in Cisneros’s re-writing of history is not a powerful leader of the well-known revolution, but a merciless macho with many lovers and children he pays no attention to. The story is a first-person account of Inés who becomes a powerful witch (la bruja) in order to avenge the injustice of the patriarchal culture. I want to prove that Cisneros wisely complicates the ethnic story of looking for one’s history and identity proving that literary homecoming of Chicanas is far from reaching idealized Aztlán, but it is a feminist quest for the autonomy, not only visible on the level of content, but the form as well, which to some extent is a homage to oral tradition and to famous Mexican woman writers Rosario Castellanos, Elena Garro and Juan Rulfo.

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PADGET, MARTIN. "The American Southwest Audrey Goodman, Translating Southwestern Landscapes: The Making of an Anglo Literary Region (Tucson: University of Arizona Press, 2002, $40.00). Pp. 250. ISBN 0 1865 2187 5. Molly H. Mullin, Culture in the Marketplace: Gender, Art, and Value in the Amerian Southwest (Durham: Duke University Press, 2001, $64.95 cloth, $19.95 paper). Pp. 248. ISBN 0 822 32610 8, 0 8223 2168 3. Curtis M. Hinsley and David R. Wilcox, The Lost Itinerary of Frank Hamilton Cushing (Tucson: University of Arizona Press, 2002, $50.00). Pp. 450. ISBN 0 8165 2269 3. Hal K. Rothman (ed.), The Culture of Tourism, the Tourism of Culture: Selling the Past to the Present in the American Southwest (Albuquerque: University of New Mexico Press, 2003, $34.95). Pp. 250. ISBN 0 826 32928 4." Journal of American Studies 40, no. 2 (2006): 391–97. http://dx.doi.org/10.1017/s0021875806001435.

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Scholars have been debating what constitutes “the Southwest” for decades. Thirty years ago, geographer D. W. Meinig began his landmark study Southwest: Three Peoples in Geographical Change, 1600–1970 by stating: “The Southwest is a distinct place to the American mind but a somewhat blurred place on American maps.” For Meinig, the crucial determining factor in constituting the geographical parameters of his own study was the coincidence of Native American and Mexican American settlement patterns in Arizona, New Mexico and around El Paso, Texas. The watersheds of the Gila River in Arizona and the Rio Grande in New Mexico provide the focus of his study of the historical interaction of Indians, Mexican Americans and Anglos through the successive periods of Spanish colonialism, Mexican independence and American rule. The historical geographer Richard Francaviglia has challenged the relatively narrow focus of Meinig's study by calling for a more expansive consideration of the Greater Southwest, which, in addition to the core of Arizona and New Mexico, also includes parts of Colorado, Utah, Texas and the northern states of Mexico. He rationalizes, “The southwestern quadrant of North America is, above all, characterized by phenomenal physical and cultural diversity that regionalization tends to abstract or simplify. The more one tries to reduce this complexity, the smaller the Southwest becomes on one's mental map.”2

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Parodi, Claudia. "Fracturas lingüüíísticas: Los estridentistas." Mexican Studies/Estudios Mexicanos 22, no. 2 (2006): 311–29. http://dx.doi.org/10.1525/msem.2006.22.2.311.

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En este trabajo reviso la labor de los estridentistas, grupo mexicano de vanguardia cuya importancia no se ha reconocido en el mundo de la críítica literaria. Tras situar sus presupuestos estééticos en el cosmos de la vanguardia en general, muestro los cambios y la evolucióón que sufren los estridentistas, especialmente Manuel Maples Arce, figura central del grupo. Correlaciono y ejemplifico los cambios en sus obras con las modificaciones de su paradigma estéético segúún las fueron presentando en sus cuatro manifiestos. Propongo dos etapas. En la primera, por centrarse en el significado y la ambigüüedad de las palabras, se crea un arte fragmentado y altamente abstracto. En la segunda, en cambio, por utilizar metonimias, producen, sobre todo, textos de corte cubista máás comprometidos con la situacióón social de Mééxico. In this paper I analyze the work of the Estridentistas, a Mexican avant garde group of artists, whose work has been overlooked by most literary critics. After discussing their aesthetic paradigm in relation to the general avant garde movement, I focus on the changes and evolution within the Estridentista literature by examining the writings of these artists, mainly the work of Manuel Maples Arce, the leading figure of the movement. I compare the changes in their work with how the Estridentistas' aesthetic paradigm evolved in their four manifestos. I propose two stages to explain their literary evolution. In the first stage, they created a fragmented and highly abstract art by focusing on the meaning and the ambiguity of words, whereas in the second stage they produced cubist texts by mainly using metonymies. In addition, they showed interest in Mexican social problems.

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Workman, Amber. "The Nonreader Citizen and the Nation in Rosa Beltrán’s Efectos secundarios (2011)." Mexican Studies/Estudios Mexicanos 37, no. 2 (2021): 176–96. http://dx.doi.org/10.1525/msem.2021.37.2.176.

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Increasing literacy rates and engagement with reading as a cultural practice in Mexico has been the focus of many postrevolutionary programs, yet studies show that few Mexicans choose to read on a regular, voluntary basis. While the image of Mexicans as nonreaders is a common theme in contemporary Mexican literature and popular culture, few studies exist on the topic. This article analyzes representations of the nonreader in Rosa Beltrán’s novel Efectos secundarios (2011) and the relationship of these portrayals to citizenship, cultural policy and management, the cultural industry, and the effects of neoliberalism in twenty-first-century Mexico. While novels such as El último lector (Toscana 2004; The last reader) and advertising, such as that of the Gandhi bookstore chain, depict reading apathy as a personal failure on the part of Mexican citizens and a lack of volition to exercise what might be seen as a civic responsibility, Beltrán’s novel shows Mexican nonreaders as victims of a failed state marked by corruption, impunity, insecurity, and violence, which impede reading as a cultural practice. Because a reading public may be seen as vital for democracy, Beltrán’s novel invites critical engagement with key debates on reading and education policy, the politics of the Mexican publishing industry, and the effects of corruption and violence on the distribution of cultural goods.

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Donlan, William, and Junghee Lee. "Screening for Depression among Indigenous Mexican Migrant Farmworkers Using the Patient Health Questionnaire–9." Psychological Reports 106, no. 2 (2010): 419–32. http://dx.doi.org/10.2466/pr0.106.2.419-432.

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U.S. farmworkers include growing numbers of individuals from indigenous, pre-Columbian communities in southern Mexico with distinctive languages and cultures. Given the high stress these farmworkers experience in their challenging work environments, they are very susceptible to depression and other mental and emotional health disorders. The present study explores the Spanish version of the Patient Health Questionnaire–9 (PHQ–9) as a screen for the presence and severity of depression among 123 indigenous Mexican-origin, migrant farmworkers in Oregon. Factor structure and inter-item correlations of the PHQ–9 are examined, along with associations between depression and culture-bound syndromes, self-esteem, self-efficacy, acculturation stress, and other sample psychosocial characteristics. The PHQ–9 exhibited strong factor loadings and internal consistency, and its severity score significantly correlated with other indicators of health status that were observed in previous studies to be significantly associated with depression. The PHQ–9 appears to be culturally relevant for use with Mexicans coming from a variety of indigenous cultures and having very low education and literacy.

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Van Delden, Maarten. "El ensayo de identidad nacional mexicano en la época posnacional: Mexicanidad y posmexicanidad en Jorge Castañeda y Heriberto Yépez." Anales de Literatura Hispanoamericana 46 (December 20, 2017): 75–86. http://dx.doi.org/10.5209/alhi.58451.

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A pesar de las críticas dirigidas en las últimas décadas a la tradición del ensayo de identidad nacional mexicano, se observa en años recientes un resurgimiento de libros sobre el tema del carácter mexicano. Este ensayo analiza textos de Jorge Castañeda y Heriberto Yépez que forman parte de esta nueva tendencia en la cultura mexicana. Sin embargo, estos autores no representan un simple retorno a la tradición del ensayo de interrogación nacional. Aunque Castañeda y Yépez rechazan la idea según la cual la identidad nacional mexicana es una mera invención, argumentando que esta identidad tiene una existencia real, también afirman que el carácter mexicano constituye un obstáculo para el progreso del país, por lo cual debe ser superado, en vez de alabado. De este modo, sus libros combinan perspectivas nacionales y posnacionales.

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Olmedo, Iliana. "La contribución del exilio español a la historiografía literaria mexicana. La Revista Mexicana de Cultura como espacio de formación canónica." Relaciones Estudios de Historia y Sociedad 35, no. 140 (2014): 185. http://dx.doi.org/10.24901/rehs.v35i140.108.

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Durante la dirección editorial del exiliado Juan Rejano (1948-1956), la Revista Mexicana de Cultura representó uno de los espacios más influyentes del medio cultural en lengua española. Su estudio, a través de las reseñas críticas, revela la interacción entre exiliados y locales y cómo ambos formularon una línea editorial que contribuyó a la construcción del canon mexicano. Esta reciprocidad crítica reitera la validez de la inclusión de los autores exiliados en la historia de la literatura mexicana.

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Bobadilla Encinas, Gerardo Francisco. "Enfermedad y novela durante el romanticismo mexicano (1816-1870)." SIGLO DIECINUEVE (Literatura hispánica), no. 24 (October 18, 2019): 181–208. http://dx.doi.org/10.37677/sigloxix.v0i24.29.

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Desde sus inicios en 1816 con la publicación de El Periquillo Sarniento, de José Joaquín Fernández de Lizardi, la novela mexicana moderna (1816-1947) articuló una comprensión del entorno social y cultural nacional como una entidad simbólica enferma, planteamiento que así reconoce y continúa la gran mayoría de los textos narrativos de la centuria. Por ello, en el presente trabajo se estudiarán las representaciones de la sociedad y la cultura mexicana como entidades enfermas físicamente (sarna, lepra, tifo, tisis, pulmonía, cáncer) durante el romanticismo mexicano, etapa fundante de la tradición literaria nacional.

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Jurado, Alfredo Tenoch Cid. "The culinary and social-semiotic meaning of food: Spicy meals and their significance in Mexico, Italy, and Texas." Semiotica 2016, no. 211 (2016): 247–69. http://dx.doi.org/10.1515/sem-2016-0108.

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AbstractThe objective of this study is to provide insight into culinary systems. Each culture expresses its own identity through the way in which it transforms food into an elaborated cuisine. The phases of a cooking process start with the choice of ingredients, their preparation, their processing, how they are served, and how they are eaten. Each of these phases makes it possible to understand the semiotic and social behavior of a human group in the moment they choose to prepare and eat a particular food. Therefore, this article contains a contrastive analysis of how Mexican, Texan, and Italian cuisines show how spicy and hot food is interpreted depending on the values that are given to it in regards to being considered a dish, a spice or a vegetable. It bases its analysis on the mechanisms built around the meaning of chile (“chilli”) in order to express cultural characteristics and differences. The recipes and their narrative processes, in addition to the use of color, allow the identification of parameters to describe the various cuisines through recipes books.

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Silva, Manuel Gutiérrez. "José Juan Tablada’s Creative Art Writing." Mexican Studies/Estudios Mexicanos 34, no. 3 (2018): 305–46. http://dx.doi.org/10.1525/msem.2018.34.3.305.

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Amidst the violence of the Mexican Revolution, the poet José Juan Tablada published Mexico’s first modern artist’s book and art book: Hiroshigué: El pintor de la nieve, de la lluvia, de la luna y de la noche (1914). In design and content, Tablada’s art book was a cultural artifact unlike any other. By drawing on concepts from cultural and literary theory, and art history, I demonstrate how this art book addressed the nation’s cultural crisis and proposed a program for interpreting and reinventing it. En medio de la violencia de la Revolución mexicana, el poeta José Juan Tablada publicó el primer libro de arte y libro de artista moderno en México: Hiroshigué: El pintor de la nieve, de la lluvia, de la luna y de la noche (1914). Tanto en materia de diseño como de contenido, el libro de arte de Tablada fue un artefacto cultural sin parangón. Mediante el recurso a conceptos de la teoría del arte y la teoría literaria, además de la historia del arte, me propongo mostrar cómo abordó este libro la crisis cultural de la nación y cómo planteó un programa para interpretarla y reinventarla.

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Bobadilla Encinas, Gerardo Francisco. "México y sus alrededores: monumentos, paisajes y la definición de la historia. Relectura en torno a las colecciones de paisajes y monumentos en México." Itinerarios. Revista de estudios lingüísticos, literarios, históricos y antropológicos, no. 32 (December 30, 2020): 157–80. http://dx.doi.org/10.7311/itinerarios.32.2020.09.

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Luego de reconocer los múltiples factores que determinaron el desarrollo de las colecciones de paisajes y monumentos en la tradición cultural, artística y literaria mexicana –los álbumes compuestos y editados por los pintores viajeros (1828-1855), el auge de las publicaciones periódicas, de la vertiente pintoresquista del costumbrismo y el dominio e inclusión de la litografía (1843)–, se estudia México y sus alrededores. Colección de vistas, monumentos y trajes del país (1855). El objetivo es reconocer tanto sus deudas con la tradición así como las reformulaciones y replanteamientos que hace de ella, conjunción de relaciones que la convirtieron en la obra cimera del subgénero de las colecciones de monumentos y paisajes en México. Se busca releer así un(os) texto(s) fundacional(es) de la literatura y la cultura mexicana, para complejizar la comprensión de ese proceso de la historia de la cultura literaria que contribuyó a consolidar discursiva e icónicamente la independencia cultural, mental, de México y el mexicano durante el siglo XIX.

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Ramirez, Pablo A. "The Woman of Tomorrow." Nineteenth-Century Literature 74, no. 4 (2020): 502–34. http://dx.doi.org/10.1525/ncl.2020.74.4.502.

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Pablo A. Ramirez, “The Woman of Tomorrow: Gertrude Atherton and the Latina Foremother of the Californian New Woman” (pp. 502–534) Throughout the 1890s, Gertrude Atherton employs the figure of the aristocratic Californiana (Mexican Californian woman) to extend classical liberalism’s economic model of individualism to include women. By joining the aristocratic Californiana with American liberalism, Atherton transforms California’s history of capitalist development into a romance in which the creation of new markets generates not only profits, but the New Woman as well. In Atherton’s stories of Alta California, which I call “tales of romantic liberalism,” the history and evolution of California and the New Woman is narrated through the promises (or contracts) that a Californiana character makes and the obligations she accepts or rejects. The Californiana in The Doomswoman (1893) and Before the Gringo Came (1894) becomes the foundation for the New Woman, whose personal development and advancement promises to perfect liberal capitalism through her consensual romantic unions. As the decade drew to a close and the war with Spain became imminent, however, one can see in Atherton’s The Californians (1898) her growing fear that the massification of politics and culture imperiled not only liberal capitalism and democracy, but the evolution of women’s individuality as well. As a result, the evolution of the Californiana character is no longer reliant on a union with a capitalist contractarian partner but on the reaffirmation of her aristocratic individualism. Through her Californiana heroines, Atherton engages the Californio past in order to imagine the evolution of women’s individuality as the United States undergoes a shift from classical liberalism to modern liberalism and from republic to overseas empire.

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Stone, Robert S. "Pito Pérez: Mexican Middleman." Mexican Studies/Estudios Mexicanos 21, no. 2 (2005): 369–402. http://dx.doi.org/10.1525/msem.2005.21.2.369.

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This article situates the popular picaresque novel La vida inútil de Pito Pérez (1938) in its context of literary and social history. As a comic text, the novel engages readers of all kinds in an attempt to foment change, despite the shortcomings of the protagonist and the revolution through which he lives. The work ensures the survival of the pícaro in Mexico as a sardonic hero who, nonetheless, will not wholly abandon revolutionary ideals and, indeed, wishes to pass these on to the growing middle class that spawned both Pito Pérez and his more fortunate author, J. Rubén Romero. Este artículo sitúa la conocida novela picaresca La vida inútil de Pito Pérez (1938) en su contexto de historia literaria y social. Como texto cómico, la novela atrae a toda clase de lectores en su intento de fomentar el cambio, a pesar de las fallas del protagonista y del contexto revolucionario en el que vive. La obra asegura la supervivencia del pícaro mexicano como un héroe sarcástico que, no obstante, no abandonará los ideales revolucionarios y, de hecho, desea transmitirlos a la creciente clase media que dio luz a ambos Pito Pérez y su autor más afortunado, J. Rubén Romero.

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Dean, Janet. "Tombstone, Deadwood, and Dodge City: Re-creating the Frontier WestFictions of Western American Domesticity: Indian, Mexican, and Anglo Women in Print Culture, 1850–1950Failed Frontiersmen: White Men and Myth in the Post-Sixties American Historical Romance." American Literature 93, no. 3 (2021): 533–36. http://dx.doi.org/10.1215/00029831-9361349.

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Valle. "BECOMING MEXICAN AMERICAN: TWO LITERARY CLASSICS." Journal of American Ethnic History 33, no. 2 (2014): 93. http://dx.doi.org/10.5406/jamerethnhist.33.2.0093.

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Delgado Aburto, Leonel. "De la crónica al ser profundo: pintura y cultura popular mexicana en Luis Cardoza y Aragón." Cuadernos Inter.c.a.mbio sobre Centroamérica y el Caribe 12, no. 2 (2015): 43. http://dx.doi.org/10.15517/c.a..v12i2.21697.

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<p class="p1">Este artículo analiza algunas líneas esenciales de la intervención de Luis Cardoza y Aragón en el debate sobre la cultura mexicana posrevolucionaria, particularmente en la pintura y la cultura popular. El ensayo argumenta que Cardoza parte del acercamiento característico de la crónica literaria pero que su texto se mezcla con el ensayo y la crítica de arte. Los textos de Cardoza están orientados por la visión radical de las vanguardias, pero no se fijan en la vida urbana, sino en el análisis del ser mexicano. En su discurso se muestra la preocupación por la construcción nacional así como el uso de una perspectiva enriquecida por el cosmopolitismo estético de las vanguardias.</p>

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Merrim, Stephanie. "Mexican Existentialist Ethics and the Pragmatic Authenticity of Rodolfo Usigli's El gesticulador." Revista Canadiense de Estudios Hispánicos 43, no. 2 (2020): 375–401. http://dx.doi.org/10.18192/rceh.v43i2.4656.

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This article explores the genesis of Mexican literary existentialism in Usigli’s 1938 play, El gesticulador. It elucidates various key drives of Mexican existentialism from Usigli’s moment onward and situates Usigli’s literary existentialism within those drives. In so doing, the essay articulates the deeply-rooted ethical bent of a Mexican existentialism forged in the orbit of identity discourse. It argues that Usigli’s morally equivocal drama makes unexpected common cause with that bent: dynamically conjugating stagecraft, Mexican philosophy, and post-revolutionary politics, El gesticulador advances a pragmatic authenticity based on altruism, communitarianism, and principles over Truth.

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Reyes, Iliana, Darcy Alexandra, and Patricia Azuara. "Literacy practices in Mexican immigrant homes." Cultura y Educación 19, no. 4 (2007): 463–74. http://dx.doi.org/10.1174/113564007783237670.

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Sánchez Ortiz, César, Maria Teresa Miaja de la Peña, and Luz Fernández de Alba. "El lector literario." Lenguaje y Textos, no. 45 (June 22, 2017): 113. http://dx.doi.org/10.4995/lyt.2017.7321.

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Shaw, Deborah. "Erotic or political: Literary representations of Mexican lesbians." Journal of Latin American Cultural Studies 5, no. 1 (1996): 51–63. http://dx.doi.org/10.1080/13569329609361875.

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Medrano de Luna, Gabriel, and Rocío Angélica Sepúlveda Hernández. "Contemos Historias de Nuestros Antepasados: Estudio sobre Leyendas de Guanajuato." Acta Universitaria 17, no. 2 (2007): 5–11. http://dx.doi.org/10.15174/au.2007.169.

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México es un país rico en historia, cultura y tradiciones: citemos por caso su arte popular, fiestas patronales, danzas, medicina tradicional, música popular y el folklore literario entre otras manifestaciones que forman parte del mosaico cultural mexicano. Guanajuato, como otros estados de la República Mexicana, también posee una gran riqueza en historia, cultura y tradiciones, muestra de ello son sus leyendas que juegan un destacado papel en el ámbito cultural y social del estado... rescatar y preservar las tradiciones es una tarea necesaria para resguardar el patrimonio tangible e intangible guanajuatense. El artículo que presento, amable lector, forma parte de una investigación mayor que pretende lograr un estudio integral que muestre, analice e interprete los elementos que aportan las leyendas a la configuración cultural a partir de un corpus de leyendas que da cuenta de la identidad, cultura, historia, anhelos y creencias de los guanajuatenses.

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Menton, Seymour. "Martín Luis Guzmán y Rafael Muñoz: Un estudio contrastivo." Mexican Studies/Estudios Mexicanos 6, no. 1 (1990): 1–9. http://dx.doi.org/10.2307/1052002.

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Journal articles on the topic 'Mexican literary culture'

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