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Miranda, Kátia Rodrigues Mello. "A pedra e a água : uma leitura comparada de Pedro Páramo (1955), de Juan Rulfo, e Como água para chocolate (1989), de Laura Esquivel /." Assis, 2013. http://hdl.handle.net/11449/103643.
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Orientador: Antônio Roberto Esteves<br>Banca: Livia Maria de Freitas Reis Teixeira<br>Banca: Fernanda Aparecida Ribeiro<br>Banca: Cleide Antonia Rapucci<br>Banca: Maria de Fatima Alves de Oliveira Marcari<br>Resumo: O presente trabalho consiste numa leitura comparada dos romances mexicanos Pedro Páramo (1955), de Juan Rulfo (1917-1986), e Como água para chocolate (1989), de Laura Esquivel (1950-), partindo da constatação de que essas narrativas são ambientadas na época da Revolução Mexicana (1910-1940), um dos movimentos sociais mais complexos e importantes da história latino-americana. Em Pedro Páramo, o personagem que dá nome ao romance é um cacique que domina toda uma região à custa de muita violência. Seu fim corresponde ao desmoronamento de uma estrutura social para a qual não havia mais lugar no novo país que estava surgindo com a Revolução. Em Como água para chocolate, impulsionada pelo desejo de romper com uma tradição familiar castradora, que a obrigava a ficar solteira para cuidar da mãe, a protagonista empreende uma trajetória de luta contra a submissão e o silenciamento impostos à mulher pela sociedade patriarcal. Sua luta tem êxito, simbolizando o movimento de conquista da mulher por um maior espaço de atuação social e emissão de sua voz. Dedicamos, em nossa leitura, especial atenção ao contorno dado à figura feminina e à rica simbologia evocada por elementos recorrentes nas narrativas, cuja exploração nos parece de grande importância na conformação do ponto de vista dos autores. Em síntese, nosso objetivo é examinar alguns pontos de aproximação e contraste entre os romances selecionados, a fim de refletir sobre as especificidades da leitura que cada um apresenta do México que emerge de suas páginas. Como resultado da análise, em linhas gerais, é possível constatar que Juan Rulfo configura um ponto de vista mais universalizante e pessimista, e Laura Esquivel, uma visão particularizadora e otimista<br>Abstract: The present work consists of a comparative reading of the Mexican novels Pedro Páramo (1955), by Juan Rulfo (1917-1986), and Like water for chocolate (1989), by Laura Esquivel (1950-), starting from the ascertainment that these narratives are situated at the time of the Mexican Revolution (1910-1940), one of the most complex and important social movements of the Latin America history. In Pedro Páramo, the character that names the novel after himself is a chieftain who dominates an entire region at the expense of much violence. His death corresponds to the collapse of a social structure to which there was no place in the country that was arising with the Revolution. In Like water for chocolate, impelled by the desire of breaking with an emasculating familiar tradition that forced her to remain unmarried to take care of her mother, the female protagonist undertakes a trajectory of struggle against the submission and the silence imposed on the women by the patriarchal society. Her struggle is successful, symbolizing the women's movement for the conquest of a larger space for social actuation and emission of their voices. In our reading we dedicated special attention to the outline of the female figure and the rich symbology evoked by recurrent elements in the narratives, the exploration of those seems to us to be of great importance in the conformation of the authors' point of view. In short, our objective is to examine some points of approach and contrast between the selected novels in order to reflect on the specificities of the reading that each one of them shows about the Mexico that emerges from their pages. As the result of the analysis, in broad outline it is possible to ascertain that Juan Rulfo portrays a more universalizing and pessimistic point view and Laura Esquivel, a particularizing and optimistic view<br>Doutor
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Oliveira, Jefferson Cardoso. "Sitios da morte sem fim: espaço de focalização em Pedro Páramo." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6223.
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Previous issue date: 2013-05-03<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This dissertation examines some elements of the complex spatiality in Pedro Páramo, verifying how these elements stablishes associations to the focus and structure of the only novel written by the Mexican writer Juan Rulfo. Our research is based on the correlation between space and focus and how the space is related to the structure of the text. We take into consideration the critical aproaches presented by Luis A. Brandão, Ozíris B. Filho among others who have studies based on topoanalysis. The story is told from the perspective of multiple narrators who have died, changing the settings of time and space that rules the novel, making it very atypical. These characteristics are strongly linked to the peculiar structure of the narrative and the behavior of the characters and narrators who offers a post mortem angle of their stories. Due to the breaking of barriers separating life and death, the characters move through several layers of time and space, doomed to pay his penalties indefinitely on Comala, the ghost town where the story is set.<br>Propomos, nesta dissertação, a análise de alguns dos elementos que compõem a complexa espacialidade presente em Pedro Páramo, verificando como esses elementos espaciais se relacionam com a focalização e a estruturação da narrativa do único romance do escritor mexicano Juan Rulfo. Nossa pesquisa contempla as relações entre espaço e focalização que está compreendida no terceiro modo da abordagem proposta por Luis A. Brandão, além de aspectos do segundo modo que relaciona o espaço e a estruturação do texto. Também estão contempladas as considerações críticas apontadas por Ozíris B. Filho sobre o espaço da narração e o espaço da narrativa. Por ser uma história contada sob a perspectiva de múltiplos narradores que já morreram, as configurações de tempo e espaço que regem o romance assumem características absolutamente atípicas. Tais características estão fortemente ligadas à peculiar estruturação da narrativa e ao comportamento das personagens e narradores que oferecem um ângulo post mortem de suas histórias. Devido ao rompimento das barreiras que separam vida e morte, as personagens se movimentam por diversas camadas de tempo e espaço, fadadas a se repetir ao pagar suas penas e reiterar a morte indefinidamente por Comala, cidade fantasma onde a narrativa está situada.
3
Gollnick, Brian. "The bleeding horizon : subaltern representations in Mexico's Lacandón Jungle /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9913152.
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Faria, Larissa Müller de. "Aspectos do real maravilhoso no romance Pedro Páramo, de Juan Rulfo /." Araraquara, 2015. http://hdl.handle.net/11449/127897.
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Orientador: Guacira Marcondes Machado Leite<br>Banca: Silvia Adoue<br>Banca: Deolinda de Jesus Freire<br>Resumo: O romance escolhido para análise é Pedro Páramo, do escritor mexicano Juan Rulfo, publicado em 1955. A obra de Rulfo é capaz de suscitar diversas leituras, tanto dos aspectos da vida social quanto da individual, concretizando-se como espaço de uma nova linguagem. Nesse sentido, o que se propõe é uma abordagem da relação entre a realidade e o mundo ficcional, a memória e o elemento sobrenatural no desenvolvimento da narrativa. Para tanto, o objetivo deste trabalho é estudar a obra Pedro Páramo a partir do viés do romance moderno hispano-americano e do real maravilhoso, valorizando o estudo das vozes que eclodem a todo momento no decorrer da narrativa. A pesquisa será realizada através de levantamento bibliográfico que terá como fontes os periódicos e bancos de dados de pesquisas virtuais, além de bibliotecas. A base teórica está centrada nas obras de Chiampi, Propp e Octavio Paz, bem como em outras que possam contribuir ao problema proposto. Assim, o estudo do mito, do contexto histórico, do narrador, do espaço, bem como da 'função' de leitor e da lírica na prosa de Rulfo também se fará presente. Importante atentarmos para o fato de todos esses aspectos possuírem pontos em comum quando relacionados e tratados dentro das vertentes elencadas, o romance moderno e o real maravilhoso. Dessa forma, traçar um paralelo e entrelaçar tais categorias é uma preocupação que está por trás do objetivo apresentado<br>Resumen: La novela elegida para el presente análisis es Pedro Páramo, del escritor mexicano Juan Rulfo, publicada en 1955. La obra de Rulfo es capaz de suscitar diversas lecturas, tanto de los aspectos de la vida social como de la individual, concretizándose como el espacio de un nuevo lenguaje. En ese sentido, lo que se propone es un abordaje de la relación entre la realidad y el mundo ficcional, la memoria y el elemento sobrenatural en el desarrollo de la narrativa. De este modo, el objetivo de este trabajo es estudiar la obra Pedro Páramo a partir de la perspectiva de la novela moderna hispanoamericana y del real maravilloso, valorizando el estudio de las voces que surgen a cada momento en el transcurrir de la narrativa. La investigación se realizará sirviéndose de la consulta bibliográfica que tendrá como fuentes los periódicos y bancos de datos de investigaciones virtuales, además de las bibliotecas. La base teórica está centrada en las obras de Chiampi, Propp y Octavio Paz, así como en otras que puedan contribuir con el problema propuesto. Por lo tanto, el estudio del mito, del contexto histórico, del narrador, del espacio, así como de la 'función' del lector y de la lírica en la prosa de Rulfo también se hará presente. Es importante estar atentos para el hecho de que todos estos aspectos poseen puntos en común cuando se les relaciona y son tratados dentro de las vertientes abordadas, la novela moderna y el real maravilloso. De esa forma, trazar un paralelismo y entrelazar tales categorías es una preocupación que está latente por detrás del objetivo presentado<br>Mestre
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Hunt, Kevin T. Salgado María Antonía. "Beyond indigenismo contemporary Mexican literature of indigenous theme /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,805.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (Spanish-American)." Discipline: Romance Languages; Department/School: Romance Languages.
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Parra, Lazcano Lourdes. "Transcultural performativities : travel literature by Mexican women writers." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/21346/.
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This thesis examines travel literature by Mexican women in relation to transcultural performativities, which refers to a feminist critique of how writers capture their normative performativity and their agency as they interact with different cultural contexts. My analysis considers texts from the end of the nineteenth century, taking into consideration the first Mexican women who published travel literature, through to contemporary writers from the early twenty-first century. The major focus of this thesis will be to show how Mexican women writers repeat political and poetic performativities in their literature, based on their trips to foreign places. This thesis is composed of four parts: a theoretical analysis of transcultural performativities and three close, comparative readings of travel writing and the context of their production. In the first chapter, I propose a conceptual model named transcultural performativities to analyse travel literature. This model takes into consideration the contributions of Judith Butler, Fernando Ortiz, Walter Mignolo, Julio Ortega, Eyda Merediz, Nina Gerassi-Navarro, Gloria Anzaldúa, Homi Bhabha and Édouard Glissant. This analytical model has a tripartite structure: occidental Atlanticism, post-occidental border thinking, and the Philosophy of Relation in worldliness (globalisation). The second chapter is a comparative analysis of the works of Laura Méndez de Cuenca and Elena Garro to exemplify the Atlanticist relations among Europe, the United States, Latin America and, in particular Mexico. The third chapter examines the works of Rosario Castellanos and María Luisa Puga to grasp the cultural negotiations of the intermediate social experience between Mexico and other foreign countries. The final chapter explores the works of Esther Seligson and Myriam Moscona to analyse the positionality of Mexican Jews in relation to World Literatures. Overall, this thesis suggests that we can understand the complexities of the fluidity and non-fixity of subjectivity in Mexican women’s travel writing by dwelling on the constantly changing nature of sex/gender, social classes, racialization, nationalism, and religiosity.
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Manini, Emy. "Pseudomemoirs : the enunciation of Jewish female identity in autobiographical narrative from Mexico and Argentina /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/8291.
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Contreras, Sheila Marie. "Blood lines : modernism, indigenismo and the construction of Chicana/o identity /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Caufield, Catherine Lynne. "Hermeneutics of written texts, religious discourse in Mexican literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ49989.pdf.
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Mier, Rodrigo Gonzalez Cadaval. "Spectrality and sovereignty in Zapatista discourse." Diss., Online access via UMI:, 2005.
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11
Torres, Veronica T. "The Middle East in the Mexican Imaginary: Orientalism and Hybrid Identities in Contemporary Mexican Literature." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1546272972706128.
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Zapata, Ana I. "LA POSTMODERNIDAD EN MAL DE AMORES DE ÁNGELES MASTRETTA." Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1150258321.
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Shaw, Deborah Anne. "Fragmented identities : contemporary Mexican women's writing." Thesis, King's College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298833.
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Moriel, Hinojosa Rita Daphne. "The Ideological Appropriation of La Malinche in Mexican and Chicano Literature." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283831/.
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La Malinche is one of the most controversial figures in Mexican and Chicano literature. The historical facts about her life before and after the Spanish Conquest are largely speculative. What is reliably known is that she had a significant role as translator, which developed into something of mythic proportions. The ideological appropriation of her image by three authors, Octavio Paz, Laura Esquivel and Cherríe Moraga, are explored in this thesis. The full extent of the proposed rendition of La Malinche by Octavio Paz is the basis of the second chapter. The conclusion drawn by Paz, in The Labyrinth of Solitude (1950) is that La Malinche is what he calls la chingada [the raped/violated one] and proposes that all women are always open to conquest, sexually and otherwise. Laura Esquivel's novel Malinche (2006) is a re-interpretation that focuses on the tongue as the source of power and language as the ultimate source of autonomy for La Malinche. This aspect of La Malinche and the contrast of Paz's understanding are the basis of the third chapter of this thesis. Cherríe Moraga, in Loving in the War Years (1983), proposes that if women are to be traitors, it is not each other that they should betray but their cultural roles as mothers and wives. She writes that in order to avoid being the one who is passively colonized, women often times become el chingón. However, ultimately women are free of these limiting dichotomous roles are able to autonomously define themselves in a way that goes beyond these labels. This is only possible when La Malinche is re-interpreted by these by different authors.
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Pitman, Thea. "Cuadernos De Viaje : contemporary Mexican travel-chronicles." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314058.
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González, María Carmen. "Toward a feminist identity : contemporary Mexican-American women novelists /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu148769438939502.
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Seminet, Georgia Smith. "Redefining nation : space and desire in contemporary Mexican women's writing /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992909.
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Albrizio, Eileen M. "Wearing costumes and crossing borders : search for self in Chicano/a literature /." Abstract, 2008. http://eprints.ccsu.edu/archive/00000551/01/1995Abstract.htm.
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Thesis (M.A.) -- Central Connecticut State University, 2008.<br>Thesis advisor: Katherine Sugg. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 114-116). Abstract available via the World Wide Web.
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Slack, Dawn. "The writing of Cristina Pacheco : narrating the Mexican urban experience /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487950658547651.
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Moran, Yvonne Ortiz 1985. "Uma análise dos espaços no romance Pedro Páramo, de Juan Rulfo." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269975.
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Previous issue date: 2014<br>Resumo: Esta pesquisa tem por finalidade o estudo sobre como são tecidas as construções espaciais na obra Pedro Páramo, publicada em 1955, do escritor mexicano Juan Rulfo (1917-1986). Este estudo não pretende abordar o espaço como mero cenário no qual acontece a narrativa literária, mas sim como um conjunto indissociável do qual participam, de um lado, objetos geográficos e sociais e, de outro, a vida que os preenche e que os anima. Portanto, neste trabalho não há como delimitar o ambiente sem levarmos em consideração os protagonistas: o espaço não é somente cenário físico e geografia povoados de referentes, mas é também metáfora ou imagem capaz de dar sentido às experiências sociais dos personagens. Por isso nosso objeto de estudo será analisado de forma multifacetada, assumindo aspectos relacionados à estrutura narrativa e à construção de efeitos de sentido dentro da obra literária. O material empírico que serviu de inspiração e ponto de partida para este estudo foi coletado nas viagens ao interior mexicano: Sayula, San Gabriel, Apulco e Tonaya<br>Abstract: This research aims to study how the spatial constructions works in Pedro Páramo, published in 1955, by the Mexican writer Juan Rulfo (1917-1986). This study is not intended to address the space as a mere case scenario in which the literary narrative, but as an indivisible set which involves, on one hand, geographical and social objects and, on the other, the life that fills and animates them. Therefore, in this work there is no way to define the environment without taking into consideration the protagonists: the space is not only physical landscape and geography of settlements related, but it is also a metaphor or image can make sense of the social experiences of the characters. Therefore, our object of study will be analyzed in a multifaceted way, assuming aspects of the narrative structure and the construction of effect within the meaning of literary work. The empirical material was the inspiration and starting point for this study was collected when traveling to the Mexican Interior: Sayula, San Gabriel, Apulco and Tonaya<br>Mestrado<br>Teoria e Critica Literaria<br>Mestra em Teoria e História Literária
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Fenoglio, Limón Irene Catalina. "The repetition of revolution in Mexican literature from Los de Abajo to the Zapatista Communiqués." Diss., Online access via UMI:, 2005.
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Rizo, Elisa Guadalupe. "La ficconalizcion de la agencia cultural indigena en el canon literario Mexicano : el discurso postcolonial de Juan Rulfo y de Rosario Castellanos /." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3052212.
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Brauchli, Leticia Mora de. "La construcción cultural de "El ángel del hogar" representación, género, clase y narración en México (1818-1910) /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3077432.
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Miranda, Kátia Rodrigues Mello [UNESP]. "A pedra e a água: uma leitura comparada de Pedro Páramo (1955), de Juan Rulfo, e Como água para chocolate (1989), de Laura Esquivel." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/103643.
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miranda_krm_dr_assis.pdf: 1053211 bytes, checksum: 65bda692a2ffe787ba40dff40b0b5c43 (MD5)<br>O presente trabalho consiste numa leitura comparada dos romances mexicanos Pedro Páramo (1955), de Juan Rulfo (1917-1986), e Como água para chocolate (1989), de Laura Esquivel (1950-), partindo da constatação de que essas narrativas são ambientadas na época da Revolução Mexicana (1910-1940), um dos movimentos sociais mais complexos e importantes da história latino-americana. Em Pedro Páramo, o personagem que dá nome ao romance é um cacique que domina toda uma região à custa de muita violência. Seu fim corresponde ao desmoronamento de uma estrutura social para a qual não havia mais lugar no novo país que estava surgindo com a Revolução. Em Como água para chocolate, impulsionada pelo desejo de romper com uma tradição familiar castradora, que a obrigava a ficar solteira para cuidar da mãe, a protagonista empreende uma trajetória de luta contra a submissão e o silenciamento impostos à mulher pela sociedade patriarcal. Sua luta tem êxito, simbolizando o movimento de conquista da mulher por um maior espaço de atuação social e emissão de sua voz. Dedicamos, em nossa leitura, especial atenção ao contorno dado à figura feminina e à rica simbologia evocada por elementos recorrentes nas narrativas, cuja exploração nos parece de grande importância na conformação do ponto de vista dos autores. Em síntese, nosso objetivo é examinar alguns pontos de aproximação e contraste entre os romances selecionados, a fim de refletir sobre as especificidades da leitura que cada um apresenta do México que emerge de suas páginas. Como resultado da análise, em linhas gerais, é possível constatar que Juan Rulfo configura um ponto de vista mais universalizante e pessimista, e Laura Esquivel, uma visão particularizadora e otimista<br>The present work consists of a comparative reading of the Mexican novels Pedro Páramo (1955), by Juan Rulfo (1917-1986), and Like water for chocolate (1989), by Laura Esquivel (1950-), starting from the ascertainment that these narratives are situated at the time of the Mexican Revolution (1910-1940), one of the most complex and important social movements of the Latin America history. In Pedro Páramo, the character that names the novel after himself is a chieftain who dominates an entire region at the expense of much violence. His death corresponds to the collapse of a social structure to which there was no place in the country that was arising with the Revolution. In Like water for chocolate, impelled by the desire of breaking with an emasculating familiar tradition that forced her to remain unmarried to take care of her mother, the female protagonist undertakes a trajectory of struggle against the submission and the silence imposed on the women by the patriarchal society. Her struggle is successful, symbolizing the women’s movement for the conquest of a larger space for social actuation and emission of their voices. In our reading we dedicated special attention to the outline of the female figure and the rich symbology evoked by recurrent elements in the narratives, the exploration of those seems to us to be of great importance in the conformation of the authors’ point of view. In short, our objective is to examine some points of approach and contrast between the selected novels in order to reflect on the specificities of the reading that each one of them shows about the Mexico that emerges from their pages. As the result of the analysis, in broad outline it is possible to ascertain that Juan Rulfo portrays a more universalizing and pessimistic point view and Laura Esquivel, a particularizing and optimistic view
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Faria, Larissa Müller de [UNESP]. "Aspectos do real maravilhoso no romance Pedro Páramo, de Juan Rulfo." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127897.
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000846829.pdf: 531823 bytes, checksum: f291e7a2efe85648b49501f5f53122e8 (MD5)<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)<br>O romance escolhido para análise é Pedro Páramo, do escritor mexicano Juan Rulfo, publicado em 1955. A obra de Rulfo é capaz de suscitar diversas leituras, tanto dos aspectos da vida social quanto da individual, concretizando-se como espaço de uma nova linguagem. Nesse sentido, o que se propõe é uma abordagem da relação entre a realidade e o mundo ficcional, a memória e o elemento sobrenatural no desenvolvimento da narrativa. Para tanto, o objetivo deste trabalho é estudar a obra Pedro Páramo a partir do viés do romance moderno hispano-americano e do real maravilhoso, valorizando o estudo das vozes que eclodem a todo momento no decorrer da narrativa. A pesquisa será realizada através de levantamento bibliográfico que terá como fontes os periódicos e bancos de dados de pesquisas virtuais, além de bibliotecas. A base teórica está centrada nas obras de Chiampi, Propp e Octavio Paz, bem como em outras que possam contribuir ao problema proposto. Assim, o estudo do mito, do contexto histórico, do narrador, do espaço, bem como da 'função' de leitor e da lírica na prosa de Rulfo também se fará presente. Importante atentarmos para o fato de todos esses aspectos possuírem pontos em comum quando relacionados e tratados dentro das vertentes elencadas, o romance moderno e o real maravilhoso. Dessa forma, traçar um paralelo e entrelaçar tais categorias é uma preocupação que está por trás do objetivo apresentado<br>La novela elegida para el presente análisis es Pedro Páramo, del escritor mexicano Juan Rulfo, publicada en 1955. La obra de Rulfo es capaz de suscitar diversas lecturas, tanto de los aspectos de la vida social como de la individual, concretizándose como el espacio de un nuevo lenguaje. En ese sentido, lo que se propone es un abordaje de la relación entre la realidad y el mundo ficcional, la memoria y el elemento sobrenatural en el desarrollo de la narrativa. De este modo, el objetivo de este trabajo es estudiar la obra Pedro Páramo a partir de la perspectiva de la novela moderna hispanoamericana y del real maravilloso, valorizando el estudio de las voces que surgen a cada momento en el transcurrir de la narrativa. La investigación se realizará sirviéndose de la consulta bibliográfica que tendrá como fuentes los periódicos y bancos de datos de investigaciones virtuales, además de las bibliotecas. La base teórica está centrada en las obras de Chiampi, Propp y Octavio Paz, así como en otras que puedan contribuir con el problema propuesto. Por lo tanto, el estudio del mito, del contexto histórico, del narrador, del espacio, así como de la 'función' del lector y de la lírica en la prosa de Rulfo también se hará presente. Es importante estar atentos para el hecho de que todos estos aspectos poseen puntos en común cuando se les relaciona y son tratados dentro de las vertientes abordadas, la novela moderna y el real maravilloso. De esa forma, trazar un paralelismo y entrelazar tales categorías es una preocupación que está latente por detrás del objetivo presentado
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Watts, Brenda. "Historical transgressions : the creation of a transnational female political subject in works by Chicana writers /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978603.
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Thesis (Ph. D.)--University of Oregon, 2000.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 314-323). Also available for download via the World Wide Web; free to University of Oregon users.
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Silva, Caio Pedrosa da 1984. "Soldados de Cristo Rey : representações da Cristera entre a historiografia e a literatura (Mexico, 1930-2000)." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278666.
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Orientador: Jose Alves de Freitas Neto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-13T19:47:57Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: "Cristera" é como ficou conhecida a guerra em que camponeses e organizações católicas lutaram contra as posições anticlericais do Estado mexicano, contestando assim o regime revolucionário instituído. Essa guerra (1926-1929), que só foi considerada um tema importante para os estudos historiográficos a partir da década de 1960, foi antes representada na literatura, especialmente novelas nas quais não era apenas um pano de fundo para a trama, mas o próprio motivo da escrita. Dessa maneira, alguns textos literários foram produzidos com o intuito de justificar a guerra, do ponto de vista de revolucionários ou de católicos. No presente trabalho pretende-se investigar as maneiras como se entrelaçam as representações literárias da Cristera e aquelas realizadas pelos historiadores, tendo em vista como os pesquisadores utilizaram o material literário como fonte histórica, quais desafios e temáticas a respeito da Cristera essa literatura lança para os estudos históricos, e as diferenças com que literatura e historiografia trataram o mesmo tema histórico. Para tanto, utilizaremos como material de análise textos historiográficos e de crítica literária que trataram das novelas cristeras, assim como a novela Héctor de Jorge Gram, que tem como um dos motivos principais da sua escrita justificar a participação dos católicos na guerra.<br>Abstract: "Cristera" is the name by which it became known the war in which peasants and Catholic organizations fought against the anticlerical statements of the Mexican State, thus challenging the established revolutionary regime. This war (1926-1929), which was considered an important issue for historiographic studies only in the 1960s, was before that represented in literature, especially in novels in which it was not merely a backdrop to the plot, but the very reason for writing. Thus, some literary texts were produced in order to justify the war, from the point of view of revolutionaries or of Catholics. This work aims to investigate the ways by which the literary representations of the Cristera and those made by historians intertwine, paying particular attention to how the researchers used the literary material as historical source, to which challenges and issues concerning the Cristero this literature casts for historical studies, and to the differences with which literature and historiography treated the same historical theme. Therefore, we will employ, as material for analysis, texts of historiography and literary criticism which deal with Cristero novels, as well as the novel Héctor, by Jorge Gram, which counts, as one of the main reasons to its the writing, justifying the participation of Catholics in the war<br>Mestrado<br>Historia Cultural<br>Mestre em História
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Bañuelos, Ávila Irma Angélica. "José Trigo o la configuración del México postrevolucionario." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/461151.
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José Trigo o la configuración del México contemporáneo tiene como objetivo mostrar, a través de una investigación interdisciplinaria y crítica la modernidad mexicana desde una revisión general de su entramado cultural y en su textualidad literaria en particular con la novela José Trigo de Fernando del Paso. El texto ha sido abordado desde distintas nociones teóricas como la Crítica y Sabotaje de Manuel Asensi, así como de los llamados “sistemas alternativos latinoamericanos” en particular los conceptos de heterogeneidad de Antonio Cornejo Polar y transculturación de Ángel Rama y la propuesta de Guilles Deleuze y Félix Gautarri sobre desterritorialización y reterritorialización. José Trigo revelará modos alternos de modernidad que ponen en entredicho la idea única de nación al mostrar sus fracturas; al desdecir a la sociedad mexicana del México postrevolucionario como una sociedad utópicamente homogénea. El texto de del Paso se saldrá del canon y resultará problemático para ser enmarcado en categorías totalizantes, dado que articula discursos que escapan de los imaginarios hegemónicos y que serán importantes en cuanto proponen la revaloración de ciertos discursos excluidos. El trabajo intenta mostrar la historia del México postrevolucionario (que corresponde a la mitad del siglo XX) desde voces y discursos que no han sido reconocidos por la política hegemónica, estos discursos muestran otra versión de la historia desde voces marginales, radicales y heterogéneas.
También esta investigación aborda la novela y su relación discursiva con textos de tradición náhuatl y descubre como los elementos prehispánicos que aparecen en ella no son sólo una serie de hechos aislados, sino la construcción de proyecciones, símbolos y evocaciones que hilan un entramado mitológico que converge en los personajes y muestran la relación del México prehispánico con el México moderno y en donde se pondrá en entredicho la versión oficial e idílica del México prehispánico y del México igualitario derivado de la Revolución. El trabajo contempla también el estudio del movimiento ferrocarrilero de mediados del siglo XX en México; en él se analiza y ficcionaliza por primera vez a la clase lumpenproletaria; sus conflictos, sus luchas, su papel de subalternos (Spivak), de sujetos desplazados; aunado a ello se analizan los procesos de desterritorialización y reterritorialización que dan cuenta no sólo de la relación de los sujetos con el territorio físico que habitan, sino que también muestran que el cambio tanto en la relación de los seres humanos como en referencia a sus bienes materiales, simbólicos e imaginarios. José Trigo reformula y reasigna al territorio de Nonolaco Tlatelolco como un espacio donde se gesta una lucha obrera y se desdice la concepción de un México que ha entrado en “apariencia” en la modernidad. Prueba de ello será la reconstrucción que hace Fernando del Paso de la Guerra Cristera, esta es usada también para mostrar como el México en vías de desarrollo del que tan orgullosos estaban los gobiernos heredados de la Revolución, no era ni mucho menos un México homogéneo y que en el convivían formas pre-modernas y modernas y diversas ideologías.
En José Trigo se gesta pues un proceso de construcción- configuración de un México contemporáneo por cuyo territorio e historia han pasado diversas culturas y se han gestado diversos procesos de transculturación, hibridación, reteriritorialización etc. El barrio de Nonoalco Tlatelolco modelizará un espacio donde tienen cabida diversos discursos y en el cual se relee la historia de México desde voces marginales, radicales y alternativas y donde confluyen expresiones, cosmovisiones e imaginarios de una cultura popular que ha sido forjada por medio de la apropiación de discursos heterogéneos y que dan muestra de las asimétricas culturales y de poder que desdicen la noción una sociedad homogénea y moderna.<br>Jose Trigo or The configuration of contemporary Mexico is intended to show, through an interdisciplinary and critical research, the Mexican modernity from a general review of its cultural framework and its literary textuality, in particular in the novel Jose Trigo by Fernando del Paso. The text has been dealt from different theoretical notions as the Criticism as Sabotage by Manuel Asensi, as well as the so-called “Latin-American alternative systems” in particular the concepts of heterogeneity by Antonio Cornejo Polar, transculturality by Angel Rama and the proposal by Guilles Deleuze and Félix Gautarri about deterritorialization and reterritorialization. Jose Trigo will reveal alternative ways of modernity that question the idea of an unitary nation showing its fractures; contradicting post-revolution Mexican society as an utopically homogeneous one. The text by del Paso will come out of the literary canon and it will results problematic for being framing in totalizing categories since it articulates discourses that escape from the hegemonic imaginaries that will be relevant in terms of the proposal of a reevaluation of certain excluded discourses. The paper attempts to show the History of post-revolution Mexico (which belongs to the first half of the 20th century) from voices and discourses that have not been recognized by the hegemonic policies, these discourses show another version of the story from radical, marginalized, heterogeneous voices. This research also address the novel and its discursive dialogue with Nahuatl tradition and discovers how the prehispanics elements that show up in it are not just insolated events but the construction of projections, symbols and evocations which spin a mythological story converging in characters showing the relation between prehispanic Mexico and the modern one, where the idyllic official version of the prehispanic Mexico and the Revolution’s derived egalitarian Mexico will be call into question.
This work includes the study of the mid-20th century railway working-class´ movement in Mexico; in it will be analyzed and fictionalized the lumpemproletariat class for the first time; their conflicts, their struggles, their role as subordinates (Spivak), and as displaced subjects. Additionally will be also analyzed the procedures of deterritorialization and reterritorialization that realize not only the relation between the subjects with the territory they live in, but shows the change as in the relationship of the human beings as in reference of their material, symbolic and imaginary assets. Jose Trigo reformulated and reassigned Nonoalco Tlatelolco’s territory as a space where a working-class’ struggle is coming into being and it belies the conception of a Mexico which has entered, in "appearance", to the modernity. Proof of it will be the reconstruction made by Fernando del Paso of the Cristero war, which is used as well to show how developing Mexico, the one inherited post-revolution Governments were so proud of, was not even close to a homogeneous one and that pre-modern, modern forms and different ideologies lived together in it.
Jose Trigo presents a construction and configuration process of a contemporary Mexico by whose territory and History had been through different cultures and they have developed different processes as such as transculturation, hybridization and reteriritorializacion. Nonalco Tlatelolco’s district will bring a space in which a diversity of discourses have place in and the History of Mexico can be read from marginalized, radical, alternative voices joining with the expressions, world-views and the imaginary of a popular culture that has been built through the appropriation of heterogeneous discourses that shows the cultural asymmetries and the ones of power that deny the notion of homogeneous and modern society.
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Bowen, LaVerne Alexandra. "La Evolución Del Subalterno En Tres Novelas Mexicanas: La Negra Angustias, Balún Canán, Y Neonao." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271784/.
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The subaltern is a recurrent literary figure in Mexican narrative. The objective of this thesis is to investigate three ethnic groups – indeed, subalterns – in Mexico which include: Afro-Mexicans, indigenous groups, and Filipino colonial subjects from the perspectives of the Mexican Revolution, post-revolutionary Mexico, and the conquest of the Philippines in the sixteenth century. The principal characters play crucial roles in events shaping the history and culture of Mexico and thus demonstrate their importance to the country's development while also revealing the reality of subalterns. The literary research shows that trying circumstances or a lack of self-identity were the main causes for a character to be or become a subaltern in addition to their inherent ethnic disadvantages. However, the characters who overcame their subaltern state often changed personality traits or adapted to their surroundings in order to be assimilated into the majority culture.
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Zapata, Ana I. "La postmodernidad en Mal de amores de Ángeles Mastretta." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1150258321.
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Beard, Alexander Charles. "Narconovela : four case studies of the representation of drug trafficking in Mexican fiction." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7eb6c837-cb79-4625-86dc-38267d36047a.
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In addition to coverage in the national and international media of the ongoing violence in Mexico related to the drug trade, there has been growing interest in fictional representations of the Mexican drug trade, its origins and social context. There is now a considerable body of written narratives that have been christened narconovelas. A small number of academic works has charted the emergence of the narconovela and sought to examine how drug traffickers have been represented and evaluated in fiction. However, very little attention has been paid to the aesthetic qualities of ‘narco-literature’. This study examines four of the most highly-regarded works in detail: Balas de plata (2008), by Élmer Mendoza; Los minutos negros (2006), by Martín Solares; Contrabando (2008), by Víctor Hugo Rascón Banda; and Trabajos del reino (2004), by Yuri Herrera. So embedded is the phenomenon of drug trafficking in northern Mexican culture, so suffused with cliché is its representation in other media, that to write about the topic with originality and ethical nuance is difficult. This thesis accounts for the distinct choices made by the four authors in question to address this difficulty of representation in the structure, style and tone of their novels. The self-awareness exhibited by these works of fiction regarding the challenges of representing their subject matter render them the most sophisticated examples yet created of the so-called narconovela.
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Luckas, Edda [Verfasser]. "Ethnicity in the garden : figurations of ecopastoral in Mexican American literature / Edda Luckas." Berlin : Freie Universität Berlin, 2011. http://d-nb.info/1025240251/34.
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Ruiz, José Salvador. "De bandidos, mendigos, campesinos e indios : ciudadanía y letras en la literatura mexicana /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3120721.
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Cutler, John Alba. "Pochos, vatos, and other types of assimilation masculinities in Chicano literature, 1940-2004 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1680034831&sid=34&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Giles, Sally M. "Sandra Cisneros as Chicana storyteller : fictional family (hi)stories in Caramelo /." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd946.pdf.
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Sherriff, Amanda J. "The Portrayal of Mexican American Females in Realistic Picture Books (1998 - 2004)." Thesis, School of Information and Library Science, 2005. http://hdl.handle.net/1901/144.
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This study was designed to answer the question: What are the similarities and differences between the portrayal of Mexican American females in realistic picture books published between 1998 and 2004 and such books published between 1990 and 1997? A content analysis was performed on 48 picture books published between 1998 and 2004 that feature Mexican American female characters, and the results were compared to a study of similar books published between 1990 and 1997. The study found that the portrayal of Mexican American females in the more recent time period is more authentic and less stereotypical than their portrayal in the earlier time period and that fewer Mexican American females are now depicted as submitting to gender subordination. However, the results show that the portrayal of Mexican American females in picture books does not yet fully reflect the nontraditional gender roles that these females often take on in contemporary society.
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Chen, Shuo. "Ángeles Mastretta, Cristina Rivera Garza y Sandra Cisneros: literatura de mujeres, memoria y resistencia." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/458672.
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El presente trabajo puede considerarse una continuidad de mi investigación sobre la literatura de mujeres mexicana contemporánea, en concreto, de la tesis del máster realizada en la Universidad Autónoma de Barcelona en 2013, titulada “La otra historia mexicana, narración en Mal de amores de Ángeles Mastretta”. En este sentido, presentaré una propuesta de aproximación a esta que se ha caracterizado por reapropiarse de la ficcionalización de los temas históricos, buscando deconstruir la imagen tradicional de las mujeres mexicanas en la literatura, así como desentrañar, cuestionar y reformar la situación social y política de estas en la actualidad a través de la recuperación y la reivindicación de su papel imprescindible en la historia de México.
El corpus de novelas escogidos para esta investigación: Mal de amores (1996) de Ángeles Mastretta (1949), Nadie me verá llorar (1999) de Cristina Rivera Garza (1964) y Caramelo (2002) de Sandra Cisneros (1954) presenta puntos en común, pero también notables diferencias. Debe destacarse que la inclusión de la chicana Sandra Cisneros y su obra en esta investigación se debe a su contribución como contrapunto chicano, en el que nos deja ver de forma más clara las contradicciones culturales y los traumas históricos que han experimentado las mujeres mexicanas desde la distancia del otro lado de la frontera.
Además, teniendo en cuenta la historia mexicana que se relee y reescribe continuamente en la literatura contemporánea y las temáticas por las que se interesa especialmente la literatura escrita por mujeres en el cambio de siglo, encontramos tres temas esenciales: la Revolución Mexicana, la modernidad y la diferencia cultural.
Asimismo, lo que este trabajo intenta explorar es el valor que tienen los textos literarios en el proceso de restauración de la memoria alternativa de los diferentes grupos sociales y étnicos. En el caso específico de la literatura de mujeres, además de ofrecer un corpus abundante de ejemplos para la crítica literaria, sobre todo para la crítica feminista y los estudios culturales, nos ayuda a reconocer las huellas discursivas de los procesos de subalternización, que condenan a las mujeres subalternas a la marginalidad y al silencio, así como su reivindicación de una memoria femenina existente y vívida en la historia mexicana.
Por último, para poder cumplir con los propósitos arriba enumerados, se trazará inicialmente un recorrido por ciertos ensayos vinculados a los estudios de la posmodernidad, así como por trabajos de crítica literaria específicos, tanto feministas como poscolonialistas, siempre teniendo en cuenta su relación con la literatura de mujeres, lo que no impide eludir la dimensión filosófico-política de nuestra lectura.<br>The present work is a continuation of my research on the literature of contemporary Mexican women in the fifties and sixties, who gain great fame for their works published during the last two decades of the twentieth century and the early twenty-first century. Their uniqueness is characterized by the fictionalization of historical themes. In this sense, the present work aims to deconstruct the traditional image of Mexican women in literature, as well as unravel, question and improve their current social and political situation by restoring and defending their essential roles in the history of Mexico.
Thus, the novels chosen for this research are: Mal de amores (1996) by Ángeles Mastretta, Nadie me verá llorar (1999) by Cristina Rivera Garza and Caramelo (2002) by Sandra Cisneros, which bear similarities in themes and writing techniques as well as noticeable differences. The inclusion of Sandra Cisneros’ novel is due to her contribution to a Mexican counterpoint, which allows us to probe into the cultural contradictions and historical traumas that Mexican women have experienced.
In consideration of the Mexican history that has been continually rewritten and reinterpreted in contemporary literature and the themes that women writers at the turn of the century are particularly interested in, we find three essentials: the Mexican Revolution, modernity and cultural differences.
The present study reveals the value that literary texts have in the process of restoring the alternative memory of different social and ethnic groups. In addition to offering an abundant corpus of examples for literary criticism, especially for feminist critique and cultural studies, it helps us recognize the discursive traces of subalternization processes—subaltern women’s marginality and silence as well as their claim to an existing and vivid female memory in Mexican history.
In order to fulfill the above-mentioned purposes, the study initially traced previous studies of postmodernity, focusing on theories about subalternity and spatiality, such as spatial turn and the third space. Then, some responses, regarding the threat of transculturation, were proposed involving decolonial turn, ambivalence, mimicry and hybridization. The neohistoric perspective, which focuses on the study of the relationship between history and literature, facilitates the understanding of the importance and meaning of feminine writing. The literary theories and the corresponding methodologies mentioned above, bearing the close relationship with the literature of women, serve to make a more effective literary analysis.
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Murillo, Charles Ray. "The other within the other: Chicana/o literature, composition theory, and the new mestizaje." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2685.
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In this thesis the author explores the notion that American Chicana/o literature serves as an interactive pedagogical site that nurtures a blend of academic and street discourse, proposing the writing of those who exist on the "downside" of the border of non-standard English and academic discourse-basic writers be acknowledged.
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García, Ramón. "Chicano representation and the strategies of modernism /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820853.
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Arellano, Jose Antonio. "Life in Search of Form| Mexican American Literature and American Literary History, 1959-1999." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10840787.
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<p> Searching for Form: Mexican American Literature and American Literary History,1959-1990 explores how Mexican American writers advanced notions of literary art to explore the conditions of their self-determination. Rather than stipulating a relatively continuous story of Mexican American “culture,” however, I show how the very terms “self-determination” and “literary art” changed radically from 1959 to 1999—a change that responded to shifts in the American political and economic scene. </p><p> I start in 1959, with the publication of what was then considered to be the first novel published by a Mexican American, José Antonio Villarreal’s Pocho. I show how Pocho is situated at the intersection between two competing accounts of “traditional culture” that started to clash at the end of the 1950’s: on the one hand, the liberal and sociological critiques of the supposed pathology and anti-individualism of traditional culture, and on the other hand a celebration of longstanding communal resilience found only within tradition. I argue that midcentury American novelists including Villarreal posited the novel as the genre uniquely equipped to explore the possibility of individual freedom in relation to both accounts via a self-determination seemingly made possible through the achievement of the novel as art. Pocho simultaneously dramatizes the tragic conclusion of the type of callow idealism that animates facile understandings of freedom (as freedom from social expectations) while also enacting what a more enduring ground of freedom could be: a disposition toward social engagement—one of aesthetic distance—that allows for recognition without distortion, and social participation without loss of individuality, an aesthetic sensibility that enables the exploration of the limits of freedom while imagining, by enacting, its possibility. </p><p> After the Chicano intervention of the mid-1960s, however, such an exploration would have to be understood in communal terms (the “I” seeking freedom becomes the “we” of Chicano liberation) and be seen as operating within a Mexican American cultural tradition. Ethnicity was not something to be “transcended” in art but the very ground of communal self-determination as such. This intervention was in part meant to register the reality of an economy whose treatment of Mexican American laborers amounted to their complete objectification, rendering human life into fodder for agrarian commerce. Villarreal, like his liberal contemporaries, seemed to take for granted the luxury of a relatively stable economy in which one was free to explore his or her “individualism.” Works including Tomás Rivera’s …y no se lo trago la tierra (1971), instead dramatize the historical emergence of a group consciousness that called itself “Chicano,” a self-awareness that entailed the recognition of one’s place in history as part of a people struggling to survive. Instead of advancing the novel as the primary genre, Rivera defines “the Chicano” as a “life in search of form,” by which he meant a growing communal self-consciousness that sought to understand itself through art. As Rivera puts it, “the Chicano” sought to “externalize his will through form,” which I argue his work performs by being explicitly intertextually related. No longer positing the novel as the central genre, as it was for Villarreal, Rivera instead uses poems, short stories, essays, and a novella in concert—his oeuvre itself producing (by demanding) the type of reader who does not see the world as composed of discrete, alien objects. Instead, Rivera’s reader becomes the type of person who can, as he puts it, seek to understand totality: “To relate this entity with that entity, and that entity with still another, and finally relating everything with everything else.” </p><p> But if the recognition of oneself as a Chicano was in part the result of a growing working-class consciousness, the sought for permanence of this identity came to be perceived as sclerotic. The response to reification itself had a reifying effect. The explicitly Chicano representational strategies developed throughout the 1970s reached a point of exhaustion during the 1980s. “Chicano literature” could no longer be presented as “representative” of “a people” coming to know itself as such without significant qualification. Work by feminist writers took the question of representation as the very problem to be resolved in their work. Writers including Gloria Anzaldúa, Cherríe Moraga, Ana Castillo, and Alma Luz Villanueva experiment with genres (producing a blend of poems, journal entries, and letters) to create representational strategies that imagine the possibility of transcending representation as such. These strategies (which include “spectral haunting,” “blood memory,” and photographic indexicality) allowed writers to imagine a literature that did not speak for or represent a community so much as index that community’s presence via its textual personification. (Abstract shortened by ProQuest.) </p><p>
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Varela, D. Isabela. "Narratives of the Mexican Revolution in the 1910s: newspapers and a new national literature." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2019.
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This dissertation examines various texts that were published in Mexican newspapers during the Revolution (1910-1917) and attempts to determine to what extent the authors of those texts combined journalism with literary creativity as they wrote about the Revolution. The main argument is that many of the texts that appeared in newspapers during the 1910s and covered topics related to the Revolution displayed language, style, and structural elements similar to those found in the official literary narratives of the Mexican Revolution that emerged in the 1920s. The argument is founded on the understanding that sociopolitical and ideological changes in Mexican society, as well as the desire for a new national literature, led intellectuals to re-classify some of the texts that appeared in newspapers in the 1910s from journalism to literary works and adopted their stylistic and thematic elements for the new literature. This is evident in Mariano Azuela’s novel, Los de Abajo and Ricardo Flores Magón’s well-known short stories “Dos revolucionarios” and “El apóstol.”
The theoretical framework of this study is informed by the work of Mikhail Bakhtin, Tzvetan Todorov, and Juan Carlos Parazuelos that contend that the value of a narrative changes continuously in response to changes in the society that creates it. Furthermore, the study utilizes Anibal Gonzalez’ notion that there is a gray area between literary narrative and journalism and, therefore, narratives that fall inside the borders of journalism and literature can be classified as one or another or both depending how they interact with social elites, governments, and political affiliations.
Finally, this study maintains that journalism, in combination with artistic expression, provided the foundations upon which the later narrative of the Revolution began its development. It was in the realm of journalism that the authors first applied the elements of brevity, direct speech, expressive, yet concise language, episodic narration, and emphasis on action over description and characterization that characterize the literature of the Mexican Revolution.
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Brown, Ruth. "Telling the Story of Mexican Migration: Chronicle, Literature, and Film from the Post-Gatekeeper Period." UKnowledge, 2013. http://uknowledge.uky.edu/hisp_etds/11.
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This study examines how the social process of undocumented Mexican migration is interpreted in the chronicle, literature, and film of the post-Gatekeeper period, which is defined here at 1994-2008. Bounded on one side by the Mexican economic crisis of 1994, and increased border security measures begun in that same year, and on the other by the advent of the global economic crisis of 2008, the post-Gatkeeper period represents a time in which undocumented migration through the southern U.S. border reached unprecedented levels. The dramatic, tragic, and compelling stories that emerged from this period have been retold and interpreted from a variety of perspectives that have produced distinct, and often paradoxical, images of the figure of the undocumented migrant. Creative narrative responds to this critical point in the history of Mexican migration to the U.S.by applying the inherently subjective and mediated form of artistic interpretation to a social reality well documented by the media, historians, and social scientists. Throughout the chronicle, literature, and film of this period, migration is understood as a cultural tradition inspired by regional history. These stories place their undocumented protagonists on a narrative trajectory that transforms migration into a heroic quest for personal and community renewal. Such imagery positions the undocumented migrant as an active agent of change and provides discursive visibility to a figure often represented, in media and political rhetoric of the period, as an anonymous, collective Other. Filtered through this creative lens, migration is revealed as a complex social process in which individual experience is informed not only by personal ambition, but also by the expectations of the home community and its culture of migration. The creative works examined here foreground the history, motivation, and experience of their migrant protagonists in relation to the socio-historical context of this period. In doing so, they compose tales of migration in which the figure of the undocumented migrant plays a primary role, one informed not only by the experience of migration, but also by personal and community history.
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Greenberg, Linda Margarita. "Acts of genre literary form and bodily injury in contemporary Chicana and Asian American women's literature /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1723112451&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Gutiérrez, Manuel. "Mexican poets and the arts 1900-1950 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2023846601&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Baires-Varguez, Ricardo. "Another mask of Mexico and its people through Jorge Ibarguengoitia's Satirical prose /." Click for abstract, 1997. http://library.ctstateu.edu/ccsu%5Ftheses/1480.html.
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Thesis (M.A.)--Central Connecticut State University, 1997.<br>Thesis advisor: Dr. Lilián Uribe. " ... in partial fulfillment of the requirements for the degree of Master of Arts in Modern Language (Spanish)." Includes bibliographical references (leaves 152-156).
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King, Charla. "Middle Men: Establishing Non-Anglo Masculinity in Southwestern Literature." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4259/.
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By examining southwestern masculinity from three separate lenses of cultural experience, Mexican American, Native American and female, this thesis aims to acknowledge the blending of masculinities that is taking place in both the fictitious and factual southwest. Long gone are the days when the cowboys chased down the savage Indians or the Mexican bandits. Southwestern literature now focuses on how these different cultures and traditions can re-construct their masculinities in a way that will be beneficial to all. The southwest is a land of borders and liminal spaces between the United States and Mexico, between brown and white, legal and illegal. All of these borders converge here to create the last American frontier. These converging borders also encompass converging traditions, cultures, and genders. By blending the cowboy, the macho, and the warrior, perhaps these Southwestern writers can construct a liminal masculinity more representative of the southwest itself.
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Karidis, Electra. "Towards an interpretation of reading : Elena Garro's short stories as theories of themselves." Thesis, University of Birmingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369084.
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De, la Pena Susana. ""Las flores siempre ganan": Mexican American women writers of the Arizona desert." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/289060.
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This dissertation is a study of the Arizona Mexican American women writers--las arizonenses--of the twentieth century, with special emphasis on the works by Eva Antonia Wilbur-Cruce and Patricia Preciado Martin. A primary focus of the dissertation is the ways in which these writers relate to their physical and cultural landscapes. A comparative analysis is made between Wilbur-Cruce who responds to a critical time of transition for Mexican American rancheros moving from rural to urban areas at the turn of the century, and Preciado Martin, who focuses on the neo-colonization and growing tourism of Tucson and surrounding areas during the second half of the twentieth century. Playwright Silviana Wood and poet Patti Blanco are studied for the contributions they make to the writing about life in a small Arizona mining community and the Tucson Mexican American barrio, respectively.
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Owens, Sarah Elizabeth. "Subversive obedience: Confessional letters by eighteenth century Mexican colonial nuns." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284123.
Full textAbstract:
Eighteenth century colonial Mexico hosted a wide number of religious women who put quill to parchment and wrote spiritual letters to their confessors. These texts display impressive subversive rhetorical strategies, five of which are the focal point of this dissertation. The three nuns studied in this dissertation are Sor Maria Coleta de San Jose (?-1775), Sor Sebastiana de la Santisima Trinidad (1709-1757) and Sor Maria Anna de San Ignacio (1695-1756). Chapter one examines the spiritual and literary European foremothers of eighteenth century colonial religious women. This chapter examines the life and letters of Radegund (518-587), Hildegard of Bingen (1098-1179), Catherine of Siena (1347?-1380), and Saint Teresa of Avila (1515-1582). Their writings all demonstrate early signs of subversive rhetoric that can be detected centuries later in the nuns' letters examined in this study. The second chapter is divided into two sections. The first part provides an overview of colonial Mexico with a particular emphasis on Mexican nuns and their letters. The second half of the chapter carves out a viable discursive space for nuns' spiritual letters. This section revises and reinterprets the colonial literary canon from a variety of theoretical perspectives including feminist theory and cultural studies. The last three chapters are each dedicated to one of the three Mexican nuns mentioned above. Their letters are analyzed according to the following rhetorical strategies: (1) the rhetoric of humility, (2) the description of penance, (3) the description of fasting, (4) the retelling of visions with Christ, and (5) the retelling of visions with Saint Teresa or the Virgin Mary. In conclusion, due to their precarious situation as religious women under the ever vigilant eye of a patriarchal and misogynist society, these nuns opted to incorporate these strategies within their spiritual letters. Sor Coleta, Sor Sebastiana and Sor Maria Anna deliberately placed subversive rhetorical strategies within their letters in order to express otherwise controversial or questionable ideas.
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López, Medel Pablo. "La intertextualidad como recurso literario en la narrativa breve posmoderna de Juan José Arreola." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/170355.
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[ES] El propósito de esta investigación es dar a conocer e intentar comprender la función de la intertextualidad en la obra literaria del autor mexicano Juan José Arreola (1918- 2001). Su estilo ecléctico, marcado por la prosa poética, la brevedad y la ironía, comparte un claro denominador común: la continua referencia a otros textos. A través de múltiples referencias a otras obras, Arreola nos invita en sus cuentos a un nuevo modo de lectura basado en un escritura que define una voz única y original, construida, paradójicamente, a través de otras voces. Esta tesis presenta un acercamiento teórico al concepto de la intertextualidad literaria, su conexión con la narrativa breve posmoderna y por qué es un recurso fundamental en la literatura hispanoamericana del siglo XX y, especialmente, en la mexicana. Asimismo, se plantea un análisis detallado de la última edición de su obra Bestiario que incluye una propuesta metodológica de lectura, en busca de referencias a otros textos, cómo se relacionan, cómo se utilizan y con qué intenciones. La obra de Arreola debe ser leída desde la intertextualidad, ya que se construye a través de ella, en una suerte diálogo permanente con la propia literatura. Esta técnica de escritura, tan característica en la narrativa breve de un autor de tan difícil catalogación como Juan José Arreola, hace imprescindible tanto una lectura intertextual como, sobre todo, la participación de la comunidad lectora, que será la que conecte el entramado de referencias y complete su significado, en un adelanto de las estéticas del pensamiento posmoderno literario del siglo XX.<br>[CA] El propòsit d'aquesta investigació és donar a conèixer i intentar comprendre la funció de la intertextualitat en l'obra literària de l'autor mexicà Juan José Arreola (1918- 2001). El seu estil eclèctic, marcat per la prosa poètica, la brevetat i la ironia, comparteix un clar denominador comú: la contínua referència a altres textos. A través de múltiples referències a altres obres, Arreola ens convida en els seus contes a una nova manera de lectura basat en un escriptura que defineix una veu única i original, construïda, paradoxalment, a través d'altres veus. Aquesta tesi presenta un acostament teòric al concepte de la intertextualitat literària, a la seua connexió amb la narrativa breu postmoderna i als motius pels quals és recurs fonamental en la literatura hispanoamericana del segle XX i, especialment, en la mexicana. Així mateix, es plantegen una anàlisi detallada de l'última edició de la seua obra Bestiari i una proposta metodològica de lectura, a la recerca de referències a altres textos, com es relacionen, com s'utilitzen i amb quines intencions. L'obra de Arreola ha de ser llegida des de la intertextualitat, a través de la qual es construeix, en una mena de diàleg permanent amb la mateixa literatura. Aquesta tècnica d'escriptura, tan característica en la narrativa breu d'un autor de tan difícil catalogació com Juan José Arreola, fa imprescindible tant la lectura intertextual com, sobretot, la participació de la comunitat lectora, que serà la que connecte l'entramat textual i complete el seu significat, en un avançament de les estètiques de la pensament postmodern literari del segle XX.<br>[EN] This research aims to present and understand the function of intertextuality in the literary work of the Mexican author Juan José Arreola (1918-2001). His eclectic style, marked by poetic prose, brevity, and irony, shares a clear common denominator: the continuous reference to other texts. Through multiple references to other works, Arreola invites the recipient of his stories to a new way of reading on account to author's unique style and original voice, constructed, paradoxically, through other voices. This dissertation presents a theoretical approach to the concept of literary intertextuality, its connection with the Postmodern short narrative, and explores why it is a fundamental resource of 20th Century Hispanic American literature and, especially, in Mexican literature. Likewise, this work presents a detailed analysis of the latest edition of his work Bestiary and a methodological reading proposal, searching for references to other texts, how they are related, how they are used, and with what intentions. Arreola's work must be read from intertextuality since it is built through it, in a permanent dialogue with literature itself. This writing technique, so characteristic in the short narrative of an author of such difficult cataloging as Juan José Arreola, makes essential intertextual reading and, above all, the readers' participation, which will be the ones that connect the framework of references and complete its meaning, in a preview of the aesthetics of 20th Century literary Postmodern thinking.<br>López Medel, P. (2021). La intertextualidad como recurso literario en la narrativa breve posmoderna de Juan José Arreola [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/170355<br>TESIS