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Academic literature on the topic 'Mexican Political poetry'
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Journal articles on the topic "Mexican Political poetry"
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Mireles Cristino, Israel. "Constelaciones poéticas: sobre algunas antologías de la nueva poesía mexicana (2010-2020)." (an)ecdótica 6, no. 1 (2022): 127–41. http://dx.doi.org/10.19130/iifl.anec.2022.6.1.235876.
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With the recent change of decade, we can turn our gaze to trace a concise outlook of recent Mexican poetry. As a significant sign of the poetics that have defined the work of young Mexican writers in the new millennium, I believe that the reflection on some anthologies can provide a firm basis for analysis. In these notes I offer a review of a selection of seven anthologies of Mexican poetry published between 2010 and 2019 to highlight some of the trends that have defined the national poetic state during this decade. The study is divided into two sections. In the first one, I sift through some theoretical and methodological reflections to rethink the function of anthologies no longer from the concept of canon but from the concept of literary constellations. In the second section I focus on the study of each of the selected works, with special emphasis on the proposals outlined by the anthologists in the prologues and paratexts. In this way, at the end I synthesize some of the dominant features of young Mexican poetry, especially from what I consider to be its political manifestation.
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Filmer, Alice A. "Discourses of Legitimacy: A Love Song to Our Mongrel Selves." Policy Futures in Education 7, no. 2 (2009): 200–216. http://dx.doi.org/10.2304/pfie.2009.7.2.200.
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In an intervention that blurs methodological boundaries traditionally separating the researcher from the researched, history from poetry, and the personal from the political, the author weaves a narrative account of her Euro-American family's early history in California into a larger set of social and historical events taking place during the nineteenth century. She employs the metaphor of ‘legitimacy’ to trace her growing awareness of the physical, psychological, and political parallels at work in the colonization of lands, cultures, and bodies in the ‘New World’. Providing context for the mid-nineteenth century war between the USA and Mexico, she analyzes discursive constructs such as hybridity, impurity, and ‘mongrelization’ as they are evoked in the legend of Malinche – the sixteenth-century, indigenous translator and lover of the Spanish conquistador, Hernan Cortés. Four centuries later, echoes of that ‘intermarriage’ and the transgression of many other kinds of boundaries can be heard in the author's unconventional relationship with her son's Mexican father. She offers a ‘post-critical’ perspective in the conclusion by bringing her own voice into dialogue with those of several post-colonial theorists. This ethnography integrates autoethnography, voices from history, and textual analysis into seldom-heard conversations about the conventional and unconventional workings of power and identity. In so doing, both the fixity and fluidity of concepts such as culture, nation, family, language, social class, race, and gender are revealed.
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Bixler, Jacqueline E. "Re-Membering the Past: Memory-Theatre and Tlatelolco." Latin American Research Review 37, no. 2 (2002): 119–35. http://dx.doi.org/10.1017/s0023879100019543.
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AbstractThis study discusses the responses of Mexican intellectuals to the 1968 massacre in the Plaza de Tlatelolco. Several published studies and anthologies have covered the poetry, narrative, and essays written on the subject, but no such consideration has been given to the theatrical works written and staged since 1968. Jeanette Malkin's theory on memory-theatre, Pierre Nora's “lieux de mémoire,” and Michel Foucault's concept of countermemories all shed light on how these dramatic works function in a changing Mexico, now moving toward authentic democracy and ready to revive a segment of history suppressed and distorted but never forgotten. Of the many plays commemorating the events of 1968, four that focus on the process of memory are analyzed in this essay. Because of the slow democratization of Mexico, the growing maturity of former participants and witnesses, and the postmodern craving for testimony, the repressed memories of Tlatelolco have not faded into oblivion but continue to inspire the dramatic imagination.
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Mir, Raza. "Passport Photos." American Journal of Islam and Society 17, no. 2 (2000): 123–26. http://dx.doi.org/10.35632/ajis.v17i2.2065.
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What does it mean to be a migrant, to be itinerant, to forever engage in a“dialogue of civilization”? How do migrants make sense of their identity in aworld where every aspect of it is constantly under negotiation by border-keepersand original settlers and earlier immigrants? In his bold new book PassportPhotos, Amitava Kumar, a professor of English at the University of Florida,examines some of the problems faced by diasporic communities through thestudy of an important document, the passport. To the immigrant, the passportis an important intersection between “identity” and “document.” This deep,sensitive and, at times, funny reading of the passport makes for a very thoughtprovokingbook, and I unreserved19 recommend it to anyone who is interestedin a sensitive portrayal of the immigrant experience. The book is like immigrantsthemselves. It speaks in multiple languages, and is obsessed with documents.Among its many tongues, it speaks in academic and political cadences,mixes prose and poetry, sprinkles Urdu and Spanish, quotes Namdeo Dhasal,a poet from India and Louis Arrago, the Mexican poet-activist. It layers Urduupon Spanish, words upon pictures, and best of all, garnishes it with Kumar’spoetry, which is quite magical. There are several poems, each of which is worththe price of admission on a stand-alone basis.In the second paragraph of its preface, the author makes his point clear: “thisbook is a forged passport.” There is, of course, a delightful wordplay here. Wecan read the act of forging as illegal duplication, but we can also read it in termsfamiliar to a blacksmith, the book is forging or creating a new way to understandpassports, borders, being an immigrant and being foreign. As someonewho personally knows several “illegal immigrants,” I used their reality as atouchstone to judge the book. If the book speaks to their condition, withoutromanticizing them or being condescending to them, displaying both theirbravery and their baggage, then it is a good book. If the book cannot reachthem, it is little more than words and I will dismiss it as yet another piece ofdesultory identity politicking.The book certainly fulfiils the above criteria, and much more. It representsthe multilayered experience of immigrants without reducing it to wordplay. At ...
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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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López, Rodrigo. "2666: the Post-Apocalypse according to Roberto Bolaño." Catedral Tomada. Revista de crítica literaria latinoamericana 6, no. 10 (2018): 25–42. http://dx.doi.org/10.5195/ct/2018.307.
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In 2666, Roberto Bolaño configures, situated at the Mexican desert of Sonora, a latinamerican and post-apocalyptic scenario, a paradigmatic state of exception where, in an almost forensic style, innumerable corpses of women proliferate during more than 350 monotonous and inexhaustible pages: byproducts of a large scale femicide, nude lives deprived of political existence. In the structure of this posthumous novel, unfinished, demesured in its extension, Bolaño, through fragmentarities, digressions, interruptions, reveals an authentic poetic of inconclusion: there is no narrative totality capable to address the unlimited character of crime and absolute evil experienced during the twentieth century. This way, read under the lacanian logic of the pas-tout, this poetic of inconclusion enables the irruption of the real that interrupts the narration, the ideological closure of a perverse socio-symbolic order.
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Bernstein, Charles. "Interview with Alí Calderón." boundary 2 48, no. 4 (2021): 79–82. http://dx.doi.org/10.1215/01903659-9382074.
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Abstract In 2018, Mexican poet Alí Calderón interviewed Charles Bernstein for his influential web magazine Círculo de poesía. The interview is published here in English for the first time. Bernstein addresses the poetics of “hybridity” and the possibilities for poetic disruption. The discussion ends with Bernstein's then new poem, written for John Ashbery on the day he died.
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Maciel, Maria Esther. "The Lesson of Fire." Theory, Culture & Society 15, no. 3-4 (1998): 393–403. http://dx.doi.org/10.1177/0263276498015003019.
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This article investigates the concepts of love and eroticism of the Mexican poet and critic Octavio Paz, in his book The Double Flame. The purpose is to show how the author, in his treatment of the intersections between love, eroticism and sexuality in Western cultural life during several centuries, by way of an interdisciplinary and analogical method, makes as well a poetic manifesto in defence of sensitivity against the process of the commercialization of desire in the contemporary world and proposes an erotic re-education of society at this century's end through the rehabilitation of the idea of love.
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Trombold, John. "Américo Paredes's Development of a Border Outlaw." Prospects 24 (October 1999): 249–59. http://dx.doi.org/10.1017/s0361233300000363.
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In their considerations of Chicanola border poetry and narrative, Gloria Anzaldúa, Guillermo Gómez-Peña, and José David Saldívar have suggested that the cultural condition of the border writer addresses central concerns of contemporary American culture and what one can regard — as I try to do here — as its aspiring cultural outlaws. In the context of their postmodern approaches to culture the notion of the American frontier outlaw has a rather archaic ring, for such an identity recalls 19th–century constructions of self and an underlying belief in individual agency. Even in the 1930s the figure of the folkloric Tejano rebel existed in a similar historical halfway house, one in which the idea of the Mexican outlaw is both utterly anachronistic and politically relevant. Nonetheless, the traditional heroic outlaw of Tejano balladry — corridos — still has the power to signify a legacy of opposition to Anglo power, and the themes of such balladry persist today in the form of legal conflict over unresolved land claims (Verhovek), as if yesterday's outlaw has materialized from legend and taken form as lawful claimant. Thus it is valuable to see how the concerns of contemporary theory can be related to antiquated legends and to note any intermediary texts located in a moment between the late 20th-century present and the mid-19th-century past. Arguably, Américo Paredes's 1930s novel George Washington Gomez prefigures the newly lawful claims of those heir to the mythos of legendary outlaws and at the same time prefigures postmodern border theory. The novel underscores the divided character of a culture inheriting a folkloric tradition in a newly modern American context and elaborates on themes pertinent to a postmodern one.
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Strange Reséndiz, Isabel Lincoln. "Entre La Creación Y La Crítica Literaria. Letras De Alfonso Reyes Y Martín Luis Guzmán." Xihmai 9, no. 17 (2014). http://dx.doi.org/10.37646/xihmai.v9i17.238.
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¡Pobre hombre de Dios! El mundo está necesitado de realidades externas, objetivas, vulgares, y Usted a través del zodiaco de sus cartas actuales se me esfuma en radiosas visiones de poetas o se me rompe en un fracaso de cristales… CARTA DE REYES A GUZMÁN, 1914. Resumen El presente artículo analiza la crítica literaria contenida en la correspondencia que mantuvieron los Ateneístas Alfonso Reyes y Martín Luis Guzmán, a partir de 1913 y hasta 1959. Dichas cartas exponen el punto de vista de ambos autores sobre la configuración de la obra propia y la ajena. La correspondencia dibuja un panorama de la relación íntima entre Reyes y Guzmán, que se vio afectada desde un momento temprano en la vida de ambos, debido al estallido de la Revolución Mexicana y a partir de la Decena trágica, en la que fallece Bernardo Reyes. El resultado de sus intereses personales se manifiesta en estas cartas; Reyes se muestra como autor cosmopolita y Guzmán como un narrador con profundas preocupaciones políticas. Palabras clave: Literatura, crítica, correspondencia, Reyes, Guzmán. Abstract This article analyzes the literary criticism that exists in the letters written by Alfonso Reyes and Martin Luis Guzman, from 1913 and until 1959. These letters outlined the point of view of both authors on setting their own work and that of others. The correspondence paints a picture of the intimate relationship between Reyes and Guzman, who were affected from an early stage in the life of both, due to the outbreak of the Mexican Revolution and from La Decena trágica, in which Bernardo Reyes dies. The results of their personal interests are manifested in those letters; Reyes is seen as a cosmopolitan author and Guzman as a writer with deep political concerns. Keywords: Literature, criticism, correspondence, Reyes, Guzmán.
Books on the topic "Mexican Political poetry"
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Souza, Jorge, and Raúl Bañuelos. Poesía insurgente de México, 1810-1910. Secretaría de Cultura, Gobierno del Estado de Jalisco, 2010.
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Gil, Francisco Moreno. Epigramario: La caricatura hablada. F. Moreno Gil, 2008.
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Ayala, Leopoldo. Lienzo Tlatelolco. Organización Editorial Nuevo Siglo, 1998.
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Z Eros. Bilingual Press/Editorial Bilingüe, 1995.
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López, Miguel R. Chicano timespace: The poetry and politics of Ricardo Sánchez. Texas A&M University Press, 2001.
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Silva, Alejandra. Con olor a tiempo: Poesía erótica mexicana : siglo XIX y primera mitad del siglo XX. Eón, 2010.
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Martín, Kathleen Rock. Discarded pages: Araceli Cab Cumí, Maya poet and politician. University of New Mexico Press, 2007.
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Camín, Héctor Aguilar. A la sombra de la Revolución Mexicana. 3rd ed. Cal y Arena, 1989.
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Camín, Héctor Aguilar. A la sombra de la Revolución Mexicana. 5th ed. Cal y Arena, 1991.
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Cuesta, Jorge. Ensayos escogidos. Consejo Nacional para la Cultura y las Artes, Dirección General dePublicaciones, 2014.
Book chapters on the topic "Mexican Political poetry"
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Izenberg, Oren. "Oppen’s Silence, Crusoe’s Silence, and the Silence of Other Minds." In Being Numerous. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691144832.003.0003.
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This chapter examines the long silence at the center of George Oppen's poetic career, arguing that it was driven in part by his early choice of left-political activism over art. After the 1934 publication of his Discrete Series, Oppen stopped writing poems and lived, starting in 1950, as a “known subversive” in Mexico. He would resurface in 1962 with the publication of The Materials. Focusing on the figure of Robinson Crusoe, this chapter offers an account of Oppen's poetic knowledge in relation to aesthetics and to the idea of a poetic politics. It also considers Oppen's reconceptualization of what it means “to know” and its relevance to the question of social recognition. It suggests that Oppen's return to poetry was contingent upon his conceptualization of the rigorous charity of his silence and his discovery of a way to make such silence audible.
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Ehlers, Sarah. "Photography and the Development of Radical Poetics." In Left of Poetry. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.003.0002.
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This chapter examines Langston Hughes’s overlooked archive of photographs and scrapbooks from his 1931 trip to Haiti, arguing that Hughes’s photographic encounter with Haiti is part of the construction of a transnational vision that starts in the Caribbean and moves through the U.S. South and Mexico. Photography becomes fundamental to Hughes’s attempts to map the connectedness of persons and locales in a capitalist world system and to imagine the formation of political communities. The chapter begins by considering how Hughes’s experience of taking photographs, along with organizing them in albums and scrapbooks, generated questions about the politics of representation in his subsequent political poems. The chapter then extends these considerations to Hughes’s interwar radical verse, showing how Hughes’s encounters with visual objects continue to influence his poetry during the 1930s. The chapter closes by demonstrating how Hughes’s contemplation of the relationship between photography and writing opens up new readings of James Agee and Walker Evans’s foundational documentary text, Let Us Now Praise Famous Men (1941). Hughes’s engagements with photography place him in a developing documentary modernist tradition that pushes beyond New Deal initiatives and employs documentary in the shaping of an international public sphere.
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Olguín, B. V. "Violence and the Transnational Question." In Violentologies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863090.003.0005.
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Chapter 4 disentangles the distinct ideologies often conflated under the expansive and notoriously vague rubric of Latina/o “transnationalism.” It first interrogates the limits of Radical Regionalism Studies by explicating the specter of nationalism in Emma Pérez’s ostensibly contestatory Tejana lesbian feminist regionalist historical fiction. The chapter further deconstructs the Latina/o Studies fixation on hyperlocalities and celebratory transnationalisms by interrogating the various aestheticizations of violence in Latina/o literatures about Central American civil wars, femicide in the US-Mexico border, and revolutionary insurgencies throughout North, Central, and South America, in addition to the Caribbean. It closes by underscoring Pan-Latina/o political diversity through the recovery of testimonial prose and poetry from Latina/o internationalist partisans and combatants vis-à-vis the antitestimonial memoirs, novels, and poetry by and about right-wing Latina/o soldiers and CIA officers.