“On Globalization and Civil Society: Mediating Spatial Practice in Twenty-first-century Latin America” explores the tensions between globalization and civil society from a multi-geographical and multidisciplinary angle. The dissertation is informed by theories of space, power, identity, citizenship, and postmodernity, as well as mediatic and socio-political analyses of conditions that have consistently challenged democracy and the formation of a just civil society specifically in the Colombian and Mexican contexts but throughout Latin America as well. I argue that national institutions fundamental to the formation of knowledge and the construction of identity--namely national citizenship, geopolitical and symbolic borders, and the national media--impose undue limits and power on globally affected individuals. After acknowledging and analyzing the dehumanizing way in which these national institutions limit individual freedoms and participation within local and global public spheres, I take a more hopeful stance as I explore humanizing instances that transcend victimization through the imagination and creation of alternative social orders that destabilize traditional apparatuses of authority through agency-enhancing initiatives. Through close readings of contemporary Colombian and Mexican narrative by Héctor Abad Faciolince, Jorge Franco, Heriberto Yépez, and Luis Humberto Crosthwaite, and a case study of Un Pasquín, Vladimir Flórez’s independent alternative Bogotá media project, I call for a new understanding of the possibilities of the twenty-first-century public sphere in Latin America. I contend that by subverting dominant paradigms of power, these alternative spheres provide a new model from which to think and advance a just global order. In short, I argue that, despite globalization’s mostly deleterious consequences for the world’s most at risk local populations, the formation of a more humanizing spatial and mediatic practice that fosters alternative public spheres responsive to the human need for individual agency and subjectivity, though seemingly unattainable, is in fact possible.

“On Globalization and Civil Society: Mediating Spatial Practice in Twenty-first-century Latin America” explores the tensions between globalization and civil society from a multi-geographical and multidisciplinary angle. The dissertation is informed by theories of space, power, identity, citizenship, and postmodernity, as well as mediatic and socio-political analyses of conditions that have consistently challenged democracy and the formation of a just civil society specifically in the Colombian and Mexican contexts but throughout Latin America as well. I argue that national institutions fundamental to the formation of knowledge and the construction of identity--namely national citizenship, geopolitical and symbolic borders, and the national media--impose undue limits and power on globally affected individuals. After acknowledging and analyzing the dehumanizing way in which these national institutions limit individual freedoms and participation within local and global public spheres, I take a more hopeful stance as I explore humanizing instances that transcend victimization through the imagination and creation of alternative social orders that destabilize traditional apparatuses of authority through agency-enhancing initiatives. Through close readings of contemporary Colombian and Mexican narrative by Héctor Abad Faciolince, Jorge Franco, Heriberto Yépez, and Luis Humberto Crosthwaite, and a case study of Un Pasquín, Vladimir Flórez’s independent alternative Bogotá media project, I call for a new understanding of the possibilities of the twenty-first-century public sphere in Latin America. I contend that by subverting dominant paradigms of power, these alternative spheres provide a new model from which to think and advance a just global order. In short, I argue that, despite globalization’s mostly deleterious consequences for the world’s most at risk local populations, the formation of a more humanizing spatial and mediatic practice that fosters alternative public spheres responsive to the human need for individual agency and subjectivity, though seemingly unattainable, is in fact possible.

“Violence and Performance on the Latin American Stage” investigates Latin American theatre of the 1960s. It focuses on violence as an inherently formal element that intersects multiple contexts. My purpose is to develop a reading that challenges traditional interpretations of Latin American avant-garde theatre. I argue that this theatre does not apply European forms to Latin American realities, but rather juxtaposes local with foreign elements in multiple domains. It connects aesthetic, philosophic, social, and political contexts through the use of violent theatrical forms. The playwrights José Triana, Virgilio Piñera, Griselda Gambaro, and Jorge Díaz develop an aesthetics of violence that examines the ontological effects of crisis and revolution. Their characters confront questions of agency, subjectivity, historical perception, and consciousness that speak to their audiences’ experience in the sixties –I focus specifically on the Cuban revolution, Argentina’s growing socio-political violence, and Chile’s changing social demographics. I aim to show that the plays demand a simultaneous textual and contextual reading that dialogues with the multiple contexts and domains the plays intersect. My analysis focuses on the concepts of violence and performance in order to emphasize the plays’ modernizing role within their national theatrical scenes. I examine the challenges of theatrical writing and practice in times of conflict and social transformation, commenting on the disparaged reception of the plays’ innovative forms. I contend that this problem of reception accounts for the plays’ highly sophisticated structures of violence, which, in most cases, confused and distanced their audiences. This dissertation ultimately seeks to reveal the power of this theatre’s violent aesthetics to synthesize and critically engage with its cultural and socio- political surroundings.

“Violence and Performance on the Latin American Stage” investigates Latin American theatre of the 1960s. It focuses on violence as an inherently formal element that intersects multiple contexts. My purpose is to develop a reading that challenges traditional interpretations of Latin American avant-garde theatre. I argue that this theatre does not apply European forms to Latin American realities, but rather juxtaposes local with foreign elements in multiple domains. It connects aesthetic, philosophic, social, and political contexts through the use of violent theatrical forms. The playwrights José Triana, Virgilio Piñera, Griselda Gambaro, and Jorge Díaz develop an aesthetics of violence that examines the ontological effects of crisis and revolution. Their characters confront questions of agency, subjectivity, historical perception, and consciousness that speak to their audiences’ experience in the sixties –I focus specifically on the Cuban revolution, Argentina’s growing socio-political violence, and Chile’s changing social demographics. I aim to show that the plays demand a simultaneous textual and contextual reading that dialogues with the multiple contexts and domains the plays intersect. My analysis focuses on the concepts of violence and performance in order to emphasize the plays’ modernizing role within their national theatrical scenes. I examine the challenges of theatrical writing and practice in times of conflict and social transformation, commenting on the disparaged reception of the plays’ innovative forms. I contend that this problem of reception accounts for the plays’ highly sophisticated structures of violence, which, in most cases, confused and distanced their audiences. This dissertation ultimately seeks to reveal the power of this theatre’s violent aesthetics to synthesize and critically engage with its cultural and socio- political surroundings.

Migration and exile due to human rights violations have long been key topics in Latin American studies. In the Colombian context, a compelling corpus of texts has surfaced that deals specifically with the phenomenon of forced internal displacement. Colombia is second only to Sudan in terms of the number of victims––some four million people––who have had to leave their homes and communities because of civil unrest. In this dissertation, I consider the socio-political construct of the displaced to be a homogenizing term used by the media and official discourse to refer to those affected by internal exile. This study centres on the uses and impacts of this identity marker at individual and collective levels within a cultural studies approach. In Chapter 1, I discuss three different genres: a novel, which references testimonio accounts, and a play that is partly based on both. The sheer diversity of characters that become part of the displaced category exposes relevant racial, ethnic, and ideological alliances that emphasize us-them relations. An analysis of Luis Alberto Restrepo’s film La primera noche, Chapter 2 deals with the juxtaposition of the rural and urban so as to expose the ramifications of dispossession at multiple degrees of individual and collective identification and examines effects of marginality by contrasting the conditions of the displaced against those of other marginalized populations. In Chapter 3, I argue that music is a tool of both denunciation and declaration through an analysis of a collection of songs written and performed by members of Afro-Colombian displaced communities. I study these vallenato and rap songs, fused with unconventional lyrics and musical elements, as testimonial texts that contest issues of land rights vis-à-vis collective identity and agency. Finally, Chapter 4 is a cross-examination of the shelter within a series of photographs. I first read the refugee centre as a bio-political space where residents are subject to extreme inhumane conditions, and I then show the shelter to be a space that elicits movements of solidarity and resistance, and counters the notion of the displaced as a homogeneous group.

Migration and exile due to human rights violations have long been key topics in Latin American studies. In the Colombian context, a compelling corpus of texts has surfaced that deals specifically with the phenomenon of forced internal displacement. Colombia is second only to Sudan in terms of the number of victims––some four million people––who have had to leave their homes and communities because of civil unrest. In this dissertation, I consider the socio-political construct of the displaced to be a homogenizing term used by the media and official discourse to refer to those affected by internal exile. This study centres on the uses and impacts of this identity marker at individual and collective levels within a cultural studies approach. In Chapter 1, I discuss three different genres: a novel, which references testimonio accounts, and a play that is partly based on both. The sheer diversity of characters that become part of the displaced category exposes relevant racial, ethnic, and ideological alliances that emphasize us-them relations. An analysis of Luis Alberto Restrepo’s film La primera noche, Chapter 2 deals with the juxtaposition of the rural and urban so as to expose the ramifications of dispossession at multiple degrees of individual and collective identification and examines effects of marginality by contrasting the conditions of the displaced against those of other marginalized populations. In Chapter 3, I argue that music is a tool of both denunciation and declaration through an analysis of a collection of songs written and performed by members of Afro-Colombian displaced communities. I study these vallenato and rap songs, fused with unconventional lyrics and musical elements, as testimonial texts that contest issues of land rights vis-à-vis collective identity and agency. Finally, Chapter 4 is a cross-examination of the shelter within a series of photographs. I first read the refugee centre as a bio-political space where residents are subject to extreme inhumane conditions, and I then show the shelter to be a space that elicits movements of solidarity and resistance, and counters the notion of the displaced as a homogeneous group.

“Indigenousness and the Reconstruction of the Other in Guatemalan Indigenous Literature” examines the production of a contemporary Indigenous literature in Guatemala. With the aid of a multidisciplinary approach informed by cultural, feminist, gender, socio-anthropological, and postcolonial studies, I analyze the emergence and ongoing struggle of Maya writers in Guatemala to show how the production of an alternate ideology contests official notions of nationhood and promotes a more inclusive space. I argue that Maya writers redefine Indigenous identity by reinstating Indigenous agency and self-determination, and deconstructing and rearticulating ethnicity, class and gender, among other markers of identity. I begin by examining the indio as the basis of colonial and national narratives that logically organize the Guatemalan nation. I then observe the emergence of a contemporary Indigenous literature in Guatemala in the 1970s, a literature that, I argue, isolates and contests the position that was assigned to the indio and proposes a literature written by and for the Indigenous peoples of Guatemala. I posit that the inauguration of a Maya cultural space occurs with Luis de Lión’s novel El tiempo principia en Xibalbá (1985) and Gaspar Pedro González’ La otra cara (1992). I then observe the destabilization of traditional Maya female roles and symbols in the recent work of female Indigenous poets, Calixta Gabriel Xiquín and Maya Cu. Lastly, in the work of Víctor Montejo and Humberto Ak’abal I identify a negotiation of heterogeneity and essentialism for the development of a cultural project that looks to the formation of a pluricultural, plurinational Guatemalan state.

“Indigenousness and the Reconstruction of the Other in Guatemalan Indigenous Literature” examines the production of a contemporary Indigenous literature in Guatemala. With the aid of a multidisciplinary approach informed by cultural, feminist, gender, socio-anthropological, and postcolonial studies, I analyze the emergence and ongoing struggle of Maya writers in Guatemala to show how the production of an alternate ideology contests official notions of nationhood and promotes a more inclusive space. I argue that Maya writers redefine Indigenous identity by reinstating Indigenous agency and self-determination, and deconstructing and rearticulating ethnicity, class and gender, among other markers of identity. I begin by examining the indio as the basis of colonial and national narratives that logically organize the Guatemalan nation. I then observe the emergence of a contemporary Indigenous literature in Guatemala in the 1970s, a literature that, I argue, isolates and contests the position that was assigned to the indio and proposes a literature written by and for the Indigenous peoples of Guatemala. I posit that the inauguration of a Maya cultural space occurs with Luis de Lión’s novel El tiempo principia en Xibalbá (1985) and Gaspar Pedro González’ La otra cara (1992). I then observe the destabilization of traditional Maya female roles and symbols in the recent work of female Indigenous poets, Calixta Gabriel Xiquín and Maya Cu. Lastly, in the work of Víctor Montejo and Humberto Ak’abal I identify a negotiation of heterogeneity and essentialism for the development of a cultural project that looks to the formation of a pluricultural, plurinational Guatemalan state.

Through close readings of various texts that deal with issues of border, identity and the relationship between Haiti and Dominican Republic as well as with the flow of immigrants between Dominican Republic and the United States, this study introduce the trope of the “rayano” (the one that was born, lives or comes from the border) as an apt metaphor to explain the identity of Dominicans in the twenty-first century — an identity that should be viewed as one born out of movements, translations and interstices. The primary texts that this study will focus on will cover the Haitian-Dominican and Dominican-American experiences.  In terms of the former, El Masacre se pasa a pie (1973) by Freddy Prestol Castillo and The Farming of Bones (1998) by Edwidge Danticat are useful for analyzing the defining moment of the relationship between Haiti and Dominican Republic in the twentieth century: the 1937 border massacre of Haitians and Dominican-Haitians ordered by Dominican dictator Rafael L. Trujillo. In the case of the Dominican-American relationship, Dominicanish (2000) by Josefina Báez, and The Brief Wondrous Life of Oscar Wao (2007) by Junot Díaz will be the texts through which it will be analyzed the Dominican diaspora and its relationship with the two defining spaces of Dominicanness in the twenty-first century: Santo Domingo and New York City. In addition to these texts, this study also will engage with the theoretical production regarding the triangular relationship between Dominican Republic, Haiti and the United States through an analysis of the different metaphors used by Lucía M. Suárez in The Tears of Hispaniola: Haitian and Dominican Diaspora Memory, Eugenio Matibag in Haitian-Dominican Counterpoint: Nation, State and Race in Hispaniola, and Michele Wucker in Why the Cocks Fight: Dominicans, Haitians, and the Struggle for Hispaniola.

“Collective Bodies and Collective Change: Blindness, Pilgrimage, Motherhood and Miracles in Twentieth Century Mexican Literature” examines Mexican literature from 1940 to 1980. It analyzes representations of collective bodies and suggests that these bodies illustrate oppression and resistance in their historical context, which coincides with the beginning of a period of massive modernization in Mexico. I aim to develop a reading that interprets this imagery of collectives, unusual bodies, and blindness as more than symbols of oppression. By examining this imagery alongside representations of pilgrimage, alternative modes of motherhood, and experiences such as miracles that figuratively connect bodies, I propose that these images challenge their historical context, and can be read as a gesture towards resistance. Novels and short stories by José Revueltas, Juan Rulfo, Rosario Castellanos and Vicente Leñero present collectives, blindness and unusual bodies. My reading of their works connects these textual bodies to oppression within their historical context, in particular, by the government, intellectuals, the medical system, the Catholic Church, family structure, the landholding system, and the land’s heat, wind and drought. These representations de-individualize characters, and, as such, destroy the ideal of the modern subject who would effect change through individual agency. Thus, when I argue that these same bodies act as a metaphorical collective subject whose actions, such as mass murder, and participation in religious revival and radical political movements, can point out social change, they challenge the ideal of an individual subject. By reflecting on the connection between literature that represents unusual bodies, a historical situation of oppression, and the potential for resistance, this analysis of literary texts provides a lens through which we can examine the stories’ historical context and ideas of individual and collective agency.