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"The Erasure of the Essential Afro Element of Mestizaje in Modern Mexico: The Coding of Visibly Black Mestizos According to a White Aesthetic In and Through the Discourse on Nation During the Cultural Phase of the Mexican Revolution, 1920-1968" examines how the Afro elements of Mexican mestizaje were erased from the ideal image of the Mexican mestizo and how the Afro ethnic contributions were plagiarized in modern Mexico. It explores part of the discourse on nation in the narrative produced by authors who subscribed to the belief that only white was beautiful, between 1920 and 1968, during a period herein identified as the "cultural phase of the Mexican Revolution." It looks at the coding and distortion of the image of visibly black Mexicans in and through literature and film, and unveils how the Afro element "disappeared" from some of the most popular images, tastes in music, dance, song, food, and speech forms viewed as cultural texts that, by way of official intervention, were made "badges" of Mexican national identity. The premise of this study is that the criollo elite and their allies, through government, disenfranchised Mexicans as a whole by institutionalizing a magic mirror—materialized in the narrative of nation—where mestizos can "see" only a partial reflection of themselves. The black African characteristics of Mexican mestizaje were totally removed from the ideal image of "Mexican-ness"1 disseminated in and out of the country. During this period, and in the material selected for study, wherever Afro-Mexicans—visibly Afro or not—are mentioned, they appear as "mestizos" oblivious of their African heritage and willingly moving toward becoming white. The analysis adopts as critical foundation two essays: "Black Phobia and the White Aesthetic in Spanish American Literature," by Richard L. Jackson; and "Mass Visual Productions," by James Snead. In "Black Phobia..." Jackson explains that, to define "superior and inferior as well as the concept of beauty" according to how white a person is perceived to be, is a "tradition dramatized in Hispanic Literature from Lope de Rueda's Eufemia (1576) to the present" (467). For Snead, "the coding of blacks in film, as in the wider society, involves a history of images and signs associating black skin color with servile behavior and marginal status" (142).

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Orientador: Fernando Marinho Mezzadri / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Biológicas, Programa de Pós-Graduação em Educação Física. Defesa: Curitiba, 2006 / Inclui bibliografia / Área de concentração: Exercício e esporte

"The Erasure of the Essential Afro Element of Mestizaje in Modern Mexico: The Coding of Visibly Black Mestizos According to a White Aesthetic In and Through the Discourse on Nation During the Cultural Phase of the Mexican Revolution, 1920-1968" examines how the Afro elements of Mexican mestizaje were erased from the ideal image of the Mexican mestizo and how the Afro ethnic contributions were plagiarized in modern Mexico. It explores part of the discourse on nation in the narrative produced by authors who subscribed to the belief that only white was beautiful, between 1920 and 1968, during a period herein identified as the "cultural phase of the Mexican Revolution." It looks at the coding and distortion of the image of visibly black Mexicans in and through literature and film, and unveils how the Afro element "disappeared" from some of the most popular images, tastes in music, dance, song, food, and speech forms viewed as cultural texts that, by way of official intervention, were made "badges" of Mexican national identity. The premise of this study is that the criollo elite and their allies, through government, disenfranchised Mexicans as a whole by institutionalizing a magic mirror—materialized in the narrative of nation—where mestizos can "see" only a partial reflection of themselves. The black African characteristics of Mexican mestizaje were totally removed from the ideal image of "Mexican-ness"1 disseminated in and out of the country. During this period, and in the material selected for study, wherever Afro-Mexicans—visibly Afro or not—are mentioned, they appear as "mestizos" oblivious of their African heritage and willingly moving toward becoming white. The analysis adopts as critical foundation two essays: "Black Phobia and the White Aesthetic in Spanish American Literature," by Richard L. Jackson; and "Mass Visual Productions," by James Snead. In "Black Phobia..." Jackson explains that, to define "superior and inferior as well as the concept of beauty" according to how white a person is perceived to be, is a "tradition dramatized in Hispanic Literature from Lope de Rueda's Eufemia (1576) to the present" (467). For Snead, "the coding of blacks in film, as in the wider society, involves a history of images and signs associating black skin color with servile behavior and marginal status" (142). / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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Texte remanié de: Th. / Bibliogr. p. 287-295. Index.

JOHN PIPER: THE MAKING OF A CHRISTIAN HEDONIST Justin Gerald Taylor, Ph.D. The Southern Baptist Theological Seminary, 2015 Chair: Dr. Michael A. G. Haykin This dissertation on noted pastor and author John Piper (1946- ) constitutes an early effort in the field of intellectual biography, tracing four key influences--in roughly chronological order--upon Piper's life and theology. Those with primary influence in Piper's formative years were his parents, William S. H. Piper (1919-2007) and Ruth Mohn Piper (1918-1974), who exhibited a unique combination of joyful fundamentalism. Piper's next major influence was C. S. Lewis (1898-1963), discovered during his undergraduate studies at Wheaton College, who introduced him to romantic rationalism. Piper's first teacher at Fuller Seminary was Daniel P. Fuller (1925- ), a hermeneutics professor who planted the seeds of Christian hedonism and who gave him a love for exegetical biblicism. It was during these seminary days and into his time of doctoral study that Piper discovered Jonathan Edwards (1703-1758), whose affectional Calvinism would go on to shape Piper's theology more than anyone else. Piper's three primary venues of ministerial vocation--teaching, preaching, and writing--are all examined to reveal the ways in which each of these influencers played various roles in Piper's development of Christian hedonism and his distinct contribution to a theology of the Christian life. The dissertation concludes with two applications of the foregoing analysis, exploring how Piper uses Scripture and how he appropriates church history for pastoral ends. Also included is a comprehensive bibliography of Piper's published works (1971-2015).

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