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Political progress in Mexico since 1945Gardner, Margaret Harper Marsh, 1929-, Gardner, Margaret Harper Marsh, 1929- January 1961 (has links)
No description available.
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A comparison of community power methodologies: selected implications from rural northern MexicoKeeler, John Budd, 1940- January 1970 (has links)
No description available.
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The erasure of the 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, 1920-1968Hernández Cuevas, Marco Polo 11 1900 (has links)
"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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The erasure of the 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, 1920-1968Hernández Cuevas, Marco Polo 11 1900 (has links)
"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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Challenges to regime legitimacy : a comparative study of Mexico and PeruBailly, Paula Beth. January 1981 (has links)
No description available.
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Challenges to regime legitimacy : a comparative study of Mexico and PeruBailly, Paula Beth. January 1981 (has links)
No description available.
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La vision de l'ambassade américaine des acteurs socio-politiques mexicains : 1947 à 1949Jiménez Hanton, Amelia M. 24 April 2018 (has links)
Dans cette étude nous faisons une analyse de la vision qu'a l'ambassade américaine des principaux acteurs de la vie politique mexicaine durant les trois premières années du mandat de Miguel Alemán (1947 à 1949). Nos sources sont des rapports au State Department et la correspondance de l'ambassade avec d'autres institutions américaines. Cette voie nous permet d'expliquer l'importance pour l'ambassade des États-Unis de la dynamique entre certains acteurs clés mexicains peu après la fondation du PRI, et de vérifier, d'entrée de jeu, l'apport de sa vision relativement à l'historiographie de la période et à certaines interprétations sociologiques. Elle nous permet aussi de dégager le type d'influence "au jour le jour" de l'ambassade sur la politique étrangère de son pays. Enfin, et de manière secondaire, lors des événements au Mexique qui comportent une incidence sur les relations bilatérales entre les deux pays ou sur les relations des États-Unis avec l'Amérique latine, cette voie nous permet de déceler quel est le pouvoir de décision de cette institution. / Québec Université Laval, Bibliothèque 2013
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