Med denna uppsats har jag ämnat att undersöka det skifte i popularitet och berömmelse som har skett mellan Diego Rivera och Frida Kahlo, vilka var ett par under stora delar av sina respektive liv. Vid tiden då de verkade var Rivera den mest erkände av de båda, men med 1900-talets senare hälft har Kahlos berömmelse kommit att bli vidsträckt. Detta skifte har jag undersökt genom att studera konstnärernas liv och konstnärskap i ljuset av såväl nationella som internationella omständigheter vid tiden för konstnärernas verkande, och därefter studerat åren som följer deras död. Då har jag återigen tagit hänsyn till internationella såväl som nationella perspektiv, och faktorer såsom stil, politik och kulturella företeelser har undersökts för att klarlägga hur, när och varför detta popularitetsskifte sker.

Essa dissertação é uma proposta de releitura do conjunto de murais no interior da Capela de Chapingo, México. Tal releitura de crítica artística relaciona-se à apropriação de uma metodologia derivada da própria noção de capela, metodologia essa que compactua com o ambiente artístico em questão e com a fenomenologia do contemplador desse conjunto. O objetivo dessa proposta é apresentar as nuances envolvidas no conceito-chave, por parte da historiografia artístico-religiosa, de suporte-capela, isto é, a capela não apenas como ambiente religioso, mas como ocasião artística / This paper is a re-reading proposal for the set murals inside the Chapingos Chapel, Mexico. Such critice of art are related to appropiation of a methodology derived from the own notion of chapel. The objetive of this proposal and methodology is to present the details involved in the key-concept of support-chapel not only as a religius espace, but as artistic medium too

Essa dissertação é uma proposta de releitura do conjunto de murais no interior da Capela de Chapingo, México. Tal releitura de crítica artística relaciona-se à apropriação de uma metodologia derivada da própria noção de capela, metodologia essa que compactua com o ambiente artístico em questão e com a fenomenologia do contemplador desse conjunto. O objetivo dessa proposta é apresentar as nuances envolvidas no conceito-chave, por parte da historiografia artístico-religiosa, de suporte-capela, isto é, a capela não apenas como ambiente religioso, mas como ocasião artística / This paper is a re-reading proposal for the set murals inside the Chapingos Chapel, Mexico. Such critice of art are related to appropiation of a methodology derived from the own notion of chapel. The objetive of this proposal and methodology is to present the details involved in the key-concept of support-chapel not only as a religius espace, but as artistic medium too

Installé à Paris en 1911, Diego Rivera se rallie au cubisme pour retourner au réalisme en 1918. A cette époque, il tisse une amitié riche en échanges avec Élie Faure, socialiste comme lui. Faure voit chez l'artiste "une source inépuisable de surprises et d'enseignements»; Rivera considère l'historien de l'art comme l'un de ses« maîtres". Élie Faure a une compréhension de la société et de l'art basée sur la contribution de personnalités qui ont bouleversé la pensée et les arts depuis la Révolution française: Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, entre autres. Déclarant l'échéance de l'esprit individualiste de la Renaissance, il annonce l'avènement d'un rythme collectif d'expression artistique sociale et monumentale, notamment architecturale, dont l'intention de «construire» en peinture est un symptôme. Le Moyen-âge français lui fournit un paradigme de l'ordre collectif et de I' «Art social», la cathédrale comme étant la plus parfaite expression, manifestation de la collaboration humaine et symbole même d'une civilisation. En 1921, décidé à militer pour l'établissement d'un nouvel ordre social, Rivera rentre dans son pays. Il est passionné par la socialisation de l'art et par l'architecture. Son discours et ses démarches révèlent ses affinités intellectuelles avec l'historien de l'art français et exprime une volonté de mener à son accomplissement l'"Art social". Cependant, les idées du peintre évoluent avec les évènements politiques, sociaux et culturels du Mexique, tenant compte du contexte mondial. Cet échange franco-mexicain illustre la complexité des transferts qui conduisent aux discours actuels de la mondialisation artistique. / Moving to Paris in 1911, Diego Riverais won over to Cubism only to return to Realism in 1918. During that period, he builds a rich friendship with Elie Faure, a socialist like him. Faure sees in the artist ''an endless source of surprises and lessons." Rivera considers the art historian Faure as one of his "masters. "Elie Faure has an understanding of society based on the contribution of individuals who have changed thinking and the art since the French Revolution : Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, and others. Declaring the end of the individualistic spirit of the Renaissance, he announces the beginning of a collective rhythm of social and monumental artistic expressions, especially in architecture, with the intention to "construct" by painting as an indication. The French Middle Ages provides Elie Faure with a paradigm of collective order and "Social Art," of which the cathedral is the most perfect expression - a manifestation of perfect human collaboration and a symbol of a civilization. In 1921, having decided ta campaign for the establishment of a new social order, Rivera returns ta his country. He is passionate about the socialization of art and architecture. His speech and his actions reveal his intellectual affinity with the French art historian and show a willingness to carry to completion "Social Art. "However, the painter 's ideas evolve with the political, social, and cultural events of Mexico, taking into account the global context. This Franco-Mexican exchange illustrates the complexity of the transfers that lead to the current globalization of artistic discourse.

During Tina Modotti's time in Mexico in the 1920s, much of her photography and political activities focused on and fought for the rights of those who had been previously overlooked and marginalized, namely the indigenous people of Mexico. Many government officials, artists and intellectuals at the time believed that it was through the indigenous culture that Mexico could redeem itself and create its own national identity. Indigenismo, the philosophy that supported this claim, was of interest to Modotti and was a recurring theme throughout her photography. Following the Mexican Revolution of 1910, indigenismo appeared to be the solution to establishing this new identity that was authentically Mexican and distinct from the perceived corruption of Europe and North America. However, the principles of this theory were paradoxical in that proponents supported incorporating indigenous elements into Mexican society, but they also supposed that the only way to recreate the country was by dismissing and destroying these native cultures. Modotti was not as interested in advocating a rebuilding of Mexico as she was in promoting social equality among all races and groups of people in the country, similar to what international Marxism endorsed. Indigenismo to Modotti was more of a way to give voice to the marginalized indigenous people who had been forgotten politically, educationally and artistically for centuries. Through three phases of her photographic career in Mexico—her early phase (which included the Idols Behind Altars project), Mexican Folkways, and her work done in Tehuantepec-we can see how Modotti progressed as an indigenista artist. Although her audience varied in each of these three phases, Modotti's commitment to, and portrayal of, Mexico's indigenous culture was a central unifying theme in her work. This study argues that the photographs of Tina Modotti illustrate her concept of indigenismo by celebrating what she perceived as strong, egalitarian indigenous communities that appealed to her Marxist political philosophy. Modotti sought to counter previous distorted or exaggerated misconceptions of indigenous culture, and she tried to compensate for this lack of authenticity within the Mexican national identity and Mexican art through her photography.

En este trabajo se investiga la "Poética del Pathos en la iconografía de la pintura mexicana del siglo XX". Uno de los motivos de dicha investigación ha sido la enorme expectación que se creó en México en la década de los años veinte del siglo XX frente al renacimiento artístico de la pintura mural y de caballete, creada bajo el patrocinio del Gobierno de México. El Ministro de Educación José Vasconcelos convocó a los pintores que se encontraban en Europa o Estados Unidos de Norteamérica, para decorar los edificios gubernamentales y dar sentido a la Revolución de 1910. Entre ellos Diego Rivera, David Alfaro Siqueiros y José Clemente Orozco que desde el principio destacaron por sus propuestas pictóricas, lo cual dio origen a una polémica en torno a las imágenes o iconos, signos y símbolos expuestos. Por primera vez se expresaba pictóricamente a los indígenas de una forma diferente; frente a las injusticias cometidas durante la Colonia, las fiestas populares, así como reivindicaciones sindicales o ideológicas desde el indigenismo hasta el marxismo dado la implicación de algunos pintores (Diego Rivera, David Alfaro Siqueiros), y sobretodo la reafirmación de la propia identidad a través del nacionalismo. Esto dio lugar a un renacimiento pictórico, hecho artístico que se conoce como La Escuela Mexicana de Pintura.La consecuencia de esta propuesta estética en el siglo XX ha sido la obra pictórica, así como el grabado de artistas tales como: Frida Kahlo, Rufino Tamayo, María Izquierdo, José Luís Cuevas, Juan Soriano, Rafael y Pedro Coronel, Jorge González Camarena, Lilia Carrillo, Francisco Toledo, Francisco Castro Leñero, Antonio Peláez, Nahum B. Zenil, Carlos Arriola, Alejandro Arango, Gabriel Macotela, Germán Venegas, Rafael Cauduro, Martha Pacheco, Alfredo Castañeda, Arturo Solari, Roberto Parodi, Dulce María Nuñez, Rocío Maldonado, Julio Galán, Marisa Lara, Arnaldo Cohen, Abraham Mauricio, Rodolfo Morales, Filemón Santiago, Ismael Vargas, Esteban Azamar, o Dalia Monroy por citar algunos de los más destacados y que en la actualidad continúa despertando admiración alcanzando cotas inimaginables en el mercado de arte, lo que ha hecho emerger mitos como el de Frida Kahlo. La investigación sobre el "Análisis de la Poética del Pathos en la iconografía de la Pintura Mexicana del siglo XX" está dividida en tres partes. En la primera se hace una aproximación a dicha poética a través de las teorías y el método que se usan como herramienta de investigación desde el punto de vista estético. En nuestro caso es el Método Iconológico, a partir de la Teoría del símbolo propuesta por Hegel y Cassirer hasta llegar a Abby Warburg el iniciador de la Iconología, la ciencia que estudia el significado de las imágenes o iconos y Edwin Panofski el creador de la Metodología Iconológica así como Esnest Gombrich entre otros por su implicación en el significado de la imagen. También se ha hecho una aproximación a la Semiótica tomando en cuenta a autores tales como Ferdinand de Saussure y Charles Peirce, así como las propuestas de Umberto Eco y la dificultad que comporta para la interpretación de la obra de arte. Finalmente se aplica en esta investigación el Método Iconológico con rigor metodológico.La segunda parte es una aproximación a los acontecimientos sociopolíticos y socioculturales de México, así como a la estética y plástica tanto precolombina como de la época de la Colonia hasta llegar al siglo XIX y XX. Estos últimos acontecimientos que han marcado profundamente la sensibilidad de los artistas se han plasmado en el muro o el lienzo, añadiendo reivindicaciones de actualidad como el feminismo o la homosexualidad, y un neomexicanismo como reafirmación de la propia identidad. La conclusión final es que los nuevos iconos mexicanos del siglo XX son producto del contexto sociocultural mexicano. / This study examines the Poetic art of Pathos in the iconography of twentieth century Mexican painting. There arose in Mexico in the 1920's strong interest in the artistic renaissance encouraged by the Mexican government. Among the pioneers were Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco, who stood out from the beginning for their proposals, which gave rise to the polemics surrounding the images or icons, signs and symbols they used. For the first time pre-Columbian ideas, the injustices committed during the colonization, popular fiestas and ethnicity were expressed in painting. They also expressed syndicalist or ideological demands, ranging from the indigenous peoples to Marxism, thanks to the involvement of certain painters (Diego Rivera, David Alfaro Siqueiros) and especially the reaffirmation of their own identity via nationalism. This led to a renaissance in painting which is known as the Mexican school of painting. This twentieth century proposal has led to the paintings and engravings of such artists as Frida Kahlo, Rufino Tamayo, María Izquierdo, José Luis Cuevas and Julio Galán, among many others. They continue to arouse admiration and their works are highly priced on the art market. The research is divided into three parts. In the first part we follow the Iconological Method, based on the theory of the symbol proposed by Hegel and Cassirer, down to Abby Warburg, the originator of Iconology and Erwin Panofski, the creator of the Iconological Method. We have also approached semiotics, taking into account authors like Ferdinand Saussure and Charles Peirce, together with the proposals of Umberto Eco and the difficulty entailed therein. Finally, we rigorously apply the Iconological Method to this research. In the second part we deal with the socio-political and socio-cultural context, together with the aesthetics of the pre-Columbian era and the time of colonization, until we reach the 19th and 20th centuries. These events, which have had a profound effect on the sensitivity of theartists, are expressed in the mural paintings. Among contemporary demands we find feminism or homosexuality, or neo-Mexicanism as a statement of identity The study concludes that the new Mexican icons of the 20th century are the product of the socio-cultural context of Mexico.

My thesis examines the discourse of Mexico in the works of three twentieth-century American authors-Cormac McCarthy, Jack Kerouac, and Katherine Anne Porter-in order to analyze representations of Otherness in modernism and postmodernism. I seek to destabilize the dividing line between these periods as well as to show how representation in postmodernity has become more problematic due in large part to the proliferation of consumer culture. Though the Mexico that McCarthy employs in Blood Meridian and the Border Trilogy (All the Pretty Horses, The Crossing, and Cities of the Plain) escapes many stereotypes, his Mexico is merely a staging ground that he uses to examine postmodern questions of philosophy while deconstructing myths such as the Old West and Manifest Destiny and reflecting on the ramifications of World War II. Therefore, McCarthy elides Mexico by using its Otherness as a mirror that enables reflection on the Self. Kerouac too is interested in using Mexico to solve U.S. problems. In On the Road, Kerouac's fictional counterpart, Sal Paradise, searches for the authenticity missing from middle-class American life by ultimately turning to the "authentic" Mexico. Though he is able to distinguish between simulations and reality in his own cultural context, once south of the border Sal misrecognizes what is a hypperreal Mexico for supreme authenticity. By contrast, when Katherine Anne Porter crosses the border, she is quick to identify corruption and revolutionary failure in Mexico. When pieces such as "Xochimilco" and "María Concepción" are placed alongside that of the work of Diego Rivera, a leader in the Mexican muralist movement, it becomes clear that Porter essentializes her Mexican subjects with the specific political goal in mind of furthering the revolution. Additionally, by crossing the generic lines separating fiction and non-fiction, Porter approximates what could be called a postmodern form of ethnography. Yet all of her representational strategies are tempered, especially in her last Mexican story, Hacienda, by an awareness that representations of Other cannot be other than flawed.