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This dissertation examines my regional identity-in-context. First, I frame opening questions related to space, race, landscape, and identity, using the metaphor of walking. Secondly, I outline my notion of "mixed methods" for the study, which I call "a moving methodological mestizaje." Third, I weave personal narrative and poetry to I examine what it means to come to racial consciousness as a biracial, mixed-race person of color in the Midwest-South. Reflecting on the geographic and cultural features of Southern Illinois, I come to understand the region of the country as a "borderlands." Following Gloria Anzaldúa's writing, I identify myself as "a mestizo," or person of mixed race ancestry, but in the context of the Southern Illinois. The title poem of the dissertation expands on "mulatez" or African mestizaje to articulate an Afro-Latino political alliance. Fourth, I explore multiple space that I have lived across the country, to examine qualities of Whiteness to ultimately work against White identity. Then, I deploy the metaphor of drinking hot sauce as a reclaiming Mexican, Aztec mythopoetic. I come to name myself as "Merry Midwest Mestizo," to fully embrace my biracial, Latino, and White self and to find my identity-in-context. Finally, I offer a reclamation of my Mexican mother's life and death using Gloria Anzaldúa's notion of "autohistoria." I close with further ramifications of the study.

Using data from the years 1552-1585 in the catalogues of Passengers to America in the General Archive of the Indies in Seville, this article investigates how the metropolitan administration identified and treated Peruvian mestizos returning from Spain, and examines the attitude of the peninsular family toward those born overseas to Spanish fathers and to mothers who were frequently unknown. In other words, the present article seeks to determine what objectives Peruvian mestizos pursued during their stay in the Peninsula and what reception they experienced from the metropolitan administration and from their Spanish families. / A partir de información correspondiente al periodo 1552-1585 tomada de los catálogos de pasajeros a América del Archivo General de Indias, en Sevilla, el presente artículo estudia cómo identificaba y trataba la administración metropolitanaa los mestizos peruanos que regresaban de España, y examina cuál era la actitud de la familia peninsular respecto de aquellos nacidos en ultramar,de padres españoles y de madres muchas veces desconocidas. En otras palabras, el presente artículo busca determinar qué objetivos perseguían los mestizos peruanos con su estadía en la Península y cuál era la acogida que recibían de la administración metropolitana y de sus familias españolas.

Las obras –sean publicaciones, óleos o acuarelas- y el pensamiento que orientó el trabajo de José Sabogal Dieguez y sus seguidores en el Instituto de Arte Peruano (IAP) son asuntos poco analizados dentro de la investigación del arte peruano del siglo XX. Este trabajo es una mirada a ese período, al grupo y la institución protagonista y al conjunto de acuarelas (1931-1973) que silenciosas narran un proyecto que se pretendió de envergadura nacional. La hipótesis de investigación que nos orienta sostiene que el IAP tuvo como finalidad rescatar y difundir un arte mestizo peruano identificado en el arte popular. Así, el traslado de objetos de arte popular al arte pictórico se convirtió en manifestación inmejorable de la labor de investigación y revaloración del arte peruano de los miembros del IAP. Este arte, el peruano, fue definido desde su cualidad mestiza, pues se caracterizaba por la mezcla de componentes de las formas del Perú Antiguo y las hispanas. Se trató de una propuesta esteticista basada en la evolución histórica y artística de una práctica que se iniciaba en el Perú antiguo y se enriquecía en el período virreinal, dando como resultado el arte popular contemporáneo. Las acuarelas y la creación del primer Museo de Artes Populares son la concreción de la voluntad de Sabogal y su grupo, de valorar e investigar el arte popular. Fue el IAP la primera institución del estado en realizar documentales cinematográficos de valor artístico e histórico de las ciudades de Arequipa, Cuzco y Puno. El método aplicado se basa en el histórico crítico, razón por la cual se analizan las acuarelas del IAP como resultado del contexto histórico que las produjo. Confrontamos el material de archivo procedente de documentos del IAP, perteneciente al Museo Nacional de la Cultura Peruana, con el archivo personal de José Sabogal, principal ideólogo de la propuesta de un arte mestizo. También fue importante el estudio de la prensa del período, principalmente los diarios El Comercio del Cuzco, El Comercio, La Prensa y La Crónica de Lima y las revistas Variedades, Mundial, Amauta, Cultura Peruana y Fanal, así como las publicaciones de intelectuales destacados del período. Con la observación crítica de los documentos buscamos establecer las influencias que tuvieron los artistas para configurar un arte peruano mestizo a través del IAP. Es importante dentro de la metodología el incorporar los escritos y la obra plástica de José Sabogal, en especial la relacionada con las representaciones de objetos de arte popular, las alegorías de animales o los personajes emblemas que legitiman dicha propuesta. El objetivo de investigar la propuesta nacionalista del IAP es identificar los principios ideológicos -tanto teóricos como plásticos- de José Sabogal y su grupo, en la búsqueda de una definición del arte peruano mestizo. Quisiéramos que este documento contribuya en la comprensión del propósito de los artistas al representar a la acuarela los objetos de arte popular. Se puede observar en las décadas de 1930-1940 la madurez de la propuesta de identidad a través del arte. Este estudio ha supuesto la revisión de las principales obras de José Sabogal desde la primera muestra realizada en Lima, su búsqueda de un arte peruano y los resultados alcanzados a través del IAP y sus acuarelas. Establecemos las diferencias entre el pensamiento político e intelectual identificado con Mariategui y Valcárcel, y la propuesta esteticista de un arte peruano mestizo de Sabogal. Por último, indicamos las características del IAP y sus principales aportes, encabezados por el reconocimiento del arte popular como verdadero arte peruano mestizo. Con ello incorporamos la finalidad de pintar las acuarelas del IAP a la propuesta de identidad peruana realizada por Sabogal y su grupo. Podemos señalar que Sabogal construyó su repertorio de identidad desde temprano. En tanto búsqueda estética, tuvo como referente inmediato al modernismo americano, el cual planteaba una ruptura con Europa. El contexto de la construcción ideológica de identidad en la obra de Sabogal se halló en el período de entreguerras; los intelectuales latinoamericanos replantearon entonces la pertenencia a su país y tuvieron una postura crítica a la Europa destruida por la guerra. América era la llamada a liderar el escenario cultural. Ya para inicios del siglo XX, América apelaría al espíritu de la latinidad, con la conocida obra Ariel, del uruguayo José Enrique Rodó. El modernismo de Darío era otro pilar para definir la identidad de los pueblos. Los centenarios de la Independencia ponían la pauta de lo modernas que eran las naciones latinoamericanas, cada una buscaba definir su identidad a través de la diferencia con sus pares. / Tesis

The main objective of this work was to analyze the social discrimination in Peru from historical social perspective. The work is divided into two main parts: theoretical and practical. In the theoretical part we dealt with the analysis of various concepts that have been formulated by leading international organizations. In the practical part we analyze discrimination in the media such as television and in addition, we are also dedicated to social discrimination against residents of Lima is perceived today. KEY WORDS: discrimination, racism, ethnicity, domination, Peruvian society, mestizo

This diploma thesis deals with mestizaje and illegitimacy matters within Chile and Latin America. In consequence, it is focusing on reflexion of these phenomenons in literature, principally in essays. In the introduction to the thesis, I describe unique and peculiar features of Chilean identity and there also appears a definition of the chilenidad conception. The main attention is concentrated on el huacho figure as it symbolizes Chilean illegitimacy and mestizaje. The main aim of this thesis was to find out similar and dissimilar attributes between the huacho and Chilean society. In addition, patrial aim was to decide whether the huacho belongs either to location or to community. Final part is dedicated to comparison of huacho and pachuco figures and, it also confronts Chilean essays with Octavio Paz essay works. Powered by TCPDF (www.tcpdf.org)

Latin Americans immigrating to New Orleans during the Jim Crow period found New Orleans to be a place where they could assimilate. Several factors produced a tolerant climate for Latin Americans. These included New Orleanians' tolerant attitude, which was possible since Latin Americans arrived in small numbers and different waves. Latinos also helped develop trade with Latin America. Also, unlike other areas in the country, immigrants that came to New Orleans came from all over Central and South America. They were a highly skilled group and acted as cultural and power brokers between Latin America and the city. In spite of the variety of racial mixtures, Latinos in New Orleans could claim social and legal whiteness. A pattern of immigration is revealed: small numbers, economic, cultural and educational diversity, a desire to assimilate rather than segregate, and social and economical mobility.

Meztiso is an exploration of the artist’s identity as an individual born and raised in Guatemala; which is a country rich in natural resources where the majority of the population is native Maya yet the ruling class is majority white and poverty is widespread. The artist takes on this stunning contradiction using her own influences and views which were shaped by the political and economic upheaval and instability of her youth in Guatemala. The artist comments on her own identity as a person of mixed ancestry, a Meztiso, and because of her own family’s involvement in the capitalist government that has marginalized the Maya indigenous to this day.

My dissertation, Wixárika Art and Artists: Resisting Neocolonialism While Crossing Visible and Invisible Borders is an ethnographic study of the Wixáritari who have lived in the region of Northern Central Mexico known as El Gran Nayar or the Sierra Madre Occidental, with a specific focus on the Wixáritari who live in Huejuquilla el Alto, Guadalajara, and Zacatecas, Mexico. This dissertation examines the legal, cultural and historical influences as well as the sociopolitical and economic circumstances that have pushed Wixárika (Huichol) art and artists out of their original homeland in Mexico. This dissertation concentrates on the historical construction of race in Mexico to illustrate that Wixáritari have been pushed outside of their territories either willingly or unwillingly. I analyze and interpret this concept through historical events and the process of colonialism through which politics, policy and laws have shaped and created hierarchies of race. Through ethnography I illustrate that the Mexican government's neoliberal policies and laws have adversely affected Wixáritari artists and non-artists in the Sierra Madre, and also those who work in the large cities where half the population now resides. Furthermore, this work illustrates that the Wixáritari are organizing against the Mexican laws and policies that served to exclude and marginalize them. Wixáritari activism is thus creating powerful social change. By using the theoretical framework ethnoexodus, I demonstrate that Wixáritari cannot be put in a box or be stereotyped as a homogenous pan-ethnic group.The second half of my dissertation is devoted to "voluntary" or involuntary im(migration) processes that take place. I specifically explore these forms of dislocation through the use of oral history, oral narratives, and testimonios. I have found that the Wixáritari have a desire to reproduce their traditions and resist modernity. They have experienced cultural changes and in the process they have been integrated into their surrounding society by forming new relationships and learning to adapt on their own terms to the capitalist system and "modern" way of life. In these spaces, I argue that their homeland and geographic space in and outside of the Sierra Madre Occidental along with their spirituality is part of their identity, which crosses many borders that are both visible and invisible. / text

Made available in DSpace on 2014-06-11T19:26:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-29Bitstream added on 2014-06-13T19:34:05Z : No. of bitstreams: 1 coelho_pmb_me_fran.pdf: 1879546 bytes, checksum: 0cf7ecff5ac50af59b7b52bad8eb375f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente estudo está concentrado em analisar as causas fundamentais da manutenção da independência política da província de Tlaxcala frente ao domínio mexica no território mesoamericano a partir da construção da narrativa dos cronistas mestiços do século XVI Hernando Alvarado Tezozomoc e Diego Muñoz Camargo. Dessa forma, através da análise de suas obras, procuraremos avaliar a construção da narrativa desses autores em relação ao conflito entre os tlaxcaltecas e mexicas, especialmente no século XV e início do XVI, e a contínua manutenção da autonomia dos primeiros até a chegada de Cortés na América / This work is based on the analyses of the main causes of the political independence maintenance of the Tlaxcala Province face the Mexica´s dominion on the Mesoamerican territory through the narratives of two mestizo writers of the XVI century, Hernando Alvarado Tezozomoc and Diego Muñoz Camargo. By analyzing their work, we try to evaluate the narrative construction related to the conflict between the tlaxcaltecas and the mexicas, specially during the XV and beginning of the XVI century, and the continuous maintenance of autonomy of the former until Cortés arrival to America