abstract: ABSTRACT The analytical sensitivity of Nellie Campobello allows her to perceive and draw several contexts into her fiction. Her work offers the reader a glimpse of the subtle connections between the individual experience and the social milieu that make up history. In the two editions of Cartucho (1931 and 1940) the reader encounters the Mexican Revolution as a plausible setting. By transferring this context into fiction, the author deals with core social matters that fostered the disfunctionality of Mexican society, at the time the novel was written. Furthermore, her intuition allows her to depict in her literary work many aspects of dehumanization that are timeless and universal. This depth of social cognition is expressed freely, producing a literary style that communicates a modern worldview. Therefore, a critical analysis of the book should supersede historical facts to discern the expression of an object of ethical appreciation. The active reading of Cartucho forces us to appreciate the precise aesthetic form that communicates, through a plurality of voices, history to reconfigure -through discourse- diverse social contexts that are accessible, identifiable and pertinent to readers from different epochs. This is perhaps the value of the book for the social sciences. However, our study seeks to understand the social and historic minutiae of the text to better equip the reader to achieve an ethical catharsis through the reading of fiction. We believe that it is only when the reader surpasses the historic level of discourse that he or she can fully identify himself or herself with the characters, thus restoring their humanity and at the same time becoming more fully human. SÍNTESIS El temperamento analítico y sensible de Nellie Campobello le permite abordar aspectos sociológicos de múltiples contextos; derivando además los puntos de contacto entre el desarrollo social y la experiencia individual. Cartucho nos presenta, en sus dos versiones (1931 y 1940), la Revolución Mexicana como un contexto verosímil que permite expresar los temas que preocupan a la autora. A partir de esta ambientación ficcional, ella expone las causas del estado en el que se encuentra la nación en el momento en el que escribe la obra. Además, su intuición la lleva a trazar procesos de deshumanización inherentemente humanos con los que se puede identificar un lector universal. Esta profundidad de pensamiento se formula libremente dando lugar a un estilo propio que comunica una cosmovisión moderna. Una lectura crítica de la obra debe partir del contexto de la Revolución Mexicana. Pero debe también rebasarlo para observar que Cartucho no es un receptáculo de voces rescatadas del pasado, sino la expresión de un objeto de apreciación ética formulado mediante una estética precisa que complementa y enuncia el discurso de la autora con la pluralidad de voces que reconstituyen, discursivamente, contextos sociales con los que el lector de cualquier época se puede identificar. En esta observación recae el valor de la obra camposiana para las ciencias sociales. Sin embargo, nuestro trabajo busca alcanzar una mejor apreciación del discurso histórico y sociológico para que el mensaje de la obra surta un efecto ético. Consideramos que es mediante este tipo de análisis que el lector logra identificarse con los personajes de Cartucho humanizándolos y humanizándose mediante la lectura de un texto de ficción. / Dissertation/Thesis / Doctoral Dissertation Spanish 2014

Esta Tese tem por objetivo problematizar sobre as implicações teóricas da relação Cinema-História, destacando como os filmes interpretam a História e quais as consequências desse processo para a História como ciência e para o meio social. Trata-se de pensar como o aporte de novas tecnologias constitui uma forma narrativa para a História apresentada, e se a divulgação da História por imagens filmográficas permite perceber a composição de um novo paradigma centrado na Razão Poética, que possibilite a reavaliação do próprio paradigma científico da História. O contexto escolhido para ancorar nossa análise é o da Revolução Mexicana, primeira Revolução a descortinar o breve, porém intenso, século XX. Este processo é sem dúvida um dos mais significativos na História contemporânea e mundial. Sua abrangência, seus efeitos e experiências proporcionadas ainda trazem impacto no presente vivido. O grande número de filmes realizados no México e no exterior permitiu a criação de um corpus fílmico invejável: mais de quinhentas películas produzidas desde o início do processo revolucionário, em 1910. O volume de ficções também é considerável, e sua realização incidiu em todas as décadas, seja no âmbito nacional, seja no internacional. Diante da magnitude da Revolução, as manifestações artísticas não ficaram imunes. O Estado e a sociedade trataram de abordá-la com diferentes prismas e interesses. Entre narrativas de convergência, imagens de consenso, desconstruções e solidificações de heróis, criou-se um corpus de produtos artísticos que compreendia a arte muralista, a literatura e o cinema. A Revolução tomada como um continuum permite elaborar um quadro inteligível da sociedade mexicana. Fora do México o interesse historiográfico e cinematográfico foi significativo. Para além do seu vizinho do Norte, Europa e URSS detiveram seu olhar sobre a Revolução. A escolha dos quatro filmes analisados nesta Tese recai sobre obras realizadas em dois eixos, batizados de Quadros ideológicos-temporais. O olhar estrangeiro destes cineastas de certa forma também coincide com o olhar do autor desta Tese sobre o processo mexicano. Os filmes são: Que Viva México!, México em Chamas, Companheiros e Uma bala para o General. Dessa forma, se buscará a partir das análises fílmicas, delinear alguns elementos teóricos do paradigma Cinema-História centrado no conceito de Razão Poética. / This thesis aims to discuss about the theoretical implications of Cinema History relationship, highlighting how the film interpret the history and what the consequences of this process for the History as a science and the social environment. It is thought as the contribution of new technologies is a narrative form to the history presented, and the dissemination of history by filmográficas images allows us to see the composition of a new paradigm focused on Poetic Reason, which allows the revaluation of own scientific paradigm History. The context chosen to anchor our analysis is the Mexican Revolution, the first revolution to uncover the brief but intense twentieth century. This process is undoubtedly one of the most significant in contemporary world history. Its comprehensiveness, its effects and proportionate experiences still carry impact on the lived present. The large number of films made in Mexico and abroad allowed the creation of an enviable filmic corpus: more than five hundred films produced since the beginning of the revolutionary process in 1910. The volume of fictions is also considerable, and its realization focused on all decades, whether at the national, whether at international level. Considering the magnitude of the Revolution, artistic events were not immune. The state and society have tried to approach it with different perspectives and interests. Convergence between narratives, consensus pictures, deconstructions and solidification of heroes created a corpus of artistic products comprising the mural art, literature and cinema. The Revolution taken as a continuum allows develop a meaningful framework of Mexican society. Outside of Mexico and the historiographical cinematic interest was significant. Apart from its northern neighbor, Europe and the USSR arrested his gaze on the Revolution. The choice of the four films analyzed in this work lies with works carried out in two axes, dubbed ideological-temporal frameworks. Foreign look of these filmmakers somehow also coincides with the look of the author of this thesis on the Mexican process. The films are: Que Viva Mexico!, Mexico in Flames, Companeros and A Bullet for the General. Thus, it seeks from the filmic analysis, outline some theoretical elements of Cinema History paradigm centered on the concept of Poetic Reason.

Ce travail présente une histoire culturelle du cinéma de la révolution au temps de la conjoncture cardéniste et rend compte des appropriations iconographiques effectuées par le modernisme dans le folklore local de façon à produire des discours de réinterprétation et d´actualisation des objectifs révolutionnaires. Trois films ont été retenus pour le corpus : El Compadre Mendoza (Fernando de Fuentes, 1933), Redes (Les Révoltés d'Alvarado, Fred Zinnemann, 1934-1936) y ¡Así es mi tierra!(Ainsi est mon pays, Arcady Boytler, 1937). Ces trois films font apparaître les trois tendances culturelles qui ont interprété la révolution et que l´on peut caractériser respectivement comme critique et négationniste, socialiste et prometteuse, folklorique et triomphaliste. Le film de De Fuentes fut le premier à aborder la révolution comme un événement dramatique et comme une critique des esprits romantiques qui clamaient le renouveau de la Nation. Celui de Zinnemann, un projet originel du musicien Carlos Chávez et du photographe Paul Strand, fut la seule production destinée à encouragerl´introduction du socialisme au Mexique. Enfin, celui de Boytler récupère la structure de la comedia ranchera popularisée avec succès par De Fuentes, à laquelle il ajoute la figure du pelado citadino de Mario Moreno Cantinflas. Ces films permettent d´observer les symptômes du modernisme vernaculaire. Plus précisément, la formation du nationalisme mexicain a introduit les références de la modernité alimentées par le folklore local en le combinant à des tendances idéologiques, esthétiques et culturelles de type transnational. Ce faisant, ces expressions ont proposé des représentationsiconographiques et discursives de l´Être national dans le but de le réformer. / The dissertation is a cultural history of the cinema of the revolution during Cardenismo, showing the appropriation of modernist iconography into local folklore, which produced discourses that reinterpreted the revolutionary objectives and brought them up to date. Three films were chosen for analysis: El Compadre Mendoza (Godfather Mendoza, Fernando de Fuentes, 1933), Redes (The Waves, Fred Zinnemann, 1934-1936) and ¡Así Es Mi Tierra! (Such Is My Country, Arcady Boytler, 1937). They show the three cultural tendencies of interpreting the revolution: critical and negationist; socialist and hopeful; folklorist and triumphal. The De Fuentes film was the first that portrayed the revolution as a dramatic event and as a criticism of the romantic spirits who demanded the nation´s rebirth. Zinnemann’s, originally a project by musician Carlos Chávez and photographer Paul Strand, was the only production aimed to introduce socialism into Mexico. Boytler’s motion picture borrowed the structure of the comedia ranchera successfully popularized by De Fuentes, introducing the character of the pelado citadino of Mario Moreno Cantinflas. In these films we can see the symptoms of vernacular modernism. That is, the creation of Mexican nationalism introduced certain references of modernity which were fed by local folklore, and mixed this with transnational ideological, aesthetic and cultural trends. Thus, these expressions suggest iconographical and discursive representations of national Being in order to reform and recognize it as an archetype of nationality within the discourse of modernity.

No description available.

The Mexican Revolution probably affected Texas more than any other state. As the Revolution intensified, Texans responded with increased efforts to shape the Mexican policies of the Woodrow Wilson administration. Some became directly involved in the Revolution and the U.S. reaction to it, but most Texans sought to influence American policy toward Mexico through pressure on their political leaders in Austin and Washington. Based primarily on research in the private and public papers of leading state and national political figures, archival sources such as the Congressional Record and the Department of State's decimal file, major newspapers of the era, and respected works, this study details the successes and failures that Texans experienced in their endeavors to influence Wilson's Mexican policies.

This thesis examines the imagery of Jose Guadalupe Posada in the context of the Mexican Revolution with particular reference to the corrido as a major manifestation of Mexican culture. Particular emphasis is given to three corridos: "La Cucaracha," "La Valentina," and "La Adelita." An investigation of Posada's background, style, and technique places him in the tradition of Mexican art. Using examples of works by Posada which illustrate Mexico's history, culture, and politics, this thesis puts Posada into the climate of the Porfiriato and Revolutionary Mexico. After a brief introduction to the corrido, a stylistic analysis of each image, research into the background of the song and subject matter, and comments on the music draw together the concepts of image, music, and text.

Na década de 1950, vieram à público duas pequenas obras de um autor até então desconhecido. Em 1953, publicava-se o livro de contos Llano en llamas e, dois anos depois, o romance Pedro Páramo. Bastaria essa diminuta produção literária para consagrar aquele que viria a ser tomado como referência para toda uma geração de escritores latino-americanos. Juan Rulfo seria considerado na cena literária do continente da década seguinte, ainda que com ressalvas, como o grande precursor da geração do chamado boom. Questionando essa suposta paternidade e partindo da análise dessas obras literárias ficcionais, cotejadas com outros clássicos da literatura mexicana que trataram da Revolução Mexicana, pretendeu-se articular a relação entre história e ficção. A abordagem conferida por Rulfo às especificidades de sua historicidade desvelam, ao leitor atento, a história, não aludida diretamente, mas entrevista tanto na estética escolhida pelo autor, como pelos conteúdos narrativos de suas narrações. / In the 1950\'s, two little works by an unknown author till then came to light. In 1953, was published the short story book Llano en llamas and, two years later, the novel Pedro Páramo. It would be enough this small literary production to acclaim that writer, which would become a reference for an entire generation of Latin-American writers. Juan Rulfo was going to be considered in the coming decade literary scene, even though with some reservations, as the great predecessor of the so-called boom generation. Raising questions about this alleged fatherhood and relying on the analysis of these fictional literary works, compared to other Mexican literary classics concerning Mexican Revolution, one intended to articulate the relation between History and fiction. The approach conferred by Rulfo to the specificities belonging to his historicity unveils, to the sharp reader, History itself, not directly alluded, but foreseen as much as by the aesthetic chosen by the author as by the narrative contents of his narrations.

Estudo da evolução estética e política na obra de John Silas Reed (1897-1920) a partir de, fundamentalmente, duas de suas obras: seu primeiro livro, Insurgent Mexico (México Insurgente 1914) e seu último livro publicado em vida, Ten Days that Shook the World (Dez dias que abalaram o mundo 1919). A partir da crítica materialista-dialética a dissertação aborda o percurso de John Reed e procura demonstrar, numa leitura comparada entre as duas obras, como a transformação da visão política de seu autor se expressa na transformação estética de suas obras. Também se procura fazer uma leitura crítica da recepção de John Reed e a interpretação de sua obra nas décadas posteriores à sua morte / A study regarding the aesthetical and political development within the work of John Silar Reed (1897-1920) based upon, fundamentally, two of his books: his first one, Insurgent Mexico (1914), and the last one published in his lifetime, Ten Days that Shook the World (1919). From the dialetical-materialistic standpoint, the study approaches John Reeds life and tries to demonstrate, through a compared Reading between these two books, how the transformation in the authors political view is related to the aesthetical transformation in his writing and literary composition. John Reed works reception and criticism is also critically regarded

O presente trabalho tem por objetivo comparar as interpretações da Revolução Mexicana realizadas por três representantes dos ideais anti-imperialistas na América Latina da década de 1920: o peruano José Carlos Mariátegui, o boliviano Tristán Marof e o brasileiro Oscar Tenório. A partir de seus textos sobre o México, analisamos como estes intelectuais refletiram sobre os significados políticos da Revolução Mexicana no âmbito de seus países e também como a experiência mexicana possibilitou que os autores pensassem (e repensassem) seus projetos políticos, tanto na perspectiva nacional quanto na continental. Também abordamos a circulação de ideias políticas na América Latina, demostrando a singular importância deste evento para a geração de intelectuais do período em pauta. / This study aims to compare the interpretations of the Mexican Revolution made by three exponents of the anti-imperialist ideals in Latin America of the 1920s: the Peruvian José Carlos Mariátegui, the Bolivian Tristán Marof and the Brazilian Oscar Tenório. From their writings on Mexico, we analyzed how they reflected upon the political meanings of the Mexican Revolution within their own countries. We have also observed how their interpretations of Mexico Revolution sustained their political positions both in their own countries and in a continental perspective. In addition, we have demonstrated the circulation of political ideas in Latin America, showing the singular importance of the Mexican Revolution for the generation of intellectuals of 1920s.

O presente trabalho tem por objetivo comparar as interpretações da Revolução Mexicana realizadas por três representantes dos ideais anti-imperialistas na América Latina da década de 1920: o peruano José Carlos Mariátegui, o boliviano Tristán Marof e o brasileiro Oscar Tenório. A partir de seus textos sobre o México, analisamos como estes intelectuais refletiram sobre os significados políticos da Revolução Mexicana no âmbito de seus países e também como a experiência mexicana possibilitou que os autores pensassem (e repensassem) seus projetos políticos, tanto na perspectiva nacional quanto na continental. Também abordamos a circulação de ideias políticas na América Latina, demostrando a singular importância deste evento para a geração de intelectuais do período em pauta. / This study aims to compare the interpretations of the Mexican Revolution made by three exponents of the anti-imperialist ideals in Latin America of the 1920s: the Peruvian José Carlos Mariátegui, the Bolivian Tristán Marof and the Brazilian Oscar Tenório. From their writings on Mexico, we analyzed how they reflected upon the political meanings of the Mexican Revolution within their own countries. We have also observed how their interpretations of Mexico Revolution sustained their political positions both in their own countries and in a continental perspective. In addition, we have demonstrated the circulation of political ideas in Latin America, showing the singular importance of the Mexican Revolution for the generation of intellectuals of 1920s.