Este trabalho tem por objetivo analisar os filmes Pueblerina, Flor Silvestre e Enamorada do diretor Emílio Fernández, consagrado cineasta mexicano. Estes são considerados os mais importantes filmes desse diretor, todos realizados na década de 1940, ele um dos mais expressivos realizadores da história do cinema mexicano. As questões político-sociais, a violência são exploradas indiretamente nesses trabalhos e evidenciar este fato nosso principal ponto de conflito com a critica de cinema tradicional que sempre caracterizou estes filmes como isentos deste tipo de conteúdo nossa intenção é recolocar os filmes no lugar de obras feitas de maneira coletiva e com fim coletivo/ social, portanto, é pertinente que a sua maneira o diretor e sua equipe tenham explorado tais problemas. / This work intends to study three movies by a Mexican director Emilio Fernández who was very famous in the forties in Mexico and Latin America with his melodramas. He is considerate one of the most expressive director in Mexico cinema history for the critics. Eanamorada, Flor Silvestre and Puebelrina are his most important movies; it is why we choose them to study. Through these movies, we will analyze politic and social problems in Mexico that the director and his staff deal with the movies. This is the most important difference between our analysis and the critics analyses.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura / Este trabajo analiza Cartucho: Relatos de la lucha en el Norte de México de Nellie Campobello como un trabajo de la memoria que plantea una versión alternativa a la historia oficial de la Revolución Mexicana, a través de los relatos de la vida de los villistas del Norte que murieron en las batallas. El análisis se centrará en la híbridez genérica del texto; la infancia como lugar de la narración; la figura de la madre como hilo conductor de las historias; las imágenes poéticas y la importancia de la oralidad como puntos importantes para la configuración de los relatos.

This dissertation examines the creation and consolidation of Mexico’s segmented system of welfare provision between and the consequences it had for the people who relied on it for basic medical and economic benefits. The Instituto Mexicano del Seguro Social (IMSS), founded in 1943, was responsible for the welfare of formal workers and their families through the provision of general healthcare and pensions in the case of accident, disability, illness, old-age or death. Publicly, Mexican authorities voiced the expectation that, one breadwinner at a time, IMSS would soon become nearly universal. By using IMSS historical sources, statistics, and general population censuses, this dissertation argues that the National Security Institute’s design, which relied on contributions from salaried workers in stable employment relationships, made this project unlikely. The result was that most of the country’s population had to resort to the Secretaría de Salubridad y Asistencia (SSA) for medical and social services; these, however, had been planned to become marginal vis-à-vis an expanding IMSS, and were therefore chronically underfunded and overcrowded, and ill-prepared to tend for the majority of the country’s population. Moreover, as an examination of cases who received social assistance from the SSA during the 1960s show, the services provided by this institution were, unlike those of IMSS, temporary, conditional and often stigmatizing, introducing long-standing inequalities in the social and economic rights that different sectors of the Mexican population could access.

Rolando Hinojosa's Klail Citv Death Trip Series purports to give a picture of life in the Texas Rio Grande Valley from roughly the 1930s to the present. Much of Hinojosa's attention is directed toward the tensions that characterize relations between the mexicano and Anglo cultures. Hinojosa's novel sequence in large part documents the ever-increasing acculturation and assimilation of the mexicano into Anglo society.

He estudiado seis obras de teatro en un acto por dramaturgas mexicanas contemporáneas a la luz de las teorías del feminismo materialista y las de la construcción cultural y social del género y la sexualidad para verificar cómo todas ellas cuestionan la realidad dominante y su carácter natural. Las obras analizadas son Feliz nuevo siglo doktor Freud (2000) de Sabina Berman, La coincidencia (1994) de Leonor Azcárate, Tren nocturno a Georgia (1994) de María Luisa Medina, Nocturnos (2003) de Edna Ochoa, Plagio de palabras (2000) de Elena Guiochins y Oste ni moste (2002) de Denisse Zúñiga. En las seis obras estudiadas aquí he intentado demostrar cómo una temática común--la construcción social y cultural del género y la sexualidad--establece un diálogo entre dramaturgas de diferentes generaciones. Cada obra propone de manera diferente la posibilidad de una recreación existencial de una identidad cultural: en Feliz nuevo siglo doktor Freud Berman examina el caso famoso de Dora desde las perspectivas freudiana y feminista para demostrar cómo diferentes interpretaciones pueden producir realidades dispares; en La coincidencia Azcárate cuestiona la identidad de género en una sociedad donde los medios de comunicación participan en la construcción de la identidad personal; Medina en Tren nocturno a Georgia concibe la identidad sexual como un papel teatral para desmentir la heterosexualidad compulsiva; en Nocturnos Ochoa presenta la imitación de los papeles de género por una pareja matrimonial para negar la asociación natural entre el sexo y la identidad de género; en Plagio de palabras la mirada futurista de Guiochins demuestra cómo las categorías de sexualidad y de género cambian constantemente a través del tiempo; Zúñiga en Oste ni moste extiende el examen constructivista a la función de las instituciones religiosas y se vale del teatro de títeres para denunciar el poder eclesiástico. / Spanish

Con Julio Bracho como director y Gabriel Figueroa en la fotografía, Distinto amanecer llega a las pantallas mexicanas en 1943. A pesar de que la acción de Distinto amanecer ocurre en la Ciudad de México y se conecta con una realidad nacional, el filme abre con un preámbulo que parece minimizar la importancia de esa geografía y de su contexto sociohistórico: “Los personajes de este drama no tienen relación alguna con personas de la vida real. El conflicto dramático que se presenta tiene características universales y puede, por ende, ser situado en cualquier ciudad del mundo contemporáneo”. Todo esto superpuesto sobre un still que alude a la estética noir establece el tono del filme. Propongo que tanto Bracho como Figueroa utilizan hábilmente elementos de la estética del noir y los adaptan a una realidad mexicana para anular el preámbulo del inicio y destacar símbolos dentro del contexto geográfico y espacial que matizan el concepto de mexicanidad de la década de los cuarenta.

This dissertation examines the interaction between Mexican intellectuals and the Soviet Union through the lens of editorial practices in the aftermath of World War II (1944-1958). It focuses on the role of the Mexican journals Cultura Soviética (1944-1955) and Intercambio Cultural (1955-1958) in the cultural context of the first stage of the Cold War in Latin America. These journals were the official monthly publications of the Mexican-Russian Institute of Cultural Exchange, a non-profit civil society that presented itself and its journals as a tool for strengthening cultural relations between Mexico and the Soviet Union. The institution’s directors were such influential intellectuals as Victor Manuel Villaseñor, Luis Cháves Orozco, José Mancisidor, and Diego Rivera over the years. Luis Córdova and Efraín Huerta coordinated Cultura Soviética and Intercambio Cultural, respectively. An enormous group of collaborators from the fields of literature, science, the arts, and politics participated in their projects. Thus, the dissertation traces the trajectory of Cultura Soviética and Intercambio Cultural as collective textual productions: the debates and controversies they engaged in, their relationships with other journals, and the political and aesthetic contexts in which they were immersed. It reconstructs the discursive universe of Cultura Soviética and Intercambio Cultural to inscribe them into their social, political, and cultural conflict. It analyzes how its content is technically structured to produce meaning and create a discourse. The dissertation studies what became known in the journals as “Soviet culture,” how these publications promoted and defended the peace movement in Mexico, and how this movement was connected to the Stalin cult, particularly from 1947 to 1953. Since the journals adopted the national optic promoted by the Soviet Stalinist rhetoric—patriotic pride, the right to national self-determination, but within a plurinational socialist scope with a solid and indisputable center, Russia—they gave rise, in practice, to the parallel exaltation of two national mythologies: the Russian and the Mexican. In synthesis, this dissertation explores Mexico’s national cultural debates in their relationship with international ideological struggles, emphasizing the Cold War as a determining factor in shaping these intellectual exchanges. It highlights the role of journals in the circulation of ideas within transnational contexts. It contributes to the ongoing discussion on the importance of the journal genre in studying material culture and social processes. In particular, the study demonstrates that Cultura Soviética and Intercambio Cultural were pioneering tools of the Soviet cultural and diplomatic offensive launched in the first stage of the Cold War in Latin America, laying the foundation for the pro-Soviet cultural front in the region. It shows how the network of its Mexican collaborators and leaders constantly adapted to the ups and downs of Moscow’s politics. Even though these Mexican intellectuals were part of different national political projects within the Mexican left wing and occasionally at odds with each other, their writings blended well with the overarching nationalist narrative that considered the Mexican Revolution a grounding phenomenon in search of a future socialist State. Finally, data collection and presentation in the annexes complement the analysis and research work. The appendices present, in a descriptive and orderly manner, information that is difficult to obtain elsewhere to which the dissertation constantly refers: The Institute’s complete list of publications since its foundation (Appendix I), and the indexes of the journals Cultura Soviética (Appendix II) and Intercambio Cultural (Appendix III). / 2026-09-10T00:00:00Z

A dissertação propõe uma leitura crítica do romance Albedrío, do mexicano Daniel Sada (1953-2011). O trabalho se inicia com uma apresentação sobre a literatura do Norte do México, para discutir as especificidades do autor, seu afastamento do realismo tradicional e o tom de fábula que se perfila em suas obras. Uma categoria forte na leitura é a do estilo, a partir de autores como Antoine Compagnon, Susan Sontag e Roger Fowler, a fim de amparar uma análise sobre a construção formal, mas sem se limitar a ela. São avaliados também antecedentes da obra, seja na cultura popular, como os poemas romances e os corridos, seja no diálogo com outros escritores latino-americanos, como Juan Rulfo e Guimarães Rosa. Além de aspectos formais, como a pontuação, a escolha lexical, os pontos de vista e aspectos da instância narrativa, é importante a revisão da questão espacial, o que leva a indagações sobre o nomadismo e a importância de certos motivos específicos recorrentes ao longo da narrativa. / This thesis proposes a critical reading of Daniel Sadas novel Albedrío. It initiates with a presentation of North Mexican literature, in order to discuss some of the authors particularities, his distance from traditional Realism and the fable tone that pulses throughout his work. A strong category is the notion of Style, discussed in the perspective of authors such as Antoine Compagnon, Susan Sontag and Roger Fowler, to support a formal study of its construction, although not limited to it. The background of the novel is also our subject here, both upon popular culture (as in the romance poems and the corridos), and dialogues with other Latin American writers, such as Juan Rulfo and Guimarães Rosa. Besides formal aspects like punctuation, lexical choices, points of view and the narrators characteristics, the spatial component is also examined, leading us to subjects like nomadism and specific structural motives that can be found along the novel.

A dissertação propõe uma leitura crítica do romance Albedrío, do mexicano Daniel Sada (1953-2011). O trabalho se inicia com uma apresentação sobre a literatura do Norte do México, para discutir as especificidades do autor, seu afastamento do realismo tradicional e o tom de fábula que se perfila em suas obras. Uma categoria forte na leitura é a do estilo, a partir de autores como Antoine Compagnon, Susan Sontag e Roger Fowler, a fim de amparar uma análise sobre a construção formal, mas sem se limitar a ela. São avaliados também antecedentes da obra, seja na cultura popular, como os poemas romances e os corridos, seja no diálogo com outros escritores latino-americanos, como Juan Rulfo e Guimarães Rosa. Além de aspectos formais, como a pontuação, a escolha lexical, os pontos de vista e aspectos da instância narrativa, é importante a revisão da questão espacial, o que leva a indagações sobre o nomadismo e a importância de certos motivos específicos recorrentes ao longo da narrativa. / This thesis proposes a critical reading of Daniel Sadas novel Albedrío. It initiates with a presentation of North Mexican literature, in order to discuss some of the authors particularities, his distance from traditional Realism and the fable tone that pulses throughout his work. A strong category is the notion of Style, discussed in the perspective of authors such as Antoine Compagnon, Susan Sontag and Roger Fowler, to support a formal study of its construction, although not limited to it. The background of the novel is also our subject here, both upon popular culture (as in the romance poems and the corridos), and dialogues with other Latin American writers, such as Juan Rulfo and Guimarães Rosa. Besides formal aspects like punctuation, lexical choices, points of view and the narrators characteristics, the spatial component is also examined, leading us to subjects like nomadism and specific structural motives that can be found along the novel.

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