Thesis (Ph. D.)--University of California, San Diego, 2007. / Title from first page of PDF file (viewed June 21, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.

abstract: This dissertation examines the San Diego border region to understand migrant construction worker’s mobility, autonomy, and labor power. San Diego County is enclosed by a network of internal immigration checkpoints and roving patrol operations that constrain migrant worker’s labor power to the territorial boundaries of the county. The project uses ‘differential mobility’ as a strategic concept to highlight the ways in which borders differentiate, sort, and rank among noncitizen migrant construction workers to meet local labor demands. The project reveals worker’s collective struggle to evade and cross border enforcement operations to maintain consistent employment across a border region that is marked by internal immigration checkpoints, roving patrol stops, and state surveillance measures. In addition, the project examines migrant men’s emerging workplace narratives about the body and penetration that symbolize workers’ understanding of social domination in a global economy. These expressions open up a critical space from which migrant men begin to critique a global economy that drives men northbound for employment and southbound for retirement—inhibiting a future that is neither entirely in the United States or Mexico. / Dissertation/Thesis / Doctoral Dissertation Justice Studies 2020

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.

Made available in DSpace on 2016-04-25T19:20:31Z (GMT). No. of bitstreams: 1 Leandro Faria de Souza.pdf: 849811 bytes, checksum: 76cf4d3bff0bcba6b5e983489c483a9c (MD5) Previous issue date: 2014-06-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to discuss the way in which the representation of indigenous Juan Diego is being drafted by the works of Miguel Sánchez, Luis Lasso de la Vega and Luis Becerra Tanco, published in 1648, 1649 and 1666, respectively, to determine this character as a typical white sanctity of the seventeenth century in order to maintain the tradition of Our Lady of Guadalupe as an example of syncretism and religious identity Mexican style / O presente trabalho tem por objetivo discutir a forma pela qual a representação do indígena Juan Diego vai sendo elaborada pelas obras de Miguel Sánchez, Luis Lasso de la Vega e Luis Becerra Tanco, publicadas nos anos de 1648, 1649 e 1666, respectivamente, para determinar este personagem como modelo de santidade branca típica do século XVII para a manutenção da tradição de Nossa Senhora de Guadalupe como exemplo de sincretismo e de identidade religiosidade mexicana

En s'ouvrant au commerce international, le Mexique abandonne progressivement le modèle de développement fondé sur les substitutions aux importations pour s'intégrer à la zone de libre échange nord-américaine en 1994. Les entreprises mexicaines sont désormais soumises à la concurrence des entreprises étrangères autorisées à investir directement dans le pays.<br />La recherche analyse les impacts de l'ouverture économique sur le commerce de détail : l'évolution des structures commerciales, restructuration des groupes de la grande distribution, et de la réorganisation territoriale des activités commerciales. La Frontière Nord, traditionnellement ouverte aux échanges et géographiquement proche des États-Unis, s'est développée dans ces conditions. Présente-t-elle alors un développement commercial exemplaire qui puisse être érigé en modèle précurseur ? Tijuana (Basse Californie), la plus<br />commerçante des villes frontalières, est-elle l'archétype urbain de ce modèle ou bien une exception ?

<p>Networking is commonly used in many business clusters such as in San Diego, California. The strongcollaborative and networking culture spurs entrepreneurial activities and is crucial forentrepreneurial success in the region. Networking is a fascinating phenomenon much discussed inliterature. Sociologists have tried to map the patterns of networks and describe its existence andfunction in society. Relationship marketing theorists have taken to the discussion from a businessperspective and explained the relationships between the individuals in the business network. Thepurpose of this research is to analyze social networking and network organizations in San Diego inorder to investigate what entrepreneurs can gain from networking which can accelerate growth insmall businesses.</p><p>The empirical study consists of a qualitative case study in San Diego. Data has been collected throughsemi-structured interviews with entrepreneurs, business service providers, investor, networkorganizations representatives, consultants and well-experienced professionals with knowledge froma variety of organizations in different industries.</p><p>The theoretical study on networks, business networking, relationship marketing andentrepreneurship has led to the construction of the Entrepreneurial Relational Capital Model. Themodel is constructed on theories embraced in the thesis and is meant to work as a tool to evaluateentrepreneurs’ relational capital; or the entrepreneurs’ network of relationships and theirconstruction. The model has been used to analyze empirical data and the results show theimportance of evaluating business relationships for the entrepreneur to become more time efficientin networking, and to find the individual with the desired expertise. The research has shown thatentrepreneurs need to establish strong relationships to key individuals in the industry of their focus.The entrepreneurs’ social networking with key individuals accelerate the start-up process becausethe high level of trust in the relationship results in valuable referrals.</p>

Networking is commonly used in many business clusters such as in San Diego, California. The strongcollaborative and networking culture spurs entrepreneurial activities and is crucial forentrepreneurial success in the region. Networking is a fascinating phenomenon much discussed inliterature. Sociologists have tried to map the patterns of networks and describe its existence andfunction in society. Relationship marketing theorists have taken to the discussion from a businessperspective and explained the relationships between the individuals in the business network. Thepurpose of this research is to analyze social networking and network organizations in San Diego inorder to investigate what entrepreneurs can gain from networking which can accelerate growth insmall businesses. The empirical study consists of a qualitative case study in San Diego. Data has been collected throughsemi-structured interviews with entrepreneurs, business service providers, investor, networkorganizations representatives, consultants and well-experienced professionals with knowledge froma variety of organizations in different industries. The theoretical study on networks, business networking, relationship marketing andentrepreneurship has led to the construction of the Entrepreneurial Relational Capital Model. Themodel is constructed on theories embraced in the thesis and is meant to work as a tool to evaluateentrepreneurs’ relational capital; or the entrepreneurs’ network of relationships and theirconstruction. The model has been used to analyze empirical data and the results show theimportance of evaluating business relationships for the entrepreneur to become more time efficientin networking, and to find the individual with the desired expertise. The research has shown thatentrepreneurs need to establish strong relationships to key individuals in the industry of their focus.The entrepreneurs’ social networking with key individuals accelerate the start-up process becausethe high level of trust in the relationship results in valuable referrals.

Commercial fisheries on the West Coast are traditionally managed under large-scale management and conservation plans implemented by state and federal agencies. This scale of management can present obstacles for fishing communities. This thesis examines emerging cases of attempts to define and implement sustainable management of commercial fisheries under a community-based co-management model. In Port Orford, Sitka, San Diego and Santa Barbara, preliminary community-based co-management models are enabling fishing communities to pursue social sustainability through preserving access, participating in local science, and direct marketing for fish products. These communities are actively reshaping traditional models of conceptualizing and managing common-pool resources like fisheries.

El trabajo analiza la obra poética de Basilio Fernández, un autor creacionista, discípulo de Gerardo Diego, que, tras publicar algunos poemas en revistas de vanguardia de los años 20 y 30 en España e Italia, se sume, hasta su muerte, en un ejercicio secreto de la poesía. Basilio Fernández aunó el vanguardismo de su juventud y el existencialismo de su madurez, y alumbró una poesía en la que la metáfora, la aliteración y la fantasía se conciertan para expresar su dolor por haber renunciado a su destino –a su condición de escritor– y, por ende, a los ideales de juventud: la libertad, el amor y la literatura. La tesis incorpora una biografía del poeta, cuya principal fuente de información son los trabajos publicados por su sobrino Emiliano Fernández. Atiende, en particular, a los hechos de su juventud y primera madurez, hasta principios de los años 40, esenciales para configurar su fibra moral, su sensibilidad estética y su proyecto literario, como su relación con Gerardo Diego, profesor suyo en el Instituto Jovellanos de Gijón, y con Luis Álvarez Piñer, compañero de estudios y alumno, asimismo, de Diego. La tesis fija, asimismo, el corpus poético de Basilio Fernández, integrado por unos 140 poemas. Ni las dos ediciones de su poesía completa, de 1991 y 1992, ni las dos antologías de su obra, de 2007 y 2009, incluyen todos los poemas que escribió, algunos de los cuales permanecen inéditos en el archivo personal de Gerardo Diego. La tesis analiza la obra de Basilio Fernández, creacionista, existencial, órfica y biográfica. En tanto que poesía creacionista, esgrime el poder alumbrador de la metáfora y de la imaginación errabunda. La libertad asociativa del surrealismo, que le acompañará indeclinablemente, es objeto de un examen pormenorizado. El carácter existencial de su obra, de inspiración barroca y romántica, pero exacerbado por el nihilismo contemporáneo, se refleja en la evocación del pasado, la preocupación por el paso del tiempo, el canto a lo perdido, el tedio de los días y el sinsentido de la vida, plasmados en algunos motivos recurrentes: el ubi sunt, el agua estancada, el río que pasa, y la caída, desdoblada, a su vez, en la hoja seca y la torre inclinada. El sentido existencial se proyecta también en la sociedad, que el poeta considera corrompida y fútil. Frente a los oprobios de la vida, sus únicos consuelos son el amor y Dios, aunque el primero es solo un recuerdo que se diluye en el caminar inexorable hacia la muerte. Únicamente el amor a Dios le ofrece la esperanza de una existencia sin sufrimiento. La poesía de Basilio Fernández es órfica, porque cree en la naturaleza vivificadora de la palabra y canaliza el descenso a los infiernos de su intimidad, que revela su insatisfacción y su dolor. Finalmente, es también biográfica, por cuanto los hechos y decisiones de la vida del poeta determinan el tono y el propósito de su obra, y porque sus circunstancias personales se transparentan en un amplio abanico de símbolos, analogías y opciones léxicas. El trabajo analiza el aparato simbólico, los mecanismos constructivos, los recursos estilísticos –anáfora, similicadencia, paradoja, aliteración, personificación y metáfora– y el cuerpo de pensamiento que integran la poesía de Basilio Fernández. También, algunas claves de su formación, visibles en el recurso a la métrica y la en intertextualidad. Se presta una atención singular a todos aquellos motivos o expresiones que den cuenta del conflicto existencial, y se subraya su dimensión vitalista, que opone al sentido de la declinación y la muerte una palabra sensorial y luminosa, una permanente celebración de la materia. / ABSTRACT OF THE DOCTORAL THESIS "BASILIO FERNÁNDEZ’S POETRY: SPLENDOR AND BITTERNESS", BY EDUARDO MOGA The thesis analyzes Basilio Fernández’s poetic work. As a disciple of Gerardo Diego, he was a creationist author, who, after publishing several poems in avantgarde magazines in the 1920’s and early 30’s in Spain and Italy, went into silence for the rest of his life, although he never quitted writing poetry, secretly. Basilio Fernández combined the avantgarde spirit of his youth and the existentialism of his adulthood, and brought about a poetry in which metaphor, alliteration and fantasy joined in order to express his pain for having given up his destiny –becoming a writer– and, hence, having forsaken his purest ideals and wishes: freedom, love and literature. The thesis includes a biography of the poet, which focuses on his youth, until the early 1940’s, which is essential to understand his moral attitudes, his aesthetic sensitivity and his literary project: mainly, his relationship with Gerardo Diego, who was his teacher and mentor in Gijón, and with Luis Álvarez Piñer, his classmate and friend, and also a Diego’s disciple. The thesis also determines Basilio Fernández’s poetic corpus, with around 140 poems, some of which have never been published yet. Basilio Fernández’s poetry is creationist, existential, orphic and biographic. He believes in the creative power of image. The freedom of association, inspired by surrealism, has a significant presence in it. As a existentialist writer, he is overwhelmed by the passage of time, the memory of the past, the lost world of his youth and the spleen of his current life. Some motives reflect all these concerns: the ubi sunt, the stagnant waters, the flowing river and the notion of falling –i. e., the dry leaf and the leaning tower. Human society is also corrupt. His only reliefs are love and God, although love is just a vanishing memory. God alone offers hope and consolation. Basilio Fernández’s work is orphic, since it believes in the power of language to bring what is dead back to life and to carry out a true descensus ad inferos, which reveals the poet’s unsatisfaction and suffering. It is also biographic, for the facts of the poet’s life determine the substance and purpose of his poetry.

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.