Thesis (M.A.)--University of Wyoming, 2007. / Title from PDF title page (viewed on July 25, 2008). Includes bibliographical references (p. 83-84).

The ideas of Mexican Machismo have been crystallized in the image of the Macho, a virile man who represents the ideals of masculinity in a determined time and space. This work aims to examine how four Mexican Novels (Juan Rulfo’s Pedro Páramo, Elena Garro’s Los Recuerdos del Porvenir, Yuri Herrera’s Trabajos del Reino, and Fernanda Melchor’s Temporada de huracanes) present their unique macho ideals, and how the male characters fail to fulfill them. Through a textual examination of the four novels, this work asks: how is a macho image formed in each pair of novels? And most importantly how do male characters react when they are unable to uphold the masculine values? Chapter one examines Juan Rulfo’s and Elena Garro’s novels, focusing on the downfall of the machos due to the loss of a loved woman, and the strategies the men use to control their towns. Chapter two analyzes Yuri Herrera’s and Fernanda Melchor’s novels, explaining how masculinity is tied to a social performance, and how the machos lose the approval of their group. Chapter three deals with the reaffirmation of power through isolation of female characters and the concept of emasculation as a social and psychological phenomenon. Emasculation, this work strives to prove, is a key element in the four novels, uniting the texts through the social disgrace of a man who does not perform as expected.

Zeichnung wird häufig als ein Medium verstanden mithilfe dessen man seine Idee direkt auf das Papier bringen kann. Diese vermeintliche Unmittelbarkeit von Zeichnung hat historisch zu der Vorstellung geführt, Zeichnung sei besonders eng mit dem Denken verknüpft bzw. bilde eine direkte Projektion der Ideen des Künstlers. Diese Charakteristika der Zeichnung, sowohl ihre mimetische Funktion als auch die unmittelbare Sichtbarmachung von gedanklichen Prozessen sollen im Folgenden in ihrer Beziehung zu Performance Art betrachtet werden. Näher betrachtet werden dazu die Arbeiten „[Swi:t] Home: One Year of my Life“ von Elena del Rivero und „Va Heng Noodle Family“ von Morgan O’Hara. Wie gezeigt werden wird, verdeutlichen beide Arbeiten auf unterschiedliche Weise zeitliche Vorgänge und machen sie auf ihre spezifische Art und Weise für den Betrachter erst sichtbar. http://www.perfomap.de

Melting processes in the mantle have a key role in plate tectonics and in the most colossal phenomena in the Earth, like large igneous provinces, mantle plume upwellings, and the constant growth of the planet's tectonic plates. In this study we use the geochemical and petrological evidence preserved in ophiolites, large igneous provinces, and intraplate seamounts to understand causes, timing and implications of melting in these different tectonic environments. We studied melting at extensional environments, in mid-ocean ridges and back-arc basins, preserved in ophiolites. The Santa Elena Ophiolite in Costa Rica comprises a well-preserved fragment of the lithospheric mantle that formed along a paleo-spreading center. Petrological models of fractional crystallization suggest deep pressures of crystallization of >0.4 GPa for most of the samples, in good agreement with similar calculations from slow/ultra-slow spreading ridges and require a relatively hydrated (~0.5 wt% H2O) MORB-like source composition. Our findings suggest a complex interplay between oceanic basin and back-arc extension environments during the Santa Elena Ophiolite formation. Secondly, we analyzed large igneous provinces and their mechanisms of formation. As the surface expression of deep mantle processes, it is essential to understand the time frames and geodynamics that trigger these massive lava outpourings and their impact to life in the planet. We analyze the record and timing of preserved fragments of the Pacific Ocean Large Igneous Provinces to reconstruct the history of mantle plume upwellings and their relation with a deep-rooted source like the Pacific Large Low Shear Velocity Province during the Mid-Jurassic to Upper Cretaceous. Lastly, we explore the occurrence of low-volume seamounts unrelated to mantle plume upwellings and their geochemical modifications as they become recycled inside the mantle, to answer questions related to the nature and origin of upper mantle heterogeneities. We present evidence that an enriched mantle reservoir composed of recycled seamount materials can be formed in a shorter time period than ancient subducted oceanic crust, thought to be the forming agent of the HIMU mantle reservoir endmember. A "fast-forming" enriched reservoir could explain some of the enriched signatures commonly present in intraplate magmas not related with an active mantle plume upwelling. / Ph. D.

El presente trabajo tiene como objetivo demostrar cómo la obra textil de Elena Izcue inspirada en el arte del Perú antiguo, desarrolló un modelo visual de arte peruano moderno que logra ingresar y consagrarse en el imaginario del arte internacional, durante el primer tercio del siglo XX. Es importante destacar que durante estos años se llevaron a cabo los grandes descubrimientos arqueológicos del Perú antiguo, los cuales enriquecieron el conocimiento del Perú prehispánico y generaron un impacto decisivo en el imaginario internacional. Será en este ambiente donde Izcue escribió su texto El Arte peruano en la escuela, obra ícono y su primer documento de amplia difusión internacional, que presenta los motivos prehispánicos como tema un innovador para la aplicación en las artes decorativas. Posteriormente en 1928, en la ciudad de París, Izcue experimentó en su obra textil la influencia de las vanguardías artísticas como el Art Déco, el Primitivismo y el Cubismo, logrando así crear un lenguaje de vanguardia que reinterpreta el arte del Perú antiguo. Finalmente, será en su exposición en la ciudad de Nueva York de 1935 donde su obra textil logrará un amplio despliegue y reconocimiento internacional, logrando así que el arte comtemporáneo peruano ingrese a la sociedad moderna y al mercado internacional del arte del siglo XX.

Thesis (M.A.)--Miami University, Dept. of Spanish and Portguese, 2004. / Title from first page of PDF document. Includes bibliographical references (p. 66-71).

No description available.

This dissertation proposes an analysis of representative texts that portray the earthquake that hit Mexico City in 1985 as a historical event that contributed to forging new ways of interaction among the people itself, as well as between the community as a whole and its government. By examining the representations of this historically important episode in the life of the city, this project compensates for a significant omission of literary criticism—that has relegated the substantial corpus of texts about this catastrophe to brief comments or footnotes on other topics. Through analysis of testimonial chronicles, newspaper articles, political cartoons, music videos, poetry, drama, and narratives, this dissertation investigates the process through which intellectuals created discursive constructions of a new relationship between Mexican society and its government. The following pages give an account of the debate to shape the historical interpretation of the catastrophe: some texts challenged the patrimonialism institutionalized by the government bureaucracy of the PRI State, while others supported the structures in place even though they acknowledged the need for a nimbler bureaucracy. Therefore, this study is focused on texts that incorporate previous discursive traditions to propose new symbolic ways to understand the nation after the earthquake. This discussion engages texts by authors committed to diverse perspectives—such as Elena Poniatowska, Carlos Monsiváis, José Emilio Pacheco, Carlos Olmos, Enrique Serna, and Rodrigo Fresán, among others—to offer a panorama on the arguments presented on the cultural field. This dissertation considers four specific moments in the construction of the new national narrative: (1) the call for solidarity with the victims of the disaster; (2) the redefinition of the idea of civil society; (3) the debate within mass media to impose a particular meaning to both solidarity and civil society; and (4) the questioning of the main discourses related to the earthquake. This study illuminates the ways that the earthquake narratives have been deployed to challenge political inequities and injustices and to attempt political change towards a modern Mexican State.

This dissertation proposes an analysis of representative texts that portray the earthquake that hit Mexico City in 1985 as a historical event that contributed to forging new ways of interaction among the people itself, as well as between the community as a whole and its government. By examining the representations of this historically important episode in the life of the city, this project compensates for a significant omission of literary criticism—that has relegated the substantial corpus of texts about this catastrophe to brief comments or footnotes on other topics. Through analysis of testimonial chronicles, newspaper articles, political cartoons, music videos, poetry, drama, and narratives, this dissertation investigates the process through which intellectuals created discursive constructions of a new relationship between Mexican society and its government. The following pages give an account of the debate to shape the historical interpretation of the catastrophe: some texts challenged the patrimonialism institutionalized by the government bureaucracy of the PRI State, while others supported the structures in place even though they acknowledged the need for a nimbler bureaucracy. Therefore, this study is focused on texts that incorporate previous discursive traditions to propose new symbolic ways to understand the nation after the earthquake. This discussion engages texts by authors committed to diverse perspectives—such as Elena Poniatowska, Carlos Monsiváis, José Emilio Pacheco, Carlos Olmos, Enrique Serna, and Rodrigo Fresán, among others—to offer a panorama on the arguments presented on the cultural field. This dissertation considers four specific moments in the construction of the new national narrative: (1) the call for solidarity with the victims of the disaster; (2) the redefinition of the idea of civil society; (3) the debate within mass media to impose a particular meaning to both solidarity and civil society; and (4) the questioning of the main discourses related to the earthquake. This study illuminates the ways that the earthquake narratives have been deployed to challenge political inequities and injustices and to attempt political change towards a modern Mexican State.

This thesis examines the impact of gender, feminism and motherhood on the careers of four Australian composers: Margaret Sutherland (1897–1984), Ann Carr-Boyd (b. 1938), Elena Kats-Chernin (b. 1957) and Katy Abbott (b. 1971). / Aspects of the biographies of each of these women are explored, and I situate their narratives within the cultural and musical contexts of their eras, in order to achieve heightened understanding of the ideologies and external influences that have contributed to their choices and experiences. Methodologies derived from feminist biography and oral history/ethnography underpin this study. Theorists who inform this work include Marcia Citron, Daphne de Marneffe, Sherna Gluck, Carolyn Heilbrun, Anne Manne, Ann Oakley, Alessandro Portelli, Adrienne Rich and Robert Stake, along with many others. / The demands traditionally placed on women through motherhood and domesticity have led to a lack of time and creative space being available to develop their careers. Thus they have faced significant challenges in gaining public recognition as serious composers. There is a need for biographical analysis of these women’s lives, in order to consider their experiences and the encumbrances they have faced through attempting to combine their creative and mothering roles. Previous scholarship has concentrated more on their compositions than on the women who created them, and the impact of private lives on public lives has not been considered worthy of consideration. / Three broad themes are investigated. First, the ways in which each composer’s family background, upbringing and education have impacted on their decision to enter the traditionally male field of composition are explored. The positive influence from family and other mentors, and opportunities for a sound musical education, are factors particularly necessary for aspiring female composers. I argue that all four women have benefited from upbringings in families where education and artistic endeavour have been valued highly. / The second theme concerns the extent to which the feminist movement has influenced the women’s lives as composers and mothers, and the levels of frustration, and/or satisfaction or pleasure each has felt in blending motherhood with composition. I contend that all four composers have led feminist lives in the sense that they have exercised agency and a sense of entitlement in choices regarding their domestic and work lives. The three living composers have reaped the benefits of second-wave feminism, but have eschewed complete engagement with its agenda, especially its repudiation of motherhood. They can more readily be identified with the currently evolving third wave of feminism, which advocates women’s freedom to choose how to balance the equally-valued roles of motherhood and the public world of work. I assert that Sutherland was a third-wave prototype, a position that was atypical of her era. / The third and final theme comprises an investigation of the ways in which historical and enduring negative attitudes towards women as musical creators have played out in the musical careers in these composers. It is contested that Sutherland experienced greater challenges than her successors in the areas of dissemination, composition for larger forces, and critical reception, but appears to have been more comfortable in promoting her work. The exploration of their careers demonstrates that all four of these creative mothers are well-respected and recognised composers. They are ‘third-wave’ women who have considerably enriched Australia’s musical landscape.