Thesis (M.A.)--University of Southern California, 1914. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [104-105]).

Thesis--Wisconsin. / Includes bibliographical references (leaves 80-86).

Thesis (Ed. D.)--University of California, Berkeley. / Includes bibliographical references (leaves 53-56).

Thesis (Ph. D.)--University of Wisconsin--Madison, 2001. / Includes bibliographical references (p. 164-178). Also available on the Internet.

Thesis (M. S.)--Texas A&M University, 2005. / "December 2005." Title taken from PDF title screen (viewed October 23, 2007). Includes bibliographical references (p. 63-67) and appendix.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 248-260).

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2006. / Vita. Includes bibliographical references (leaves 45-50).

Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 25, 2007) Includes bibliographical references.

This thesis explores the international dimensions of Rosario Castellanos’ writings, which exhibit a constant—and evolving—preoccupation with feminist literature from across the world. The Mexican woman, public intellectual, professor, author, and ambassador dialogued with Simone de Beauvoir, Simone Weil, Betty Friedan, Emily Dickinson, Virginia Woolf, Gabriela Mistral, and Clarice Lispector, among others, while relating their ideas to Mexican women’s lives. Her journalistic production, essays, poetry, and narrative undergo an evolution as Castellanos articulates a unique Mexican feminist project that factors in race, class, and other intersections affecting Mexican women. I access Castellanos—who has been considered the “Simone de Beauvoir of Mexico”—through the lens of global feminism, which considers the varying layers of power and powerlessness when women of disparate regions and cultures seek solidarity. Through a global feminist perspective, we see how Castellanos, rather than blindly importing First World women’s agendas, carefully intervenes in global feminist discouses with what Mexican women need. In her evolution, Castellanos grows closer to a feminist project that, rather than buying into the myth of a global sisterhood, evokes instead a desire for a Latin American sisterhood and for Mexican women’s self-definition.

abstract: Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his popularity among high-ranking political figures during the time of the Mexican Revolution as well as his status in the Mexican music scene. Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano. In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer. This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular. / Dissertation/Thesis / Doctoral Dissertation Music 2016