The Effects of the Nation: Mexican Art in an Age of GlobalizationCarl Good, John V. Waldron What is the effect of a nation? In this age of globalization, is it dead, dying, or only dormant? The essays in this groundbreaking volume use the arts in Mexico to move beyond the national and the global to look at the activity of a community continually re-creating itself within and beyond its own borders. Mexico is a particularly apt focus, partly because of the vitality of its culture, partly because of its changing political identity, and partly because of the impact of borders and borderlessness on its national character. The ten essays collected here look at a wide range of aesthetic productions -- especially literature and the visual arts -- that give context to how art and society interact. Steering a careful course between the nostalgia of nationalism and the insensitivity of globalism, these essays examine modernism and postmodernism in the Mexican setting. Individually, they explore the incorporation of historical icons, of vanguardism, and of international influence. From Diego Rivera to Elena Garro, from the Tlateloco massacre to the Chiapas rebellion, from mass-market fiction to the film "Aliens," the contributors view the many sides of Mexican life as relevant to the creation of a constantly shifting national culture. Taken together, the essays look both backward and forward at the evolving effect of the Mexican nation. |
Contents
| 1 | |
| 20 | |
| 37 | |
Modern | 53 |
Memory | 98 |
Elena Garro and Mexican | 138 |
Dialogues with Mexico | 160 |
Rosina Conde | 178 |
Do Aliens Dream | 196 |
About the Contributors | 213 |
Other editions - View all
The Effects of the Nation: Mexican Art in an Age of Globalization Carl Good,John V. Waldron No preview available - 2001 |
The Effects of the Nation: Mexican Art in an Age of Globalization Carl Good,John V. Waldron No preview available - 2001 |
Common terms and phrases
aesthetic Angelina Beloff Anita Brenner Augusto Banco de México baroque Bertram Bertram Wolfe biographies Blade Runner border Brenner century Chicano concept Conde Conde's construction contemporary context critical cubist cultural production David Alfaro Siqueiros debate Deckard Diego Rivera Díez-Canedo Flores discourse economic Elena Garro Elena Poniatowska essay exhibition fiction film Gaff Gamio García gender globalism Goeritz Gómez Gruner Huerta's poetry hybridity ican identity Illustration images interview Joaquín Mortiz José language Largage Latin American literatura light López memory mestizaje Mexican art Mexican cultural Mexican literary Mexican literature Mexico City modern mural muralists Museum narrative narrators Nexos novel Octavio Paz painting Paz's Planeta poem political Poniatowska popular portraits postmodernism pre-Hispanic publishing Querido Diego question readers reading references relationship René Derouin replicants representation Reproduced by permission siglo social space specific story Suter texts thematic Tijuana tion Tlatelolco traditional Vuelta Wolfe Wolfe's women writing
Popular passages
Page 182 - Sex, under the name of gender, permeates the whole body of language and forces every locutor, if she belongs to the oppressed sex, to proclaim it in her speech, that is, to appear in language under her proper physical form and not under the abstract form, which every male locutor has the unquestioned right to use.
Page 102 - ¡Patria! ¡Patria! tus hijos te juran exhalar en tus aras su aliento, si el clarín con su bélico acento los convoca a lidiar con valor. ¡Para ti las guirnaldas de oliva! ¡Un recuerdo para ellos de gloria! ¡Un laurel para ti de victoria! ¡ Un sepulcro para ellos de honor!
Page 186 - The crossing of borders always announces itself according to the movement of a certain step [pas] - and of the step that crosses a line. An indivisible line. And one always assumes the institution of such an indivisibility. Customs, police, visa or passport, passenger identification - all...
Page 115 - But it does mean that the so-called 'literary canon', the unquestioned 'great tradition' of the 'national literature', has to be recognized as a construct, fashioned by particular people for particular reasons at a certain time. There is no such thing as a literary work or tradition which is valuable in itself, regardless of what anyone might have said or come to say about it. 'Value...
Page 93 - Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies — for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text — as into the world and into history — by her own movement.
Page 99 - At the end of the 1980s and the beginning of the 1990s...
Page 115 - Literature, in the sense of a set of works of assured and unalterable value, distinguished by certain shared inherent properties, does not exist.