subject:(20th C Latin American Art)

Cornell University

1. Benezra, Karen. A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile.

Degree: PhD, Romance Studies, 2013, Cornell University

► This dissertation studies the purported political radicalization of experimental art and design in the late 1960s and 1970s in Argentina, Mexico and Chile. Through the… (more)

▼ This dissertation studies the purported political radicalization of experimental art and design in the late 1960s and 1970s in Argentina, Mexico and Chile. Through the examination of artists, designers and critics including the Grupo Arte de los Medios, Oscar Masotta, Octavio Paz, Oscar Bony, Felipe Ehrenberg, the Groups Movement, Gui Bonsiepe and the cybernetic management project Cybersyn, I study how terms and problems such as the avant-garde, the socialization of art and the mutual implication of industrial design and management contemplated art's relationship to the social relations of production at a moment in which the challenge to art's traditional supports and the intensified socialization of productive labor made these two realms increasingly difficult to distinguish. In the Argentinean case, I show how Oscar Masotta and the Grupo Arte de los Medios pointed to the de-naturalization of ideology as the task of the avant-garde and, at the same time, to the limit of this same procedure in the inseparability of image and enjoyment. In the Mexican case, I argue that the Groups addressed the Revolutionary legacy of art's socialization by simultaneously inhabiting the form of the artists' collective and re-defining both art and artistic labor as cultural work within the social relations of production. The Groups thus point to the political potential inherent in their organizational form both through and against the muralist legacy. In the Chilean case, I argue that Cybersyn consummated the fraught relationship between art and industry that defined the avant-garde of the Bauhaus and Ulm School of Design by transforming the sticky question of style into the infrastructure of subjectivation in the management of the Chilean workforce. Style thus marks the thin line joining and separating auto-poiesis and praxis. Whether through the intervention into the mass media, the collectivization of cultural work or the making operative of style through the infrastructural function of industrial design, I argue that each case points to a form of ideological mediation that cleaves close to the figure and process of capitalist selfreproduction while still insisting on this slight subjective gap as the space of its potential politicization and critique. Advisors/Committee Members: Bosteels, Bruno (chair), Waite, Geoffrey Carter W (committee member), McNulty, Tracy K. (committee member).

Subjects/Keywords: avant-garde; conceptual art; 20th C. Latin American Art; Politics; Psychoanalysis

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APA (6^th Edition):

Benezra, K. (2013). A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34287

Chicago Manual of Style (16^th Edition):

Benezra, Karen. “A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile.” 2013. Doctoral Dissertation, Cornell University. Accessed January 18, 2021. http://hdl.handle.net/1813/34287.

MLA Handbook (7^th Edition):

Benezra, Karen. “A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile.” 2013. Web. 18 Jan 2021.

Vancouver:

Benezra K. A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Jan 18]. Available from: http://hdl.handle.net/1813/34287.

Council of Science Editors:

Benezra K. A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34287

University of Illinois – Urbana-Champaign

2. González, Maria Del Mar. The politics of display: identity and state at the San Juan Print Biennial, 1970-1981.

Degree: PhD, 0250, 2013, University of Illinois – Urbana-Champaign

URL: http://hdl.handle.net/2142/45612

► This dissertation, The Politics of Display: Identity and State at the San Juan Print Biennial, 1970-1981, is the first comprehensive study of the Bienal de… (more)

▼ This dissertation, The Politics of Display: Identity and State at the San Juan Print Biennial, 1970-1981, is the first comprehensive study of the Bienal de San Juan del Grabado Latinoamericano (BSJ, 1970-2001) of Puerto Rico, and its reincarnation as the Poly/Graphic Triennial (2004 - Present). As the Caribbean’s first art biennial, the creation of the BSJ was not only innovative, but also a strategic, bold project on the part of its organizers in their attempt to insert Puerto Rican graphic media production more forcefully into Latin American art history and in a clearer spotlight on the stage of global exhibitions. Organized by Institute of Puerto Rican Culture (ICP) with expert assistance from the New York Museum of Modern Art (MoMA) and the Museo de Arte de Ponce (MAP), the BSJ was established to legitimize and promote the island as a competitive force within the postwar biennial circuit and international art market. While examining its structure, historical context, and the role of key players in fashioning the BSJ as an emblem of Puerto Rican national identity, this dissertation sheds light on the relationship between the promotion of printmaking as a national medium, and populism as a political strategy in the 20th century. It critiques the strategies for forging a collective identity and presents a postcolonial reading of the ways in which BSJ organizers intended to convert San Juan into the epicenter of Latin American graphic art, by inserting Puerto Rico into both the international biennial circuit and the larger art historical narratives of Latin America. By focusing on moments of disruption, struggles, and even failure of the institution, which include a “counter biennial” and the shift from a biennial to a triennial model, this study goes beyond the particularities of the BSJ and shows the fissures of the models and categories of the larger biennial circuit, allowing for a more intricate history to emerge. Acknowledging the complexity of the BSJ as a physical institution, display site, and an ideological apparatus, this dissertation combines close analysis of the history, interconnected with a selection of BSJ general editions and their corresponding homage artist exhibits, exhibition catalogs, awarded prints, and critical reception. This study combines that approach with careful attention to archival materials that include unpublished correspondences and manuscripts, internal ICP-BSJ documents, interviews, as well as periodical articles and criticism. I contend that even though the Bienal de San Juan has not been afforded the same attention as numerous European-based biennials, as a “minor” moment in biennial history, its critical examination, challenges the established narratives of art biennials and of the U.S. and Puerto Rico, while simultaneously shedding further light on the complex cultural and political relations of the contemporary global art map. In these ways, The Politics of Display will engage in conversation not only with art historians, but sociologists, historians of… Advisors/Committee Members: Vázquez, Oscar E. (advisor), Vázquez, Oscar E. (Committee Chair), Rodriguez, Richard T. (committee member), Weissman, Terri (committee member), Basilio, Miriam M. (committee member).

Subjects/Keywords: art biennials; art and politics; graphic arts; Puerto Rican art; Latin American art; 20th century art; cultural policy

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APA (6^th Edition):

González, M. D. M. (2013). The politics of display: identity and state at the San Juan Print Biennial, 1970-1981. (Doctoral Dissertation). University of Illinois – Urbana-Champaign. Retrieved from http://hdl.handle.net/2142/45612

Chicago Manual of Style (16^th Edition):

González, Maria Del Mar. “The politics of display: identity and state at the San Juan Print Biennial, 1970-1981.” 2013. Doctoral Dissertation, University of Illinois – Urbana-Champaign. Accessed January 18, 2021. http://hdl.handle.net/2142/45612.

MLA Handbook (7^th Edition):

González, Maria Del Mar. “The politics of display: identity and state at the San Juan Print Biennial, 1970-1981.” 2013. Web. 18 Jan 2021.

Vancouver:

González MDM. The politics of display: identity and state at the San Juan Print Biennial, 1970-1981. [Internet] [Doctoral dissertation]. University of Illinois – Urbana-Champaign; 2013. [cited 2021 Jan 18]. Available from: http://hdl.handle.net/2142/45612.

Council of Science Editors:

González MDM. The politics of display: identity and state at the San Juan Print Biennial, 1970-1981. [Doctoral Dissertation]. University of Illinois – Urbana-Champaign; 2013. Available from: http://hdl.handle.net/2142/45612

3. Palacios, Addison. Minority Intellectualism in America: Lives, Literature, and Institutions.

Degree: English, 2018, University of California – Riverside

URL: http://www.escholarship.org/uc/item/9h4956gx

► This dissertation investigates the experiences of prominent, minority intellectuals in American culture. To add nuance to critical accounts of American intellectuals that define that subject… (more)

▼ This dissertation investigates the experiences of prominent, minority intellectuals in American culture. To add nuance to critical accounts of American intellectuals that define that subject as universal and autonomous, this project introduces the race and gender into those discussions while acknowledging to the role the modern university has had in maintaining that position. Rather than argue that the university is no longer conducive to intellectual life, this project suggests that such stances negate the struggles for access to and representation in the academy on behalf of minority intellectuals. Moreover, this project questions the timeliness of such views, as they arise precisely at the moments when minority intellectuals begin to initiate structural change to the American university.This project begins by setting the historical and theoretical foundations for how the intellectual has normally been understood by combining the work of Richard Hofstadter and Russell Jacoby with the theories of intellectualism described by writers like Edward Said and Antonio Gramsci. The introduction then turns to a case study of William Faulkner to argue that his work questions the class and regional biases that underlie intellectualism at an historical moment when the intellectual was undergoing a radical revision.The chapters that follow more thoroughly consider the categories of race and gender in the making of intellectuals and turns to the lives and work of Ralph Ellison, Mary McCarthy, Américo Paredes, and Tomás Rivera. The first chapter argues that Ellison used Invisible Man to work through the crisis of the black intellectual later discussed by theorists like Harold Cruse. The second chapter on Mary McCarthy shows how even non-academic, progressive spheres like the New York intellectual circle rely on a normative conception of intellectualism that performs a hegemonic function counter to the aims of women intellectuals. My closing chapter on Paredes and Rivera theorizes the condition of the Chicano intellectual in light of the development of Chicano studies more broadly by contextualizing the communal, educational efforts of El Movimiento of the 1960s. Read together, these sections illustrate the sociohistorical and theoretical impasses that make minority intellectualism a condition worthy of more critical consideration.

Subjects/Keywords: American literature; Ethnic studies; Latin American literature; 20th C. American History; Academia; Intellectuals; Minority Intellectualism; The Novel; University

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APA (6^th Edition):

Palacios, A. (2018). Minority Intellectualism in America: Lives, Literature, and Institutions. (Thesis). University of California – Riverside. Retrieved from http://www.escholarship.org/uc/item/9h4956gx

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Palacios, Addison. “Minority Intellectualism in America: Lives, Literature, and Institutions.” 2018. Thesis, University of California – Riverside. Accessed January 18, 2021. http://www.escholarship.org/uc/item/9h4956gx.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Palacios, Addison. “Minority Intellectualism in America: Lives, Literature, and Institutions.” 2018. Web. 18 Jan 2021.

Vancouver:

Palacios A. Minority Intellectualism in America: Lives, Literature, and Institutions. [Internet] [Thesis]. University of California – Riverside; 2018. [cited 2021 Jan 18]. Available from: http://www.escholarship.org/uc/item/9h4956gx.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Palacios A. Minority Intellectualism in America: Lives, Literature, and Institutions. [Thesis]. University of California – Riverside; 2018. Available from: http://www.escholarship.org/uc/item/9h4956gx

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Universidade Estadual de Campinas

4. Villares, Mónica Ferrer, 1982-. Feito na América Latina 1978 : teoria e imagem, um debate reflexivo sobre a fotografia da "Nossa América": Made in Latin America 1978 : theory and image a reflective debate on the photography of "Our America".

Degree: 2016, Universidade Estadual de Campinas

URL: http://repositorio.unicamp.br/jspui/handle/REPOSIP/320960

► Abstract: The purpose of this doctoral thesis is to present a historically-critical overview of the events held in Mexico in 1978, which we consider to… (more)

▼ Abstract: The purpose of this doctoral thesis is to present a historically-critical overview of the events held in Mexico in 1978, which we consider to have led to the invention of the concept of 'Latin American Photography' and which have had as their focus the First Exhibition of Contemporary Latin American Photography and the First Latin American Colloquium of Photography. It is at these theoretical-expository meetings where we shall pinpoint the intention to impose a new canon for the understanding of the photographic production of the subcontinent, by means of an effort which relied substantially upon the specific political conjuncture of the second half of the 20th century. We shall further indicate some of the strategies which made it possible to articulate this new concept within the specific universe of Art. For that purpose, we shall thoroughly analyse the records of the debates that took place throughout the First and the Second Colloquium of Latin American Photography (1978-1981), which we regard as essential for the conception of a theoretical discourse that sought not only to validate photography as a relevant and dense object of study, but also to justify this new concept¿s pertinence and, through it, support the entrance of a pictorial production hitherto unknown in the international context. Finally, we shall analyse the First Exhibition of Contemporary Latin American Photography (1978) and its role in promoting the canon, based on our selection of works which, in our view, better ilustrate the peculiarities of the result achieved by the exhibition. With that, we hope to contribute towards the comprehension both of how the design to imposing the canon was concieved, and of the issues and the gains derived from such initiative. That was, according to our understanding, of fundamental importance not only for the development of photography within the subcontinent, but also for the recognition, within the territory, of photography as a complex object of study from the theoretical standpoint, and for the entrance of a relevant part of the subcontinent¿s photografic production in the Art system Advisors/Committee Members: UNIVERSIDADE ESTADUAL DE CAMPINAS (CRUESP), Mattos, Claudia Valladão de, 1964- (advisor), Universidade Estadual de Campinas. Instituto de Filosofia e Ciências Humanas (institution), Programa de Pós-Graduação em História (nameofprogram), Tognon, Marcos (committee member), Lima, Solange Ferraz de (committee member), Baumgarten, Jens Michael (committee member), Entler, Ronaldo (committee member).

Subjects/Keywords: Arte - História; Fotografia; Arte latino-americana; Arte moderna - Séc. XX; Art - History; Photography; Latin american art; Modern art - 20th century

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APA (6^th Edition):

Villares, Mónica Ferrer, 1. (2016). Feito na América Latina 1978 : teoria e imagem, um debate reflexivo sobre a fotografia da "Nossa América": Made in Latin America 1978 : theory and image a reflective debate on the photography of "Our America". (Thesis). Universidade Estadual de Campinas. Retrieved from http://repositorio.unicamp.br/jspui/handle/REPOSIP/320960

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Villares, Mónica Ferrer, 1982-. “Feito na América Latina 1978 : teoria e imagem, um debate reflexivo sobre a fotografia da "Nossa América": Made in Latin America 1978 : theory and image a reflective debate on the photography of "Our America".” 2016. Thesis, Universidade Estadual de Campinas. Accessed January 18, 2021. http://repositorio.unicamp.br/jspui/handle/REPOSIP/320960.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Villares, Mónica Ferrer, 1982-. “Feito na América Latina 1978 : teoria e imagem, um debate reflexivo sobre a fotografia da "Nossa América": Made in Latin America 1978 : theory and image a reflective debate on the photography of "Our America".” 2016. Web. 18 Jan 2021.

Vancouver:

Villares, Mónica Ferrer 1. Feito na América Latina 1978 : teoria e imagem, um debate reflexivo sobre a fotografia da "Nossa América": Made in Latin America 1978 : theory and image a reflective debate on the photography of "Our America". [Internet] [Thesis]. Universidade Estadual de Campinas; 2016. [cited 2021 Jan 18]. Available from: http://repositorio.unicamp.br/jspui/handle/REPOSIP/320960.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Villares, Mónica Ferrer 1. Feito na América Latina 1978 : teoria e imagem, um debate reflexivo sobre a fotografia da "Nossa América": Made in Latin America 1978 : theory and image a reflective debate on the photography of "Our America". [Thesis]. Universidade Estadual de Campinas; 2016. Available from: http://repositorio.unicamp.br/jspui/handle/REPOSIP/320960

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

5. Drien Fabregas, Marcela Alejandra. Caupolican| Shaping the Image of National Identity in Chilean Public Art.

Degree: 2011, State University of New York at Stony Brook

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=1496844

► Caupolicán, the statue created in the nineteenth century by the Chilean sculptor Nicanor Plaza, is considered one of the most popular works of Chilean… (more)

Subjects/Keywords: Art History; Latin American Studies

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Drien Fabregas, M. A. (2011). Caupolican| Shaping the Image of National Identity in Chilean Public Art. (Thesis). State University of New York at Stony Brook. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=1496844

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Drien Fabregas, Marcela Alejandra. “Caupolican| Shaping the Image of National Identity in Chilean Public Art.” 2011. Thesis, State University of New York at Stony Brook. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=1496844.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Drien Fabregas, Marcela Alejandra. “Caupolican| Shaping the Image of National Identity in Chilean Public Art.” 2011. Web. 18 Jan 2021.

Vancouver:

Drien Fabregas MA. Caupolican| Shaping the Image of National Identity in Chilean Public Art. [Internet] [Thesis]. State University of New York at Stony Brook; 2011. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=1496844.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Drien Fabregas MA. Caupolican| Shaping the Image of National Identity in Chilean Public Art. [Thesis]. State University of New York at Stony Brook; 2011. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=1496844

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

6. Brown, Michael A. Portraiture in New Spain, 1600-1800| Painters, Patrons and Politics in Viceregal Mexico.

Degree: 2011, New York University

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=3445271

► This dissertation charts some of the most significant events for the development of portrait-painting in New Spain in order to shed light on a… (more)

▼ This dissertation charts some of the most significant events for the development of portrait-painting in New Spain in order to shed light on a problematic genre that is often overlooked or misunderstood, even by scholars in the field. The first chapter examines the corporate portrait in early seventeenth-century Mexico City, specifically the series of canvases depicting archbishops in the cathedral chapter hall, and the role of the painter as an arbiter of taste. The second chapter investigates the persistence of this established model, which was a narrowly constructed and exclusively male tradition, which lasted a century and a half. The third chapter discusses the extraordinary innovations of the early eighteenth century. As a result of many factors, including profound economic and social changes, there began an explosion of portrait commissions after 1700, especially in the previously ignored spheres of women and family. The final chapter deals with the foundation of the Academy in Mexico and its role in the Bourbon effort to retain control over its dominion by re-imposing artistic taste in the colony. One of the strategies employed to this end was the importation of a generation of Spanish artists trained at the Academy in Madrid. Portraiture in the viceroyalties, like the court culture of its government seats in Mexico City and Lima, was inherently conservative, concerned as it was with the shaky balance of power that defined colonial politics and society. Once the formula of state portraiture was established in New Spain, it remained fairly uniform because of the inherent demands of such patrons. The first portrait commissions were for series of statesmen; later depictions needed to comply with and consolidate this corporate template. In this way, portraiture in New Spain developed differently than it had in Europe because its tradition was so firmly rooted in the series of viceroys and prelates. Instead of developing along the art-historical arc that characterizes many parts of Europe, portraiture in New Spain followed a different course.

Subjects/Keywords: History, Latin American; Art History

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APA (6^th Edition):

Brown, M. A. (2011). Portraiture in New Spain, 1600-1800| Painters, Patrons and Politics in Viceregal Mexico. (Thesis). New York University. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=3445271

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Brown, Michael A. “Portraiture in New Spain, 1600-1800| Painters, Patrons and Politics in Viceregal Mexico.” 2011. Thesis, New York University. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=3445271.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Brown, Michael A. “Portraiture in New Spain, 1600-1800| Painters, Patrons and Politics in Viceregal Mexico.” 2011. Web. 18 Jan 2021.

Vancouver:

Brown MA. Portraiture in New Spain, 1600-1800| Painters, Patrons and Politics in Viceregal Mexico. [Internet] [Thesis]. New York University; 2011. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3445271.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Brown MA. Portraiture in New Spain, 1600-1800| Painters, Patrons and Politics in Viceregal Mexico. [Thesis]. New York University; 2011. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3445271

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

7. Brodsky, Estrellita Bograd. Latin American artists in postwar Paris| Jesus Rafael Soto and Julio Le Parc, 1950 – 1970.

Degree: 2009, New York University

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=3360462

► This dissertation presents an alternative model for interpreting the work of Jesús Rafael Soto (Venezuelan, 1923-2005) and Julio Le Parc (Argentine, b. 1928), the… (more)

▼ This dissertation presents an alternative model for interpreting the work of Jesús Rafael Soto (Venezuelan, 1923-2005) and Julio Le Parc (Argentine, b. 1928), the two foremost Latin American proponents of Kinetic art. While Soto and Le Parc are traditionally studied together within the context of their European counterparts, this investigation argues for a new way of evaluating the artists in terms of the "fragmented" aesthetic experience they provided through works produced in 1950-1970, the period during which both artists moved to Paris. This paper demonstrates that their artistic innovations were – like their radical social agendas and ideals – critical responses to Latin America's modernity. Characterized by continuous political and social upheaval, a break with traditional values, and an uncertain future, the disruptive environment they experienced in Latin America compelled the artists to pursue in Paris the primary aesthetic strategies of their work: displacement, mutability, and instability. Though they differed in approaches, Soto and Le Parc shared a utopian ideal: that art, distilled to its experiential fundamentals, could communicate directly to the viewer, without the mediation of politics or institutions. Through analyses of specific works, archival documentation, contemporary criticism, and interviews with Soto, Le Parc, and others from their circles, this study explores the lives and work of these two artists, revealing that their summary relegation to specific movements and nationalities discounts the complex reality of their transnational experiences. The model of investigation proposed here reveals the distinct two-way reciprocity of cultural influence between Latin America and Europe, and raises questions about geographical cultural specificity. Also discussed is how the artists' identification with Paris made them suspect in the eyes of some Latin American critics. Soto and Le Parc's formative dialogues with individuals and collectives, in particular Victor Vasarely, Yves Klein, Marcel Duchamp, Los Disidentes, the Madí, Nouveaux Réalistes, group Zero, artists of Situationist International and Tucumán arde are closely examined. Ultimately, this study exposes the challenges faced by Soto and Le Parc as principal pioneers of a generation of Latin American artists who achieved success in international movements, while remaining engaged in forming a new Latin American cultural model.

Subjects/Keywords: History, Latin American; Art History

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APA (6^th Edition):

Brodsky, E. B. (2009). Latin American artists in postwar Paris| Jesus Rafael Soto and Julio Le Parc, 1950 – 1970. (Thesis). New York University. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=3360462

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Brodsky, Estrellita Bograd. “Latin American artists in postwar Paris| Jesus Rafael Soto and Julio Le Parc, 1950 – 1970.” 2009. Thesis, New York University. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=3360462.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Brodsky, Estrellita Bograd. “Latin American artists in postwar Paris| Jesus Rafael Soto and Julio Le Parc, 1950 – 1970.” 2009. Web. 18 Jan 2021.

Vancouver:

Brodsky EB. Latin American artists in postwar Paris| Jesus Rafael Soto and Julio Le Parc, 1950 – 1970. [Internet] [Thesis]. New York University; 2009. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3360462.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Brodsky EB. Latin American artists in postwar Paris| Jesus Rafael Soto and Julio Le Parc, 1950 – 1970. [Thesis]. New York University; 2009. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3360462

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

UCLA

8. Rivas, Carlos Anilber. Fabricating History: The Codex Mendoza and Manuscript Production during the Founding of New Spain.

Degree: Art History, 2013, UCLA

URL: http://www.escholarship.org/uc/item/9d63w9m0

► This thesis examines the historiography of the Codex Mendoza, one of the earliest surviving and most important manuscripts produced in Mexico after the conquest. In… (more)

▼ This thesis examines the historiography of the Codex Mendoza, one of the earliest surviving and most important manuscripts produced in Mexico after the conquest. In particular, I examine its provenance and evaluate its known documented history. How did this manuscript, produced in 1540 in Mexico by native artists and scribes, reach Europe and when? This reexamination highlights the absence of documentation supporting the widely-held belief that the Codex Mendoza reached France and not Spain, its intended destination, after the ship carrying it to Europe was plundered by pirates.ï¿½After closely examining what is known of the manuscript's provenance and suggesting a complete rethinking of what we know about the Codex Mendoza, this thesis demonstrates the interpretive side-effects of current assumptions about the manuscript's provenance and dependance on out of date historiography. The Codex Mendoza's assumed patronage and believed-intended audience has conditioned art historians to interpret the artistic style of the manuscript as containing European influence. However, a close re-examination of the codex in relation to other manuscripts produced in New Spain at the same time demonstrates that the Codex Mendoza's content and visual style is effectively all from the pre-conquest period and therefore radically different from most manuscripts produced at the time. Significantly, almost no comparisons exist in the literature on the topic making this comparison one of the first such contextual stylistic analyses of the Codex Mendoza. In addition, the methodologies employed by art historians in their study of the style of sixteenth-century manuscripts from New Spain have proved problematic, and in the case of the Codex Mendoza specifically, its believed European patronage has preconditionedï¿½interpretationsï¿½of its artistic style. To address this problem I compare the Codex Mendoza with a contemporaneous manuscript of similar provenance. The comparison reveals that the existence and circulation of multiple visual styles and narrative strategies in manuscripts during the 1540s in New Spain was directly related to the intended purpose of the manuscript itself. This comparison also allows for theï¿½Codex Mendoza'sï¿½proper placement within its art historical context and the broader context of manuscript production in New Spain.

Subjects/Keywords: Art history; Latin American history

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APA (6^th Edition):

Rivas, C. A. (2013). Fabricating History: The Codex Mendoza and Manuscript Production during the Founding of New Spain. (Thesis). UCLA. Retrieved from http://www.escholarship.org/uc/item/9d63w9m0

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Rivas, Carlos Anilber. “Fabricating History: The Codex Mendoza and Manuscript Production during the Founding of New Spain.” 2013. Thesis, UCLA. Accessed January 18, 2021. http://www.escholarship.org/uc/item/9d63w9m0.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Rivas, Carlos Anilber. “Fabricating History: The Codex Mendoza and Manuscript Production during the Founding of New Spain.” 2013. Web. 18 Jan 2021.

Vancouver:

Rivas CA. Fabricating History: The Codex Mendoza and Manuscript Production during the Founding of New Spain. [Internet] [Thesis]. UCLA; 2013. [cited 2021 Jan 18]. Available from: http://www.escholarship.org/uc/item/9d63w9m0.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Rivas CA. Fabricating History: The Codex Mendoza and Manuscript Production during the Founding of New Spain. [Thesis]. UCLA; 2013. Available from: http://www.escholarship.org/uc/item/9d63w9m0

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

9. Scott, Gabriella Boschi. Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings.

Degree: 2014, The University of Texas at San Antonio

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=1556588

► This thesis argues that Mexican painter Enrique Guzmán is a central figure in the transition between the Ruptura movement and postmodernism. Construed by many… (more)

Subjects/Keywords: Art History; Latin American Studies

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APA (6^th Edition):

Scott, G. B. (2014). Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings. (Thesis). The University of Texas at San Antonio. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=1556588

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Scott, Gabriella Boschi. “Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings.” 2014. Thesis, The University of Texas at San Antonio. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=1556588.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Scott, Gabriella Boschi. “Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings.” 2014. Web. 18 Jan 2021.

Vancouver:

Scott GB. Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings. [Internet] [Thesis]. The University of Texas at San Antonio; 2014. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=1556588.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Scott GB. Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings. [Thesis]. The University of Texas at San Antonio; 2014. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=1556588

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Baylor University

10. Witt, Amber L. La imagen de la nostalgia en la novela latinoamericana de mediados del siglo XX.: The image of nostalgia in the mid-twentieth century Latin American novel.

Degree: MA, Spanish., 2011, Baylor University

URL: http://hdl.handle.net/2104/8180

► Utilizing an eclectic approach that perceives literature to be a symbolic expression of social criticism, this thesis treats nostalgia as a fundamental concept of contemporary… (more)

Subjects/Keywords: Latin American literature.; Nostalgia.; 20th century.

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APA (6^th Edition):

Witt, A. L. (2011). La imagen de la nostalgia en la novela latinoamericana de mediados del siglo XX.: The image of nostalgia in the mid-twentieth century Latin American novel. (Masters Thesis). Baylor University. Retrieved from http://hdl.handle.net/2104/8180

Chicago Manual of Style (16^th Edition):

Witt, Amber L. “La imagen de la nostalgia en la novela latinoamericana de mediados del siglo XX.: The image of nostalgia in the mid-twentieth century Latin American novel.” 2011. Masters Thesis, Baylor University. Accessed January 18, 2021. http://hdl.handle.net/2104/8180.

MLA Handbook (7^th Edition):

Witt, Amber L. “La imagen de la nostalgia en la novela latinoamericana de mediados del siglo XX.: The image of nostalgia in the mid-twentieth century Latin American novel.” 2011. Web. 18 Jan 2021.

Vancouver:

Witt AL. La imagen de la nostalgia en la novela latinoamericana de mediados del siglo XX.: The image of nostalgia in the mid-twentieth century Latin American novel. [Internet] [Masters thesis]. Baylor University; 2011. [cited 2021 Jan 18]. Available from: http://hdl.handle.net/2104/8180.

Council of Science Editors:

Witt AL. La imagen de la nostalgia en la novela latinoamericana de mediados del siglo XX.: The image of nostalgia in the mid-twentieth century Latin American novel. [Masters Thesis]. Baylor University; 2011. Available from: http://hdl.handle.net/2104/8180

11. Kluck, Marielos C. You are What You Read| Participation and Emancipation Problematized in Habacuc's Exposicion1.

Degree: 2017, California State University, Long Beach

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=10604666

► Conceptualized by Costa Rican artist Guillermo Vargas Jiménez (known as Habacuc), Exposición1 [Exposition #1](or its more infamous moniker “starving dog art”)(2007) operates as a… (more)

Subjects/Keywords: Art criticism; Art history; Latin American studies

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APA (6^th Edition):

Kluck, M. C. (2017). You are What You Read| Participation and Emancipation Problematized in Habacuc's Exposicion1. (Thesis). California State University, Long Beach. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=10604666

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Kluck, Marielos C. “You are What You Read| Participation and Emancipation Problematized in Habacuc's Exposicion1.” 2017. Thesis, California State University, Long Beach. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=10604666.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Kluck, Marielos C. “You are What You Read| Participation and Emancipation Problematized in Habacuc's Exposicion1.” 2017. Web. 18 Jan 2021.

Vancouver:

Kluck MC. You are What You Read| Participation and Emancipation Problematized in Habacuc's Exposicion1. [Internet] [Thesis]. California State University, Long Beach; 2017. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=10604666.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Kluck MC. You are What You Read| Participation and Emancipation Problematized in Habacuc's Exposicion1. [Thesis]. California State University, Long Beach; 2017. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=10604666

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Rutgers University

12. Challener, Scott Douglas, 1979-. From the outside: Latin American anthologies and the making of U.S. literature.

Degree: PhD, Literatures in English, 2019, Rutgers University

URL: https://rucore.libraries.rutgers.edu/rutgers-lib/61706/

► This dissertation explores how the evolution of twentieth-century U.S. literature was shaped by the reception of Spanish and Latin American poetry. I argue that midcentury… (more)

▼ This dissertation explores how the evolution of twentieth-century U.S. literature was shaped by the reception of Spanish and Latin American poetry. I argue that midcentury poets embraced the diverse structures of poetic address they encountered in the Latin American anthology in order to remake the unit of the poem and the linguistic and structural boundaries of the single book-length volume. Poets such as Jack Spicer, Langston Hughes, Elizabeth Bishop, and Kenneth Koch adopted the anthology as a creative model that foregrounded the circulation and mutation of discursive contexts, and underscored a pointed indifference to the integrity of the book. From the Outside thus assembles an unusual cast of major and lesser-known poets whose address to various publics belies conventional affiliations of coterie and community as well as narratives that organize postwar American poetry under the master signs of lyric, nation, institution, or Cold War cultural politics. Anthologies and translations, and especially anthologies of translations, remain understudied today. Literary scholarship tends to regard these objects as derivative, staid documents of canon, movement, ideology, or period. Yet midcentury translation anthologies were neither politically conservative nor formally stable; as objects of study, they reveal a field of multiplicity involved in the complex process of re-organizing itself. While they granted a measure of access to the multilingual poetry of the Americas, anthologies of translations also staged a confrontation with the limits of monolingual address. This confrontation exposed a persistent tension between two competing models of poetry’s communicability: one premised on circulation within communities; the other, on circulation beyond them. This tension surfaces as a dialectical push-and-pull between lyric communication and its primary modality, direct address, and non-lyric modes of address oriented to a more heterogeneous range of publics. This drama unfolds at an historical moment when the proliferation of poetry anthologies contributed to the widespread perception among poets that poetry had never been more infiltrated, nor more marked by, publicity. As scholars of the new lyric studies have shown, this perception did nothing to diminish the tendency in this period to read all poetry as lyric. Lyric reading obscured the ways in which midcentury poetry embraced publicity and addressed multiple publics. In fact, because publicity was assumed to have a uniformly negative influence, lyric became one of the master signs of poetry’s capacity to resist the threats of mass culture, the administered world, and the encroachments of capital. By cementing the association between poetry and lyric, mainstream anthologization helped to lend this allegory its force. By contrast, the anthology of Spanish and Latin American poetry—published by small presses situated on the margins of the literary field—existed in an antagonistic relationship with the canon-defining textbook and popular anthologies that disseminated the… Advisors/Committee Members: Walkowitz, Rebecca L. (chair), Kurnick, David (internal member), Goldstone, Andrew (internal member), Ronda, Margaret (outside member), School of Graduate Studies.

Subjects/Keywords: American poetry – 20th century; Latin American poetry – 20th century – Influence; Poetry – Collections

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APA (6^th Edition):

Challener, Scott Douglas, 1. (2019). From the outside: Latin American anthologies and the making of U.S. literature. (Doctoral Dissertation). Rutgers University. Retrieved from https://rucore.libraries.rutgers.edu/rutgers-lib/61706/

Chicago Manual of Style (16^th Edition):

Challener, Scott Douglas, 1979-. “From the outside: Latin American anthologies and the making of U.S. literature.” 2019. Doctoral Dissertation, Rutgers University. Accessed January 18, 2021. https://rucore.libraries.rutgers.edu/rutgers-lib/61706/.

MLA Handbook (7^th Edition):

Challener, Scott Douglas, 1979-. “From the outside: Latin American anthologies and the making of U.S. literature.” 2019. Web. 18 Jan 2021.

Vancouver:

Challener, Scott Douglas 1. From the outside: Latin American anthologies and the making of U.S. literature. [Internet] [Doctoral dissertation]. Rutgers University; 2019. [cited 2021 Jan 18]. Available from: https://rucore.libraries.rutgers.edu/rutgers-lib/61706/.

Council of Science Editors:

Challener, Scott Douglas 1. From the outside: Latin American anthologies and the making of U.S. literature. [Doctoral Dissertation]. Rutgers University; 2019. Available from: https://rucore.libraries.rutgers.edu/rutgers-lib/61706/

University of Maryland

13. Gonzalez, Norman Alberto. EN BUSCA DE UN PAÍS INTERIOR: LA NOVELA LÍRICA VANGUARDISTA EN GILBERTO OWEN, ROSAMEL DEL VALLE Y HUMBERTO SALVADOR.

Degree: Spanish Language and Literature, 2015, University of Maryland

URL: http://hdl.handle.net/1903/17231

► Scholars have shown a tendency to analyze the so-called “historical avant-garde” from a perspective of "shock". This vanguardist gesture seeks to destabilize a mode of… (more)

▼ Scholars have shown a tendency to analyze the so-called “historical avant-garde” from a perspective of "shock". This vanguardist gesture seeks to destabilize a mode of thinking and doing art in the early part of the twentieth century. If there is indeed an inevitable initial historical moment when the avant-garde becomes iconoclastic and distinguishes themselves in a patricidal gesture, there must exist another moment when the contributions of the avant-garde can be seen to challenge not only the formal aspects of the cultural tradition, but also its contents. Few authors have considered the avant-garde writings in dialogue with a tradition that began in the nineteenth century or with other contemporary aesthetics —often opposed in style and approach. One purpose of this work is to locate other aesthetic affinities with the avant-garde movement to better define how they differ and create their own genealogies as well as enter into dialogue with each other. In order to achieve this I propose a reading of the context in which one can see the necessity to seek a new expression for the spiritual demands of the time. One of these new spiritual demands is addressed by the so-called lyrical novel, which can be considered as a subgenre of the literary vanguards. Thus, by analyzing three Latin American writers: Gilberto Owen (Mexico, 1904-1952), Rosamel del Valle (Chile, 1901-1965) and Humberto Salvador (Ecuador, 1909-1982) and their avant-garde lyrical novels written between 1928 and 1931, I will identify what can be considered new, which elements characterize these novels, and how their content challenges the traditional narrative genre and creates new sensibilities. The avant-garde fundamentally breaks with the aesthetics of representation, leading to broader ontological, epistemological, and political ruptures. The aim of avant-garde literature is to regain the dynamic aspect of reality that was lost through the domination of rationalism. We are able to explore this re-appropriation through unique approaches to the elements of imagination, the occurrence (or not) of events, and experience and see how the authors were able to contribute to the radical critique of aesthetic beliefs and notions of reality at the beginning of the twentieth century. Advisors/Committee Members: Aguilar Mora, Jorge (advisor).

Subjects/Keywords: Latin American studies; Latin American literature; 20th Century; Avant-Garde; Chile; Ecuador; Lyrical Novel; Mexico

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APA (6^th Edition):

Gonzalez, N. A. (2015). EN BUSCA DE UN PAÍS INTERIOR: LA NOVELA LÍRICA VANGUARDISTA EN GILBERTO OWEN, ROSAMEL DEL VALLE Y HUMBERTO SALVADOR. (Thesis). University of Maryland. Retrieved from http://hdl.handle.net/1903/17231

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Gonzalez, Norman Alberto. “EN BUSCA DE UN PAÍS INTERIOR: LA NOVELA LÍRICA VANGUARDISTA EN GILBERTO OWEN, ROSAMEL DEL VALLE Y HUMBERTO SALVADOR.” 2015. Thesis, University of Maryland. Accessed January 18, 2021. http://hdl.handle.net/1903/17231.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Gonzalez, Norman Alberto. “EN BUSCA DE UN PAÍS INTERIOR: LA NOVELA LÍRICA VANGUARDISTA EN GILBERTO OWEN, ROSAMEL DEL VALLE Y HUMBERTO SALVADOR.” 2015. Web. 18 Jan 2021.

Vancouver:

Gonzalez NA. EN BUSCA DE UN PAÍS INTERIOR: LA NOVELA LÍRICA VANGUARDISTA EN GILBERTO OWEN, ROSAMEL DEL VALLE Y HUMBERTO SALVADOR. [Internet] [Thesis]. University of Maryland; 2015. [cited 2021 Jan 18]. Available from: http://hdl.handle.net/1903/17231.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Gonzalez NA. EN BUSCA DE UN PAÍS INTERIOR: LA NOVELA LÍRICA VANGUARDISTA EN GILBERTO OWEN, ROSAMEL DEL VALLE Y HUMBERTO SALVADOR. [Thesis]. University of Maryland; 2015. Available from: http://hdl.handle.net/1903/17231

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

14. Perez Gavilan, Ana Isabel. The Via Crucis in eighteenth-century New Spain| Innovative practices in the sanctuary of Jesus of Nazareth at Atotonilco, Guanajuato.

Degree: 2010, State University of New York at Binghamton

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=3412038

► This study focuses on the sanctuary of Jesus of Nazareth at Atotonilco (1740–1776), Guanajuato, in central Mexico, and its adjacent House for the performance… (more)

▼ This study focuses on the sanctuary of Jesus of Nazareth at Atotonilco (1740–1776), Guanajuato, in central Mexico, and its adjacent House for the performance of the Exercises of St. Ignatius. The establishment of this complex, I argue, resulted in a proliferation of Vía Crucis devotions without precedent in New Spain. Strategically located on the Camino Real or Royal Road, in one of the most prosperous commercial and mining regions, the Bajío, this rural site received the patronage of the commercial elite of the nearby village of San Miguel el Grande (now San Miguel de Allende). Its founder, the Oratorian creole priest Luis Felipe Neri de Alfaro (1709–1776), conceived of it as a redemptive place for the conversion of “pagans” and for the practice of ascetic piety. He recruited the regional artist Miguel Antonio Martínez de Pocasangre to the site, to decorate the complex’s walls and ceilings in paint (tempera) and in three-dimensional media in a rich baroque style. Discrete as its parts may be in architecture and iconography, the complex was given coherence by its numerous cycles that focused meditation on the Vía Crucis, reminding the faithful, with each artistic component and accompanying text, of the site’s connection to the topography of the Holy Land and the Passion of Christ. A crucial element of this dissertation is to understand the meeting at Atotonilco of various currents of Christian piety, namely Jesuit, Franciscan and Oratorian, with their associated visual expressions. These currents are recognized in the private and public rituals of thirteen series of the Vía Crucis, under three varieties—of the Sacred Heart, of Jesus (including a public procession in San Miguel), and of the Virgin. The textual sources for these cycles and accompanying painted texts are examined, along with the unusual ritual spaces that they constituted. The varied social groups involved in devotional practice here are also the object of analysis. The “textuality” of the Vía Crucis cycles, I explain, extended to the spectacular devotions enacted annually in the streets of neighboring San Miguel, confirming Atotonilco’s unique contribution to the development and diversification of this devotion in New Spain.

Subjects/Keywords: Religion, History of; History, Latin American; Art History; Latin American Studies

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APA (6^th Edition):

Perez Gavilan, A. I. (2010). The Via Crucis in eighteenth-century New Spain| Innovative practices in the sanctuary of Jesus of Nazareth at Atotonilco, Guanajuato. (Thesis). State University of New York at Binghamton. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=3412038

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Perez Gavilan, Ana Isabel. “The Via Crucis in eighteenth-century New Spain| Innovative practices in the sanctuary of Jesus of Nazareth at Atotonilco, Guanajuato.” 2010. Thesis, State University of New York at Binghamton. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=3412038.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Perez Gavilan, Ana Isabel. “The Via Crucis in eighteenth-century New Spain| Innovative practices in the sanctuary of Jesus of Nazareth at Atotonilco, Guanajuato.” 2010. Web. 18 Jan 2021.

Vancouver:

Perez Gavilan AI. The Via Crucis in eighteenth-century New Spain| Innovative practices in the sanctuary of Jesus of Nazareth at Atotonilco, Guanajuato. [Internet] [Thesis]. State University of New York at Binghamton; 2010. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3412038.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Perez Gavilan AI. The Via Crucis in eighteenth-century New Spain| Innovative practices in the sanctuary of Jesus of Nazareth at Atotonilco, Guanajuato. [Thesis]. State University of New York at Binghamton; 2010. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3412038

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of California – Berkeley

15. Stair, Jessica J. Indigenous Literacies in the Techialoyan Manuscripts of New Spain.

Degree: History of Art, 2018, University of California – Berkeley

URL: http://www.escholarship.org/uc/item/0p87f5zh

► Though alphabetic script had become a prevailing communicative form for keeping records and recounting histories in New Spain by the turn of the seventeenth century,… (more)

▼ Though alphabetic script had become a prevailing communicative form for keeping records and recounting histories in New Spain by the turn of the seventeenth century, pre-Columbian and early colonial artistic and scribal traditions, including pictorial, oral, and performative discourses still held great currency for indigenous communities during the later colonial period. The pages of a corpus of indigenous documents created during the late-seventeenth and early-eighteenth centuries known as the Techialoyan manuscripts abound with vibrantly painted watercolor depictions, alphabetic inscriptions, and vivid invocations of community elders’ speeches and embodied experiences. Designed in response to challenging viceregal policies that threatened land and autonomy, the Techialoyans sought to protect and preserve indigenous ways of life by fashioning community members as the noble descendants of illustrious rulers from the pre-Columbian past. The documents register significant events in the histories of communities, often creating a sense of continuity between the colonial present and that of antiquity. What is more, they provide the limits of the territory within a depicted landscape using a reflexive, ambulatory model. Representations of place evoke ritual practices of walking the boundaries from the perspective of the ground, enabling readers to acquire different forms of knowledge as they move through the pages of the book and the envisioned landscape to which it points. The different communicative forms evident in the Techialoyans, including pictorial, alphabetic, oral, and performative modes contribute to understandings of indigenous literacies of the later colonial period by demonstrating the diverse resources and methods upon which indigenous leaders drew to preserve community histories and territories.The Techialoyans present an innovative artistic and scribal tradition that drew upon pre-Columbian, early colonial, and European conventions, as well as the contemporary late-colonial pictorial climate. The artists consciously juxtaposed traditional indigenous materials and conventions with those of the contemporary colonial moment to simultaneously create a sense of both old and new. Not only did the documents recount indigenous communities’ histories and affirm their noble heritages, they also proclaimed possession of an artistic and scribal tradition that was on par with that of their revered ancestors, thereby strengthening corporate identity and demonstrating their legitimacy and autonomy within the colonial regime.

Subjects/Keywords: Art history; Latin American studies; Latin American history; New Spain; Techialoyan

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APA (6^th Edition):

Stair, J. J. (2018). Indigenous Literacies in the Techialoyan Manuscripts of New Spain. (Thesis). University of California – Berkeley. Retrieved from http://www.escholarship.org/uc/item/0p87f5zh

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Stair, Jessica J. “Indigenous Literacies in the Techialoyan Manuscripts of New Spain.” 2018. Thesis, University of California – Berkeley. Accessed January 18, 2021. http://www.escholarship.org/uc/item/0p87f5zh.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Stair, Jessica J. “Indigenous Literacies in the Techialoyan Manuscripts of New Spain.” 2018. Web. 18 Jan 2021.

Vancouver:

Stair JJ. Indigenous Literacies in the Techialoyan Manuscripts of New Spain. [Internet] [Thesis]. University of California – Berkeley; 2018. [cited 2021 Jan 18]. Available from: http://www.escholarship.org/uc/item/0p87f5zh.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Stair JJ. Indigenous Literacies in the Techialoyan Manuscripts of New Spain. [Thesis]. University of California – Berkeley; 2018. Available from: http://www.escholarship.org/uc/item/0p87f5zh

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

UCLA

16. McHugh, Julia Katarina. Dressing Andean Spaces: Textiles, Painting, and Architecture in the Colonial Imagination.

Degree: Art History, 2017, UCLA

URL: http://www.escholarship.org/uc/item/1xq304q1

► This dissertation addresses the striking preoccupation with textiles in colonial Peru. Both as luxury goods in domestic and sacred interiors and as a key focus… (more)

▼ This dissertation addresses the striking preoccupation with textiles in colonial Peru. Both as luxury goods in domestic and sacred interiors and as a key focus of Peruvian painters, textiles demanded and received considerable attention in the period after the Spanish Conquest of 1532. Considering their importance in the Pre-Columbian world, I examine the ways in which textiles were uniquely valued, displayed, and conceptualized in the colonial Andes. Centering on Cusco between 1650 and 1750, I trace the evolution of indigenous textile types in an increasingly global colonial society, paying particular attention to new categories of textiles (tapestries, wall hangings, bedspreads, and rugs) generated by European tastes. While significant scholarship exists on Pre-Columbian and colonial garments, the study of non-garment textiles, as well as the spatial use of textiles in the Andes, has been largely unexplored. In response, this dissertation combines extensive archival research and first-hand examination of numerous textiles, prints, and paintings, including a well-known, but historically misunderstood colonial tapestry, and a series of thirty-eight paintings (c. 1740), today in the Convent of San Agustï¿½n in Lima, by Cusco artist Basilio Pacheco. I conclude by investigating the dominant focus on illustrated textiles within Cusco School paintings, articulating a painterly strategy of textile embellishment used by indigenous and mixed-raced artists of the Cusco School. Methodologically, this dissertation reassigns textiles to a central position within scholarship, and endeavors to recover their original value, importance, and centrality in Andean culture. In contrast to previous scholarship, which has primarily focused on prints as sources for paintings, I demonstrate the complex process by which prints informed textile production, and both prints and textiles influenced the Cusco School of Painting. This study proves textiles to have had a much more dynamic role not only in Peruvian interiors, but also within the transmission of motifs across artworks of various media in the early modern period. By illuminating the tangled realms of textiles, prints, paintings, and architectural interiors, I offer a more nuanced view of artistic production and indigenous representation in colonial Peru.

Subjects/Keywords: Art history; Latin American studies; Latin American history; Andes; Colonial art; Communication and the arts; Latin American art; Peru; Textiles

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APA (6^th Edition):

McHugh, J. K. (2017). Dressing Andean Spaces: Textiles, Painting, and Architecture in the Colonial Imagination. (Thesis). UCLA. Retrieved from http://www.escholarship.org/uc/item/1xq304q1

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

McHugh, Julia Katarina. “Dressing Andean Spaces: Textiles, Painting, and Architecture in the Colonial Imagination.” 2017. Thesis, UCLA. Accessed January 18, 2021. http://www.escholarship.org/uc/item/1xq304q1.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

McHugh, Julia Katarina. “Dressing Andean Spaces: Textiles, Painting, and Architecture in the Colonial Imagination.” 2017. Web. 18 Jan 2021.

Vancouver:

McHugh JK. Dressing Andean Spaces: Textiles, Painting, and Architecture in the Colonial Imagination. [Internet] [Thesis]. UCLA; 2017. [cited 2021 Jan 18]. Available from: http://www.escholarship.org/uc/item/1xq304q1.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

McHugh JK. Dressing Andean Spaces: Textiles, Painting, and Architecture in the Colonial Imagination. [Thesis]. UCLA; 2017. Available from: http://www.escholarship.org/uc/item/1xq304q1

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Emory University

17. Brannen, Laura M. Latin American nationalist narratives in transition| Museums of Mexico, Guatemala, and Costa Rica.

Degree: 2008, Emory University

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=1452201

► The national museums of Mexico, Guatemala, and Costa Rica offer insight into Latin American initiatives for creating unified nations from diverse populations. Mexico has… (more)

▼ The national museums of Mexico, Guatemala, and Costa Rica offer insight into Latin American initiatives for creating unified nations from diverse populations. Mexico has allocated substantial sums for the construction of numerous national museums to promote an Aztec identity for all Mexicans, even though very few people in Mexico can claim ancestry to the Aztecs and the majority of remaining indigenous people in the country descend from enemies of the Aztecs. Perhaps a faux Aztec façade has been easier to provide for a public image than a solution to the poverty and disenfranchisement of most Mexicans and especially of native groups. In contrast, Guatemala’s governments vacillate between progressive and conservative, and advances at its national museums are evident only during progressive administrations. In both, however, the viewpoints of the Maya, half the population, are essentially overlooked. Alternatively, university- and private-run museums in Guatemala involve Maya in exhibition planning, perhaps offering a more viable answer to uniting the divided nation. In contradistinction to both Mexico and Guatemala, Costa Rica’s image as a peaceful, democratic, tropical paradise is well known to tourists. Unfortunately, the intended image is obscured through outdated displays at the National Museum. Meanwhile, through newer, more interactive exhibits, the Gold Museum and the Jade Museum in Costa Rica provide fresh perspective on Costa Rica’s ancient cultures. However, no Costa Rican institution presents a clear image of reality there, a reality of government controlled primarily by agro-industrial elite, of seemingly unstoppable destruction of the environment and ancient tombs, and of the growing presence of international corporations and First World immigrants. The public narratives of the national museums of these three Latin American countries are stories of questionable veracity, which aim to unite groups who otherwise might protest. These narratives are but thin nationalist veneers under which social tensions remain.

Subjects/Keywords: History, Latin American; Art History; Museology

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APA (6^th Edition):

Brannen, L. M. (2008). Latin American nationalist narratives in transition| Museums of Mexico, Guatemala, and Costa Rica. (Thesis). Emory University. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=1452201

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Brannen, Laura M. “Latin American nationalist narratives in transition| Museums of Mexico, Guatemala, and Costa Rica.” 2008. Thesis, Emory University. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=1452201.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Brannen, Laura M. “Latin American nationalist narratives in transition| Museums of Mexico, Guatemala, and Costa Rica.” 2008. Web. 18 Jan 2021.

Vancouver:

Brannen LM. Latin American nationalist narratives in transition| Museums of Mexico, Guatemala, and Costa Rica. [Internet] [Thesis]. Emory University; 2008. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=1452201.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Brannen LM. Latin American nationalist narratives in transition| Museums of Mexico, Guatemala, and Costa Rica. [Thesis]. Emory University; 2008. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=1452201

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

18. Viscoli, Miranda. The revolution of Maria Izquierdo| Constructs of gender and nation in the artist's female figures.

Degree: 2010, California State University, Long Beach

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=1481598

► This thesis explores how the Mexican painter María Izquierdo used the medium of painting to create an original and disruptive visual iconography that allows… (more)

Subjects/Keywords: History, Latin American; Art History; Women's Studies

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APA (6^th Edition):

Viscoli, M. (2010). The revolution of Maria Izquierdo| Constructs of gender and nation in the artist's female figures. (Thesis). California State University, Long Beach. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=1481598

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Viscoli, Miranda. “The revolution of Maria Izquierdo| Constructs of gender and nation in the artist's female figures.” 2010. Thesis, California State University, Long Beach. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=1481598.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Viscoli, Miranda. “The revolution of Maria Izquierdo| Constructs of gender and nation in the artist's female figures.” 2010. Web. 18 Jan 2021.

Vancouver:

Viscoli M. The revolution of Maria Izquierdo| Constructs of gender and nation in the artist's female figures. [Internet] [Thesis]. California State University, Long Beach; 2010. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=1481598.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Viscoli M. The revolution of Maria Izquierdo| Constructs of gender and nation in the artist's female figures. [Thesis]. California State University, Long Beach; 2010. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=1481598

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Yale University

19. Brittenham, Claudia Lozoff. The Cacaxtla painting tradition| Art and identity in epiclassic Mexico.

Degree: 2008, Yale University

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=3317260

► During the tumultuous period between A.D. 650 and 950, artists at the Central Mexican city of Cacaxtla produced a series of murals that bear… (more)

▼ During the tumultuous period between A.D. 650 and 950, artists at the Central Mexican city of Cacaxtla produced a series of murals that bear striking stylistic and technical similarities to the paintings of Maya city-states over 400 miles to the south. Life-sized images of gods, historical figures, and supernatural creatures lined the walls of the city's most important sacred and public spaces, structuring civic experience and articulating a vision of the Cacaxtla polity. Although these works have often been attributed to imported Maya artists, this dissertation argues that the Cacaxtla murals constitute a sustained and distinctive painting tradition, which departed from Maya origins in response to profoundly local concerns. The Cacaxtla paintings commemorate a transitional moment in Central Mexican art and history. Following the collapse of the Teotihuacan empire, patrons and painters at Cacaxtla mobilized a discourse of style and ethnicity to distance themselves from their former imperial allies, actively associating themselves with the alternative political model of the exotic and wealthy Maya city-states to the south. Artists at Cacaxtla combined themes familiar from Teotihuacan and forms from the Maya area to create an innovative synthesis which in many elements anticipates Aztec art of the fourteenth and fifteenth centuries. While the Cacaxtla paintings appear strikingly Maya at first glance, both their style and their content diverge in significant ways from the Maya paintings that they so closely resemble. A substantial number of artists worked in this distinctive style over the course of generations of dramatic architectural change at the city. The surviving Cacaxtla paintings were carefully buried when covered by new construction, a testament to their centrality to Cacaxtla civic and ritual life. The Cacaxtla painting tradition may have begun as something foreign and exotic, but it became the dominant form of monumental art at the city and was transformed into a symbol of local identity through the agency of its citizens. Thus, the art of Cacaxtla challenges the elision of style and ethnicity that has frequently characterized Mesoamerican studies, demonstrating how choices about style can be active and political.

Subjects/Keywords: Anthropology, Archaeology; History, Latin American; Art History

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APA (6^th Edition):

Brittenham, C. L. (2008). The Cacaxtla painting tradition| Art and identity in epiclassic Mexico. (Thesis). Yale University. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=3317260

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Brittenham, Claudia Lozoff. “The Cacaxtla painting tradition| Art and identity in epiclassic Mexico.” 2008. Thesis, Yale University. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=3317260.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Brittenham, Claudia Lozoff. “The Cacaxtla painting tradition| Art and identity in epiclassic Mexico.” 2008. Web. 18 Jan 2021.

Vancouver:

Brittenham CL. The Cacaxtla painting tradition| Art and identity in epiclassic Mexico. [Internet] [Thesis]. Yale University; 2008. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3317260.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Brittenham CL. The Cacaxtla painting tradition| Art and identity in epiclassic Mexico. [Thesis]. Yale University; 2008. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3317260

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of California – San Diego

20. Azarova, Mayya. Maya jade T-shape pendants within Mesoamerican wind-jewel tradition.

Degree: Anthropology, 2016, University of California – San Diego

URL: http://www.escholarship.org/uc/item/7s96b4gh

► Jade is a general term for two distinct minerals – jadeite and nephrite. There is no evidence yet of nephrite exploitation by the ancient Maya,… (more)

Subjects/Keywords: Archaeology; Latin American studies; Art history

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APA (6^th Edition):

Azarova, M. (2016). Maya jade T-shape pendants within Mesoamerican wind-jewel tradition. (Thesis). University of California – San Diego. Retrieved from http://www.escholarship.org/uc/item/7s96b4gh

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Azarova, Mayya. “Maya jade T-shape pendants within Mesoamerican wind-jewel tradition.” 2016. Thesis, University of California – San Diego. Accessed January 18, 2021. http://www.escholarship.org/uc/item/7s96b4gh.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Azarova, Mayya. “Maya jade T-shape pendants within Mesoamerican wind-jewel tradition.” 2016. Web. 18 Jan 2021.

Vancouver:

Azarova M. Maya jade T-shape pendants within Mesoamerican wind-jewel tradition. [Internet] [Thesis]. University of California – San Diego; 2016. [cited 2021 Jan 18]. Available from: http://www.escholarship.org/uc/item/7s96b4gh.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Azarova M. Maya jade T-shape pendants within Mesoamerican wind-jewel tradition. [Thesis]. University of California – San Diego; 2016. Available from: http://www.escholarship.org/uc/item/7s96b4gh

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Harvard University

21. Seawright, Max. Bodies of Books: Literary Illustration in Twentieth Century Brazil.

Degree: 2017, Harvard University

URL: http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945017

►

This dissertation explores the nature and role of literary illustrations twentieth century Brazil, not just in relation to their companion texts, but also in what… (more)

▼

This dissertation explores the nature and role of literary illustrations twentieth century Brazil, not just in relation to their companion texts, but also in what ways they reflect defining characteristics of Brazilian literature beyond the chronological or theoretical limits of modernism, regionalism, magic realism, or postmodernism. Illustrations in new fiction — that is, writer and artist and editor collaborating on a book to be illustrated in its first or otherwise definitive edition — gained popularity in Brazil just as the form waned from existence in North America and Europe, where the “Golden Age” of book illustration was a nineteenth century phenomenon. Understanding illustrated books is key to approaching Brazil’s artistic production beyond the strictly textual or visual. As expressions of periphery, autochthony, authenticity, and hybridity, interartistic works such as Brazilian illustrated fiction are a quintessential type of twentieth century cultural production. In Brazil, visual artists shared the printed page with some of the country’s most celebrated authors. The thematic and formal experimentation in these text-image pairings track evolving concepts of anesthetizing Brazilian minority groups. They also manifest the problems and paradoxes inherent to representations of class, gender, and race by writers and artists living in comparatively privileged circumstances. In short, illustrated fiction illuminates some of the deepest preoccupations of the Brazilian literature and art in the twentieth century. This dissertation is structured around three artists whose illustration careers, among other artistic endeavors, span from the 1930s to 1990s: Tomás Santa Rosa Jr. (1909–1956), Napoleão “Poty” Lazzarotto (1924–1998), and Hector “Carybé” Bernabó (1911–1997). In works of fiction under consideration in this dissertation, illustrations by Santa Rosa, Poty and Carybé bring into view, literally an metaphorically, additional perspectives on major early twentieth century urbanization, massive national migration and international immigration, the power and danger of the sertão, class and racial tensions, and the legitimacy of Afro-Brazilian religions, myths and cultures.

Romance Languages and Literatures

literary illustration; book illustration; book history; book art; Santa Rosa; Poty; Carybé; art and literature; Brazil

Advisors/Committee Members: Blackmore, Josiah, Delgado Moya, Sergio, Schnapp, Jeffrey.

Subjects/Keywords: Literature, Romance; Art History; History, Latin American

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APA (6^th Edition):

Seawright, M. (2017). Bodies of Books: Literary Illustration in Twentieth Century Brazil. (Thesis). Harvard University. Retrieved from http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945017

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Seawright, Max. “Bodies of Books: Literary Illustration in Twentieth Century Brazil.” 2017. Thesis, Harvard University. Accessed January 18, 2021. http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945017.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Seawright, Max. “Bodies of Books: Literary Illustration in Twentieth Century Brazil.” 2017. Web. 18 Jan 2021.

Vancouver:

Seawright M. Bodies of Books: Literary Illustration in Twentieth Century Brazil. [Internet] [Thesis]. Harvard University; 2017. [cited 2021 Jan 18]. Available from: http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945017.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Seawright M. Bodies of Books: Literary Illustration in Twentieth Century Brazil. [Thesis]. Harvard University; 2017. Available from: http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945017

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

22. Hole, Yukiko. The Art of David Lamelas| Constructions of Time.

Degree: 2019, California State University, Long Beach

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=10977417

► David Lamelas’s life-long research projects have included examinations of social phenomena. The artist takes interest in the dynamics of mass communication and media, urban… (more)

Subjects/Keywords: Art history; Latin American studies; Film studies

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APA (6^th Edition):

Hole, Y. (2019). The Art of David Lamelas| Constructions of Time. (Thesis). California State University, Long Beach. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=10977417

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Hole, Yukiko. “The Art of David Lamelas| Constructions of Time.” 2019. Thesis, California State University, Long Beach. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=10977417.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Hole, Yukiko. “The Art of David Lamelas| Constructions of Time.” 2019. Web. 18 Jan 2021.

Vancouver:

Hole Y. The Art of David Lamelas| Constructions of Time. [Internet] [Thesis]. California State University, Long Beach; 2019. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=10977417.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Hole Y. The Art of David Lamelas| Constructions of Time. [Thesis]. California State University, Long Beach; 2019. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=10977417

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Oklahoma State University

23. Huffstetter, Olivia. From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text.

Degree: 2019, Oklahoma State University

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=10808090

► Early European travel literature was a prominent source from which information about the New World was presented to a general audience. Geographic regions situated… (more)

▼ Early European travel literature was a prominent source from which information about the New World was presented to a general audience. Geographic regions situated within what is now referred to as Latin America were particularly visible in these accounts. Information regarding the religious customs and styles of dress associated with the indigenous peoples who inhabited these lands were especially curious points of interest to the European readers who were attempting to understand the lifestyles of these so-called “savages.” These reports, no matter their sources, always claimed to be true and accurate descriptions of what they were documenting. Despite these claims, it is clear that the dominant Western/Christian perspective from which these sources were derived established an extremely visible veil of bias. As a result, the texts and images documenting these accounts display highly flawed and misinformed representations of indigenous Latin American culture. Although it is now understood that these sources were often greatly exaggerated, the texts and images within them are still widely circulated in present-day museum exhibitions. When positioned in this framework, they are meant to be educational references for the audiences that view them. However, museums often condense the amount of information they provide, causing significant details of historical context to be excluded. With such considerable omission being common in museum exhibitions, it causes one to question if this practice might be perpetuating the distribution of misleading information. Drawing on this question, I seek, with this research, to investigate how early European representations of Latin American culture in travel literature may be linked to current issues of misrepresentation. Particularly, my research is concerned with finding connections that may be present with these texts and images and the negative aspects of cultural appropriation. Looking specifically at representations of Aztec culture, I consult three texts and their accompanying illustrations from the sixteenth, seventeenth, and eighteenth centuries to analyze their misrepresentational qualities, and how they differed between time periods and regions. Finally, I use this information to analyze museum exhibition practices and how they could be improved when displaying complex historical frameworks like those of indigenous Latin American cultures.

Subjects/Keywords: Art history; Latin American studies; Museum studies

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APA (6^th Edition):

Huffstetter, O. (2019). From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text. (Thesis). Oklahoma State University. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=10808090

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Huffstetter, Olivia. “From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text.” 2019. Thesis, Oklahoma State University. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=10808090.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Huffstetter, Olivia. “From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text.” 2019. Web. 18 Jan 2021.

Vancouver:

Huffstetter O. From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text. [Internet] [Thesis]. Oklahoma State University; 2019. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=10808090.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Huffstetter O. From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text. [Thesis]. Oklahoma State University; 2019. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=10808090

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Duke University

24. Suhey, Amanda Suhey. Documenting Chile: Visualizing Identity and the National Body from Dictatorship to Post-Dictatorship .

Degree: 2016, Duke University

URL: http://hdl.handle.net/10161/13415

► I study three contemporary Chilean works of visual culture that appropriate and re-assemble visual material, discourse, and atmosphere from the bureaucracy of the military… (more)

Subjects/Keywords: Latin American studies; Art history; Latin American literature; art; bureaucracy; chile; dictatorship; identity; visual studies

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APA (6^th Edition):

Suhey, A. S. (2016). Documenting Chile: Visualizing Identity and the National Body from Dictatorship to Post-Dictatorship . (Thesis). Duke University. Retrieved from http://hdl.handle.net/10161/13415

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Suhey, Amanda Suhey. “Documenting Chile: Visualizing Identity and the National Body from Dictatorship to Post-Dictatorship .” 2016. Thesis, Duke University. Accessed January 18, 2021. http://hdl.handle.net/10161/13415.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Suhey, Amanda Suhey. “Documenting Chile: Visualizing Identity and the National Body from Dictatorship to Post-Dictatorship .” 2016. Web. 18 Jan 2021.

Vancouver:

Suhey AS. Documenting Chile: Visualizing Identity and the National Body from Dictatorship to Post-Dictatorship . [Internet] [Thesis]. Duke University; 2016. [cited 2021 Jan 18]. Available from: http://hdl.handle.net/10161/13415.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Suhey AS. Documenting Chile: Visualizing Identity and the National Body from Dictatorship to Post-Dictatorship . [Thesis]. Duke University; 2016. Available from: http://hdl.handle.net/10161/13415

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Duke University

25. Maroja, Camila Santoro. Framing Latin American Art: Artists, Critics, Institutions and the Configuration of a Regional Identity .

Degree: 2015, Duke University

URL: http://hdl.handle.net/10161/10514

► This dissertation investigates how non-academic agents (i.e. artists, curators, and institutions) helped construct the current canon of Latin American art. It takes as case… (more)

Subjects/Keywords: Art history; Latin American studies; History; Art Criticism; Brazilian Art; Canonization; Contemporary Art; Critical Theory; Latin American Art

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APA (6^th Edition):

Maroja, C. S. (2015). Framing Latin American Art: Artists, Critics, Institutions and the Configuration of a Regional Identity . (Thesis). Duke University. Retrieved from http://hdl.handle.net/10161/10514

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Maroja, Camila Santoro. “Framing Latin American Art: Artists, Critics, Institutions and the Configuration of a Regional Identity .” 2015. Thesis, Duke University. Accessed January 18, 2021. http://hdl.handle.net/10161/10514.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Maroja, Camila Santoro. “Framing Latin American Art: Artists, Critics, Institutions and the Configuration of a Regional Identity .” 2015. Web. 18 Jan 2021.

Vancouver:

Maroja CS. Framing Latin American Art: Artists, Critics, Institutions and the Configuration of a Regional Identity . [Internet] [Thesis]. Duke University; 2015. [cited 2021 Jan 18]. Available from: http://hdl.handle.net/10161/10514.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Maroja CS. Framing Latin American Art: Artists, Critics, Institutions and the Configuration of a Regional Identity . [Thesis]. Duke University; 2015. Available from: http://hdl.handle.net/10161/10514

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Louisville

26. Ratliff, Jamie L. Visualizing female agency : space and gender in contemporary women's art in Mexico.

Degree: PhD, 2012, University of Louisville

URL: 10.18297/etd/1184 ; https://ir.library.louisville.edu/etd/1184

► This dissertation outlines a theoretical model for contextualizing contemporary women's art practice in Mexico within the profound socioeconomic and political events that have taken place… (more)

▼ This dissertation outlines a theoretical model for contextualizing contemporary women's art practice in Mexico within the profound socioeconomic and political events that have taken place since 1968, characterized by the steady breakdown and eventual turnover of the Mexican state. Following the spatial theories outlined by Henry Lefebvre in The Production of Space, this study adopts the logic that social spaces are a direct production of the societies that inhabit them, as well as the social relations, ideologies, and notions of power that are espoused therein. Focusing on the artists Paula Santiago, the collective Polvo de Gallina Negra, Daniela Rossell, Minerva Cuevas, and Teresa Margolles, I identify within their works the visualization of three critical spaces of intervention: the female body, the familial home, and the streets as a site of protest. Organized according to a framework that emphasizes spatial politics, I argue that such works constitute a feminist production of space that challenges the social relations, hierarchies of power, and gender roles that have been embodied by traditional "spaces of femininity." The artists' respective performances, photography, installations, and sculptures are analyzed according to how they confront traditional definitions of femininity and gender norms that limit and confine women's accessibility to and social mobility within the spaces of everyday life in Mexico. Strategically engaging with the concepts and effects of the traditional private/public dichotomy as it has been deployed in Mexican national rhetoric, the artists reveal such binary thinking to be false, socially-contrived, and politically motivated. In doing so, they critique the very processes through which gender is constructed and offer new ways to think about womanhood outside of traditional archetypal frameworks. Underscoring the role that bodily action plays in the production of space and transformation of society, these artists are identified as producers of the spaces of feminism, a designation that foregrounds contemporary women's social and political interventions, which continue to formulate the new realities of Mexican life, post-1968. These contemporary women artists speak to a feminist presence in the visual arts that has helped contribute to the growth of a critical civil society, a contribution that has been largely absent from the discourse on contemporary art history in Mexico. What is ultimately revealed is a new understanding of the Mexican nation, borne out through the works of contemporary feminist art and viewed through the lens of female agency. The artists included in this dissertation take advantage of the interactive framework of the production of space as they actively engage contemporary concepts of womanhood and national identity, wherein women are admitted into the national fabric as social agents negotiating new spaces for what it means to be a Mexican feminist. Advisors/Committee Members: Jarosi, Susan.

Subjects/Keywords: Feminist art; Contemporary Mexico; Mexican art; Latin American art; Gender; Feminism

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Ratliff, J. L. (2012). Visualizing female agency : space and gender in contemporary women's art in Mexico. (Doctoral Dissertation). University of Louisville. Retrieved from 10.18297/etd/1184 ; https://ir.library.louisville.edu/etd/1184

Chicago Manual of Style (16^th Edition):

Ratliff, Jamie L. “Visualizing female agency : space and gender in contemporary women's art in Mexico.” 2012. Doctoral Dissertation, University of Louisville. Accessed January 18, 2021. 10.18297/etd/1184 ; https://ir.library.louisville.edu/etd/1184.

MLA Handbook (7^th Edition):

Ratliff, Jamie L. “Visualizing female agency : space and gender in contemporary women's art in Mexico.” 2012. Web. 18 Jan 2021.

Vancouver:

Ratliff JL. Visualizing female agency : space and gender in contemporary women's art in Mexico. [Internet] [Doctoral dissertation]. University of Louisville; 2012. [cited 2021 Jan 18]. Available from: 10.18297/etd/1184 ; https://ir.library.louisville.edu/etd/1184.

Council of Science Editors:

Ratliff JL. Visualizing female agency : space and gender in contemporary women's art in Mexico. [Doctoral Dissertation]. University of Louisville; 2012. Available from: 10.18297/etd/1184 ; https://ir.library.louisville.edu/etd/1184

27. Crousier, Elsa. Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba : Marta Traba or the written art : researches on the dialogues between literature, art criticism and plastic arts in Marta Traba’s work.

Degree: Docteur es, Études ibériques et méditéranéennes, 2016, Lyon

URL: http://www.theses.fr/2016LYSE2125

►

Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art… (more)

▼

Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art moderne en Colombie, et plus largement pour sa « théorie de la résistance » qui prône dans les arts plastiques une défense des identités culturelles latino-américaines. Son œuvre littéraire, en revanche, est beaucoup moins connue. Or, elle est non seulement très riche, mais elle forme le pendant narratif à son œuvre critique, un ensemble de récits innervés, de manière plus ou moins profonde, des conceptions et de la culture trabiennes sur l’art. Il s’agit dès lors de reconsidérer ces deux pans de sa production écrite comme un tout cohérent, et de montrer les influences et les interactions entre sa critique d’art et sa littérature, mais également entre les arts plastiques qui forment sa culture artistique et ses écrits fictionnels. Il apparaît alors que Marta Traba conçoit et pratique son écriture critique comme une écriture « littérarisée » et, réciproquement et surtout, sa littérature comme une littérature « artialisée » : la valorisation constante du regard esthétique sur le monde et d’une sensorialité exacerbée dessine un idéal de contemplation tout au long de son œuvre littéraire ; les insertions continues d’une terminologie critique et de références aux œuvres d’art, sur un mode tantôt clairement didactique, tantôt subtilement ludique, invitent le lecteur à lire ses fictions et poèmes au prisme du sous-texte artistique qui enrichit leur sens ; enfin, le récit devient le lieu d’expérimentation des théories trabiennes de la « résistance », entre réaffirmation de la place de l’Amérique latine sur la carte de l’art mondial, mise à distance défensive des influences nord-américaines et réappropriation locale, par « transculturation », des modèles artistiques étrangers. L’étude de l’artialisation de la littérature trabienne est donc loin d’être l’analyse d’un simple procédé formel : elle dégage, nous semble-t-il, un véritable style trabien, miroir de l’écrivaine et de ses convictions.

Marta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily”…

Advisors/Committee Members: Semilla Durán, María Angélica (thesis director).

Subjects/Keywords: Littérature latino-américaineXe siècle;

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Crousier, E. (2016). Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba : Marta Traba or the written art : researches on the dialogues between literature, art criticism and plastic arts in Marta Traba’s work. (Doctoral Dissertation). Lyon. Retrieved from http://www.theses.fr/2016LYSE2125

Chicago Manual of Style (16^th Edition):

Crousier, Elsa. “Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba : Marta Traba or the written art : researches on the dialogues between literature, art criticism and plastic arts in Marta Traba’s work.” 2016. Doctoral Dissertation, Lyon. Accessed January 18, 2021. http://www.theses.fr/2016LYSE2125.

MLA Handbook (7^th Edition):

Crousier, Elsa. “Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba : Marta Traba or the written art : researches on the dialogues between literature, art criticism and plastic arts in Marta Traba’s work.” 2016. Web. 18 Jan 2021.

Vancouver:

Crousier E. Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba : Marta Traba or the written art : researches on the dialogues between literature, art criticism and plastic arts in Marta Traba’s work. [Internet] [Doctoral dissertation]. Lyon; 2016. [cited 2021 Jan 18]. Available from: http://www.theses.fr/2016LYSE2125.

Council of Science Editors:

Crousier E. Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba : Marta Traba or the written art : researches on the dialogues between literature, art criticism and plastic arts in Marta Traba’s work. [Doctoral Dissertation]. Lyon; 2016. Available from: http://www.theses.fr/2016LYSE2125

UCLA

28. Chavez, Yve. Indigenous Artists, Ingenuity, and Resistance at the California Missions After 1769.

Degree: Art History, 2017, UCLA

URL: http://www.escholarship.org/uc/item/355609rf

► This dissertation aims to place California Indian agency and artistry at the forefront of California mission art studies through close analysis of Chumash and Tongva… (more)

Subjects/Keywords: Art history; California Indian; California missions; decolonize; Latin American art; Native American art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Chavez, Y. (2017). Indigenous Artists, Ingenuity, and Resistance at the California Missions After 1769. (Thesis). UCLA. Retrieved from http://www.escholarship.org/uc/item/355609rf

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Chavez, Yve. “Indigenous Artists, Ingenuity, and Resistance at the California Missions After 1769.” 2017. Thesis, UCLA. Accessed January 18, 2021. http://www.escholarship.org/uc/item/355609rf.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Chavez, Yve. “Indigenous Artists, Ingenuity, and Resistance at the California Missions After 1769.” 2017. Web. 18 Jan 2021.

Vancouver:

Chavez Y. Indigenous Artists, Ingenuity, and Resistance at the California Missions After 1769. [Internet] [Thesis]. UCLA; 2017. [cited 2021 Jan 18]. Available from: http://www.escholarship.org/uc/item/355609rf.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Chavez Y. Indigenous Artists, Ingenuity, and Resistance at the California Missions After 1769. [Thesis]. UCLA; 2017. Available from: http://www.escholarship.org/uc/item/355609rf

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Princeton University

29. Delgado, Sergio. Mass media, advertising, and reconfigurations of sense perception in the Latin American avant-garde.

Degree: 2011, Princeton University

URL: http://pqdtopen.proquest.com/#viewpdf?dispub=3437790

► The present dissertation is concerned with a set of art and literary practices from the Latin American avant-garde conversant with the technologies, the techniques… (more)

▼ The present dissertation is concerned with a set of art and literary practices from the Latin American avant-garde conversant with the technologies, the techniques of display, and the social and symbolic dynamics that vector into and out of advertising. Drawing on a set of paradigmatic avant-garde works from Mexico and Brazil, it posits sense perception and sensory experience as contested grounds within which viewing and reading postures can be steered towards critical consciousness even as they are subjected to coercion and control. These works, by Mexican muralist David Alfaro Siqueiros, Brazilian concrete poets Augusto de Campos, Haroldo de Campos, and Décio Pignatari (collectively known as the Noigandres poets), and Mexican poet and writer Octavio Paz, function and signify under the two-pronged conviction that mass media (film, photography, newspapers, radio, television) and mass culture (mostly advertising and forms of advertising: billboards, logos, slogans, etc.) reconfigure conditions of reading and spectatorship in modern urban environments, and insist that it is the task of the writer and artist to intervene the dynamics under which this reconfiguration takes place. In an effort to understand how this process of reconfiguration occurs, the artists and writers brought together in this dissertation incorporated mass media technologies (the photo and movie camera in Siqueiros' case) and appropriated mass cultural forms of display and communication (newspaper layout, film form, billboards, logotypes, slogans, advertisements and posters) as models for the construction and composition of their own work. Recognizing that the success of advertising lies largely in its appeal to sense perception and intent on reworking this appeal to cultivate critical consciousness of modern, urban conditions of communication and spectatorship, these artists set out to create works that reach out to spectators moving, walking, and driving through large urban spaces, and to readers of newspapers, billboards, posters, logos, and advertisements.

Subjects/Keywords: Literature, Latin American; Business Administration, Marketing; Art History; Latin American Studies; Mass Communications

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Delgado, S. (2011). Mass media, advertising, and reconfigurations of sense perception in the Latin American avant-garde. (Thesis). Princeton University. Retrieved from http://pqdtopen.proquest.com/#viewpdf?dispub=3437790

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Delgado, Sergio. “Mass media, advertising, and reconfigurations of sense perception in the Latin American avant-garde.” 2011. Thesis, Princeton University. Accessed January 18, 2021. http://pqdtopen.proquest.com/#viewpdf?dispub=3437790.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Delgado, Sergio. “Mass media, advertising, and reconfigurations of sense perception in the Latin American avant-garde.” 2011. Web. 18 Jan 2021.

Vancouver:

Delgado S. Mass media, advertising, and reconfigurations of sense perception in the Latin American avant-garde. [Internet] [Thesis]. Princeton University; 2011. [cited 2021 Jan 18]. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3437790.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Delgado S. Mass media, advertising, and reconfigurations of sense perception in the Latin American avant-garde. [Thesis]. Princeton University; 2011. Available from: http://pqdtopen.proquest.com/#viewpdf?dispub=3437790

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of California – Berkeley

30. Novak, Kinga. Of Gratitude and Sorrow: A Visual History of Everyday Mexican Spirituality, 1700-2013.

Degree: History, 2013, University of California – Berkeley

URL: http://www.escholarship.org/uc/item/2s64g7z0

► This dissertation is a study of Mexican devotional images and their importance in the society that produced them. I trace the changes and continuities in… (more)

▼ This dissertation is a study of Mexican devotional images and their importance in the society that produced them. I trace the changes and continuities in the ways that Mexicans experienced the sacred over a long arc of history, with a focus on the nineteenth century, a time when Mexico transitioned from a colonial society into a modern republic. The study encompasses devotional practices such as pilgrimages and processions, but focuses especially on the material culture of popular piety. Specifically, it examines two art forms – ex-votos and children's funerary portraits – to show how devotional practice shaped relationships to the institutional church both before and after independence, as well as to the emergent liberal state in the nineteenth century. I use these images to explore the worldviews of people who left little in the way of written records, but whose visual output was both prolific and expressive of their perceptions about the relationship between humans and the divine.Through the study of the material culture of devotion, I demonstrate not only the continued centrality of Catholic holy beings to Mexican mentalities after independence, but also explore a changing world, one that we can loosely characterize as "modernizing." "Modernizing" was evident in several spheres: in the urban landscape, in transportation, in politics, the economy, in technology, and in the institutional church. In this context it is easy to imagine that forms of religious expression might also change, but traditional religiosity – with its processions, pilgrimages, and other saint-oriented devotional practices – not only survived but flourished in the nineteenth century. This particularly Catholic accommodation with modernity is most visible in an increase in ex-votos left at shrines, but also in the augmented negotiations over the proper role of religion in public life. I explore the reasons for these phenomena and conclude that despite the apparent paradox of continuing and increased "traditional" religious practices in a secularizing world, affirmations of traditional Catholicism were in fact a way of assimilating the modern world for both the institutional church and for laypeople. Finally, I address the complex negotiations between the church and the state as political institutions from the colonial period to the mid-twentieth century, and the ways that their ideologies and actions both shaped and were shaped by popular culture. Using Mikhail Bakhtin's model of circularity for describing the interactions between elite and popular cultures, I look beyond simple dichotomies and suggest how the transmission of culture and ideas is multidirectional and multidimensional. I use visual cultural production – especially ex-voto paintings – as a barometer of religious mentalities, and, by extension, as a measure of the intersections between religion and politics in a period of important historical changes.

Subjects/Keywords: Latin American history; Latin American studies; angelitos; art; culture; ex-votos; religion

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Novak, K. (2013). Of Gratitude and Sorrow: A Visual History of Everyday Mexican Spirituality, 1700-2013. (Thesis). University of California – Berkeley. Retrieved from http://www.escholarship.org/uc/item/2s64g7z0

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Novak, Kinga. “Of Gratitude and Sorrow: A Visual History of Everyday Mexican Spirituality, 1700-2013.” 2013. Thesis, University of California – Berkeley. Accessed January 18, 2021. http://www.escholarship.org/uc/item/2s64g7z0.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Novak, Kinga. “Of Gratitude and Sorrow: A Visual History of Everyday Mexican Spirituality, 1700-2013.” 2013. Web. 18 Jan 2021.

Vancouver:

Novak K. Of Gratitude and Sorrow: A Visual History of Everyday Mexican Spirituality, 1700-2013. [Internet] [Thesis]. University of California – Berkeley; 2013. [cited 2021 Jan 18]. Available from: http://www.escholarship.org/uc/item/2s64g7z0.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Novak K. Of Gratitude and Sorrow: A Visual History of Everyday Mexican Spirituality, 1700-2013. [Thesis]. University of California – Berkeley; 2013. Available from: http://www.escholarship.org/uc/item/2s64g7z0

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Open Access Theses and Dissertations