Theater108 Review
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Mid-term review of main topics in Redrawing the Map: Theater and Performance in the Americas. UCLA Winter 2010.
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![Hemispheric : Contact Zones, Comparative perspectives, Dialogue ≠ Classic Ethnography : Surveying “the other.” Us vs. Them Marcela Fuentes [email_address]](https://image.slidesharecdn.com/theater108review-100215203908-phpapp02/85/Theater108-Review-1-320.jpg)
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This thesis compares the literary representations of nation-building, myth creation, and citizenship in Adalberto Ortiz's novel Juyungo and Manuel Zapata Olivella's novels Changó, el gran putas and Chambacú, corral de negros. Both authors employ elements of social realism and highlight issues of citizenship concerning the African diaspora, such as discrimination and miscegenation. However, there are differences in the geographic scope and literary innovations used. Whereas Juyungo is set in Ecuador, Changó attempts to represent the experiences of the African diaspora across the Americas. Chambacú, due to its structural similarities to Juyungo, facilitates a comparison
Postcolonial study research
This document provides an overview and analysis of representation of the "Other" in Joseph Conrad's Heart of Darkness and Chinua Achebe's Things Fall Apart. It discusses how Conrad negatively portrays Africans as savage and primitive, while Achebe aims to correct these distortions by authentically representing Igbo culture. The document also examines Edward Said's concept of Orientalism and how the West constructs knowledge about non-Western societies to justify colonial domination. It argues Achebe writes as a postcolonial intellectual to redeem Africans from the dark image created by colonial assumptions and restore pride in their pre-colonial past.
Le Passé Simple's and Things Fall Apart's Attitudes toward the Colonial Disco...
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HIS 2213 LU3 What Is Civilization?
1. The document provides context about Tampa Bay, Florida prior to Spanish contact, including that the Taino people had a vibrant civilization, economic systems, and governance structures that allowed sustainable living.
2. It discusses definitions of "civilization" and challenges Eurocentric views that defined civilization based on standards like writing, instead recognizing multiple civilizations.
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Postcolonial Studies.pptx
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Guía de estudio para el semestral de Great Universal Writters. Temas resumidos de tercer semestre.
Submission Of Entire 2006 Conference Paper
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Anzaldua Border ArteNepantla, el lugar de la FronteraBy R.docx
Anzaldua
Border Arte
Nepantla, el lugar de la Frontera
By: Ruben Ruiz
Introducing Border Art
Indigenous culture is being taught by whites in museums in their own version, upsets Anzaldua.
Talk as if Aztec culture has been dead for hundreds of years when there are still 10,000 Aztecs living.
Many cultures meet at USA/Mex. border while artists constantly change images and “place” according to themselves.
“Portrait” is an example of cultural rebirth of Chicana struggling to free self from oppressive gender roles.
Three Mothers of Chicana/o Art
La Virgen Guadalupe, La Malinche, and La Llorona
Cultural figures that re-read in works and represent resistance to repression and assimilation.
Barraza and painting of La Malinche is an example of this.
Retablos: traditional popular miracle paintings on metal, introduced by the Spanish.
Artists connect everyday life with political, sacred, and aesthetics in art.
Culture of Border Art
Culture touches and influences another, passes metaphors and gods before dies. (Metaphors are gods)
New cultures adopt, modify, and enrich images passing them on relating them to prevailing culture and era.
Introduces the concept of “Nepantla”
Nahuatl for in between states, uncertain terrain when moving from place to place, social class, race, sex position, or present to new identity.
Jorge Luis Borge’s Aleph, one spot on earth the contains all people and places residing in peace and unison.
Border in constant nepantla.
Examples of Border Art
Threats/Challenges & Resolutions
Threats
Appropriation by poplar culture, dominant art institutions, and economic depression.
Titles of “Chicana” or “border” artists are demeaning labels stripping legitimacy of the art. Signals inferiority to other artists.
Challenge and subvert imperialism of US and combat assimilation by US or Mexico but acknowledge both.
Supersedes pictorials, depicts soul of artist and soul of pueblo.
Autohistorias: who tells the story and what stories and histories are told.
Becoming dominant in art is not their goal, done for a purpose and a story.
Conclusion
The Border is a historical and metaphorical site where artists transform space, USA and Mexico into one.
Deals with shifting identities, border crossings, and hybridism.
“From earth we are born, to earth we shall return.” (pg. 184)
Discussion
Have you ever been to a border between two countries? What was it like? Do you feel that border arte is truly a representation of multiple cultures between the US and Mexico meshed into one unique culture? Explain.
What does it mean to you when Anzaldua says, “from earth we are born, and to earth we shall return”? Do you think life is a cycle and that earth “eats the dead”?
.
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70th ICREA Colloquium "What would Karl say? Two ICREA professors engage with ...
Although Marxist scholarship in the social sciences and humanities has never entirely disappeared, certainly since the current economic crisis began in 2007/2008 there has been a renewed interest in it. In this colloquium, a sociolinguist (David Block) and a philosopher (Santiago Zabala) discuss what Marxist thought provides in their respective academic activity.
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Reinaldo arenas
This document provides context about Cuban author Reinaldo Arenas. It discusses his life and career, including being sent to labor camps for being gay in Cuba. It analyzes the film Before Night Falls, directed by Julian Schnabel, which portrayed Arenas' life. The document discusses problematic aspects of the film, such as potentially desexualizing or exoticizing Arenas. It cautions against relying on a single story to define someone and promotes considering plurality and diversity of experiences.
Elit 48 c class 19 post qhq 2016 revised version
Here are 3 potential prompts for Essay #2 based on the material covered:
1. Compare and contrast how Gloria Anzaldua's "La conciencia de la mestiza" and Maxine Hong Kingston's "No Name Woman" represent the intersections of identity and oppression through postmodern and feminist lenses.
2. Analyze how Allen Ginsberg's poem "Howl" reflects postmodern themes of identity, madness, and social criticism through its experimental form and content.
3. Discuss how Anzaldua's "El Sonavabitche" or Kingston's "No Name Woman" illuminate the oppression women faced in patriarchal societies through their use of themes,
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The document discusses how postmodernism focuses on marginalized groups and identities through examining concepts like authenticity, essentialism, and the historical construction of categories. It explores how notions of primitiveness, femininity, and homosexuality have been shaped by power structures over time to exclude or otherize certain communities. Postmodernism questions grand narratives and truths by deconstructing dominant representations and knowledge production.
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This document discusses the origins and development of modern anthropology. It focuses on the work of early anthropologists like Franz Boas who pioneered the concept of cultural relativism. Boas rejected the idea that cultures evolve in linear stages, arguing instead that each culture must be understood on its own terms rather than in comparison to others. He established anthropology as a scientific, professional field of study based on long-term fieldwork and helped shape the discipline's anti-racist, humanistic traditions. The document also examines how anthropology has changed since colonial times, with the rise of national anthropologies and a more globalized approach.
Popular Culture in Latin America
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Limits of enlightenment rationality in the face of cultura.docx
Limits of enlightenment rationality in the face of cultural relativism
Biological universals, symbolic particulars and political discourse
This talk will explore the conceptual underpinnings of cultural relativism and universalism. It will present examples of common issues raised in debates on cultural differences and outline a possible direction in which an analyst of universalist and relativist discourse might proceed.
OutlineOrigins and nature of cultural relativismParadoxes of cultural relativismChallenges to cultural relativism: conservative, liberal, rationalistic/scientificCultural relativism as a cultural patternEnlightment, romaticism, secular humanism and limits of cultural relativism as a political view
Qualifications:
- background in cognitive and text linguistics currently doing PhD research on metaphors in educational discourse at EDU
- cross-cultural trainer for the Peace Corps (visited and worked in over 20 countries)
- run a website on Czech culture (http://www.czechupdate.com) and language (http://www.bohemica.com), translate and teach languages for a living
- taught a course on Czech national identity at universities in Prague and Glasgow
Defining cultural relativism
(the Google way)the ability to view the beliefs and customs of other peoples within the context of their culture rather than one's own.
www.china.org.cn/english/features/Archaeology/98851.htmunderstanding the ways of other cultures and not judging these practices according to one's own cultural ways.
oregonstate.edu/instruct/anth370/gloss.htmlCultural values are arbitrary, and therefore the values of one culture should not be used as standards to evaluate the behavior or persons from outside that culture.
www.killgrove.org/ANT220/cultanthdef.htmlthe position that the values, beliefs and customs of cultures differ and deserve recognition.
www.anthro.wayne.edu/ant2100/GlossaryCultAnt.htmCultural relativism is the principle that an individual human's beliefs and activities make sense in terms of his or her own culture. This principle was established as axiomatic in anthropological research in by Franz Boas in the first few decades of the 20th century, and then popularized in the 1940s by Boas's students. ...
en.wikipedia.org/wiki/Cultural_relativism
Defining cultural relativismThe degree to which an individual or a society is willing to suspend the universality of values and value-based actions (particularly those acquired by primary socialization) in the face of conflicting values held and acted upon by individuals or groups recognized as belonging to another in-group defined social unit.
Origins and nature of relativismNatural relativism (Bible, Jesuits, missionaries, ‘different folks different strokes’/‘when in Rome’ [387 A.D.])Enlightenment (pursuit of happiness)Romanticism (noble savage)Anthropology (Boas, Lévy-Strauss)Linguistics (Whorf-Sapir, Lakoff)Philosophy (pragmatism)
Paradoxes of cultural relativismCultural relativism vs. univer ...
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Theater108 Review
- 1. Hemispheric : Contact Zones, Comparative perspectives, Dialogue ≠ Classic Ethnography : Surveying “the other.” Us vs. Them Marcela Fuentes [email_address]
- 7. “ The stage for the theatre of the oppressed was set in the sixteenth century when the Spaniards watched their first indigenous performances.” (Taylor 22) Refracted optic as basis for definition and self-definition.
- 10. Decolonizing the Body “ Artifact Piece”- James Luna (1987)
- 11. Nation-building: breaking ties with colonial rule. Design your country. National make-up. The desired ones and the “undesirable”. Racial anxiety.
- 15. Struggle for independence. Need to define what will represent Cubanness. Cuba is colored. But not “of” the colored. Creto Gangá. Racial ventriloquism. Literary Blackface. Ethnographic burlesque. Mockery and linguistic experimentation. Bozal- Catedrático. Model: assimilation with boundaries. Mestizo culture but no real participation of Afro-Cubans.
- 17. Boston Tea Party. Rebels disguised as Indians. Start a revolution with tea. “ Playing Indian” (Redface) = Blackface to produce and maintain whiteness as central to the definition of U.S identity. Foundational ritual: playing Indian and drinking Chinese tea. Fuchs would ask: “What changes in the landscape of this world?” “Who has power on this planet?” “How is it achieved?” Enter APA Theater and Margaret Cho.
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- 22. Multiculturalism. Development of new audiences. (289) Learning Shakespeare and Asian American Experience. Universalism and particular lives.