A Nation Emerges: the Mexican Revolution Revealed
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Soldaderas and the Staging of the Mexican Revolution 1
Soldaderas and the Staging of the Mexican Revolution 1 Alicia Arrizón Si Adelita se fuera con otro la seguiría por tierra y por mar. Si por mar en un buque de guerra Si por tierra en un tren militar. Adelita, por Dios te lo ruego, calma el fuego de esta mi pasión, porque te amo y te quiero rendido y por ti sufre mi fiel corazón. 2 If Adelita should go with another I would follow her over land and sea. If by sea in a battleship If by land on a military train. Adelita, for God’s sake I beg you, calm the fire of my passion, because I love you and I cannot resist it and my faithful heart suffers for you. 3 “La Adelita” was one of the most popular songs of the Mexican Revolution (1910–1920). According to some sources (see Soto 1990:44), this ballad was originally inspired by a Durangan woman who had joined the Maderista movement4 at an early age. Troubadours made the song—and Adelita her- self—a popular emblem of the Revolution. As Baltasar Dromundo put it, “las guitarras de todas partes se iban haciendo eruditas en ese canto hasta que por fin la Revolución hizo de ella su verdadero emblema nacional” (guitar ists from all over were becoming experts in that song and it became the true em- blem of the Revolution) ( 1936:40). Significantly, Adelita’s surname, as well as the family names of many other soldaderas (soldier-women), remained virtually unknown. However, the popular songs composed in honor of these women contributed enormously to their fame and to documenting their role in the Revolution. -
Page 1 of 43 IB HL History Mr. Blackmon Mexican Revolution: The
IB HL History Mr. Blackmon Mexican Revolution: The Constructive Phase 1920-40 A Brief Sketch All quotes are from Meyer, Michael C. and Sherman, William L. The Course of Mexican History. 4th Ed. New York: Oxford University Press, 1991. unless otherwise stated Event Date Significance Presidency of 1920-1924 His administration faced the post World War I depression. Alvaro Obregón Mexico was the 3rd largest producer of petroleum in the world. This will certainly not reduce US interest Obregón: José Vasconcelos institutes a vigorous program of rural education. His purpose (at this time) Education was to integrate the Indians into mainstream mestizo society, to incorporate them into a raza cósmica. (Meyer 572-3) Vasconcelos and Vasconcelos employed the Muralists– Diego Rivera, José Clemente Orozco, and David Alfaro the Muralists Siqueiros– to decorate buildings with works that would also educate. Obregón: Obregón could not enforce the complete secularization of education because he lacked the Education resources to dispense with the Church. To prevent himself from being perceived as pro-Church, he encouraged Protestant missionaries to enter the country. Page 1 of 43 Event Date Significance Obregón: Labor Obregón favored CROM over any other union organization. Morones chose to moderate his positions rather than risk being crushed. Membership rose from 50,000 in 1920 to 1,200,000 in 1924. (Meyer 575) Obregón: Obregón is cautious. He did not wish to disrupt the hacienda system. Redistribution of the land Agrarian Reform would result in reduced productivity, and he also wished to avoid that. Land redistribution is very modest: 3,000,000 acres. -
Photos As Primary Sources: Mexico at the Hour of Combat
Mexico at the Hour of Combat Sabino Osuna’s Photographs of the Mexican Revolution Using Photographs as Primary Sources Mexico at the Hour of Combat Teacher’s Guide Page | 1 Written and compiled by: Amy Grochowski Curator of Education Maxwell Museum of Anthropology Teacher’s Guide With editorial assistance from: Mary Beth Hermans Table of Contents Public Programs Manager Maxwell Museum of Anthropology Overview 2 Devorah Romanek Background Information Curator of Exhibits Identity and nationalism 4 Maxwell Museum of Anthropology attached The photographer 4 Maren Svare Historical perspectives 5 Administrative Assistant Role of photographs in books Maxwell Museum of Anthropology and museum exhibitions 5 With special thanks to: Lesson Plans Keira Philipp-Schnurer Pre-visit activity 6 Supervisor of Community Museum visit activity 17 Education Programs Latin American and Iberian Post-visit activity 20 Institute Glossary 22 for insights and resources on the Resources 23 Mexican Revolution Standards 24 Excerpts provided from: Mexico at the Hour of Combat: Sabino Osuna’s Photographs of the Mexican Revolution, Maxwell Museum of Anthropology based on the book by Ronald H. Chilcote Cover photo: Sabino Osuna, Portrait of Pancho Villa, ca. 1910-1914, this and all photographs, courtesy of Sweeney Art Gallery and Special Collections Library, University of California, Riverside. Mexico at the Hour of Combat Teacher’s Guide Page | 1 Overview The Mexican Revolution is one of those events in history that brings to mind iconic images. There were essentially two revolutions occurring at that time, the political and social revolution happening on the ground, and the journalistic revolution of the groundbreaking photographer/Revolutionary relationship. -
Hispanic Texans
texas historical commission Hispanic texans Journey from e mpire to Democracy a GuiDe for h eritaGe travelers Hispanic, spanisH, spanisH american, mexican, mexican american, mexicano, Latino, Chicano, tejano— all have been valid terms for Texans who traced their roots to the Iberian Peninsula or Mexico. In the last 50 years, cultural identity has become even more complicated. The arrival of Cubans in the early 1960s, Puerto Ricans in the 1970s, and Central Americans in the 1980s has made for increasing diversity of the state’s Hispanic, or Latino, population. However, the Mexican branch of the Hispanic family, combining Native, European, and African elements, has left the deepest imprint on the Lone Star State. The state’s name—pronounced Tay-hahs in Spanish— derives from the old Spanish spelling of a Caddo word for friend. Since the state was named Tejas by the Spaniards, it’s not surprising that many of its most important geographic features and locations also have Spanish names. Major Texas waterways from the Sabine River to the Rio Grande were named, or renamed, by Spanish explorers and Franciscan missionaries. Although the story of Texas stretches back millennia into prehistory, its history begins with the arrival of Spanish in the last 50 years, conquistadors in the early 16th cultural identity century. Cabeza de Vaca and his has become even companions in the 1520s and more complicated. 1530s were followed by the expeditions of Coronado and De Soto in the early 1540s. In 1598, Juan de Oñate, on his way to conquer the Pueblo Indians of New Mexico, crossed the Rio Grande in the El Paso area. -
Josfi GUADALUPE POSADA, the CORRIDO, and the MEXICAN
37^ //$ I HOJAS VOLANTES: JOSfi GUADALUPE POSADA, THE CORRIDO, AND THE MEXICAN REVOLUTION THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Melody Mock, B.F.A. Denton, Texas August, 1996 37^ //$ I HOJAS VOLANTES: JOSfi GUADALUPE POSADA, THE CORRIDO, AND THE MEXICAN REVOLUTION THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Melody Mock, B.F.A. Denton, Texas August, 1996 Mock, Melody. Hojas Volantes: Jose Guadalupe Posada, the Corrido, and the Mexican Revolution. Master of Arts (Art History), August 1996, 101 pp., 26 illustrations, references, 138 titles. This thesis examines the imagery of Jose Guadalupe Posada in the context of the Mexican Revolution with particular reference to the corrido as a major manifestation of Mexican culture. Particular emphasis is given to three corridos: "La Cucaracha," "La Valentina," and "La Adelita." An investigation of Posada's background, style, and technique places him in the tradition of Mexican art. Using examples of works by Posada which illustrate Mexico's history, culture, and politics, this thesis puts Posada into the climate of the Porfiriato and Revolutionary Mexico. After a brief introduction to the corrido, a stylistic analysis of each image, research into the background of the song and subject matter, and comments on the music draw together the concepts of image, music, and text. TABLE OF CONTENTS LIST OF ILLUSTRATIONS iii Chapter 1. INTRODUCTION 1 Posada's Background Statement of the Problem Methodology 2. -
PANCHO VILLA's ARMY in REVOLUTIONARY MEXICO By
Triumph of the Vanquished: Pancho Villa's Army in Revolutionary Mexico Item Type text; Electronic Dissertation Authors Klingemann, John Eusebio Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 11:49:29 Link to Item http://hdl.handle.net/10150/193696 TRIUMPH OF THE VANQUISHED: PANCHO VILLA’S ARMY IN REVOLUTIONARY MEXICO by JOHN EUSEBIO KLINGEMANN _____________________ A Dissertation Submitted to the Faculty of the DEPARTMENT OF HISTORY In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2008 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by John Eusebio Klingemann entitled Triumph of the Vanquished: Pancho Villa’s Army in Revolutionary Mexico and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy ____________________________________________________________Date: 11/03/08 Oscar Martínez ____________________________________________________________Date: 11/03/08 Kevin Gosner ____________________________________________________________Date: 11/03/08 Katherine Morrissey ___________________________________________________________Date: -
Performing the Mexican Revolution in Neoliberal Times
ABSTRACT Since the time of the Mexican Revolution of 1910, images associated with this nation-defining event have been presented in an array of media and cultural productions. Within the past two decades these images have been re-imagined, re-coded and re/de- constructed in reaction to social and cultural changes associated with a crisis of political legitimation and the demise of hegemonic revolutionary ideology, as espoused by the long-ruling Party of the Institionalized Revolution (PRI), amid the generalized implementation of neoliberal policies in the county. My dissertation argues that the ascendance of neoliberalism, with the opening of Mexican economic and political systems, has resulted in changes in the socio-cultural work performed by the Revolution- Nation-Gender triad. This trinity, solidified in the post-Revolutionary national imaginary, weaves the three notions together such that as hegemonic discourses of Revolutionary nationalism enter in crisis, discourses of gender are also destabilized. The dissertation consists of three main sub-arguments. First, I argue that the discourse(s) surrounding Revolutionary heroes has been integral to the (re)definition of the Mexican nation and that analyzing recodings of this discourse through the example of Emiliano Zapata reveals a destabilization of hegemonic nationalism. These changes have allowed alternatives to surface both in Mexico and across the border as part of a recoded ii transnational Revolutionary nationalism. As cracks opened in the Revolutionary edifice allowing alternatives to emerge, they have also opened space for alternative gender discourses. I next argue that a close analysis of representations of masculine gender roles as manifested in a variety of cultural texts, specifically through Revolutionary icons Pancho Villa and Emiliano Zapata, reveals a crisis of the macho archetype in the contemporary Mexican nation. -
Iconography and Stereotype: Visual Memory of the Soldaderas by Benjamin C
Iconography and Stereotype: Visual Memory of the Soldaderas By Benjamin C. King There has been a significant amount of scholarship examining the various roles women played in the Mexican Revolution. The Revolution encompassed almost an entire decade, with large scale warfare beginning in 1910 and lasting on and off until 1917. During this time women were actively engaged in every aspect of the Revolution, contributing intellectual leadership as well as supporting soldiers on the battlefield. The romantic and historical image of these women which has made the largest impact on public consciousness, on a national and international level, remains the iconic soldaderas, who are widely represented in literature, film, song, and arts. The term soldadera has grown to encompass a number of different roles which women played within the Revolutionary armies. On a most basic level, soldaderas were women who traveled with and supported the Revolutionary armies of generals like Villa, Carranza, and Zapata. Often coming from the lower classes, they were responsible for finding and preparing food for the soldiers, providing medical attention, and on occasion even fighting on the front lines of combat.1 While sometimes referred to as simply “camp followers,” Anne Macias prefers the term “soldier's woman” because it takes into account the fact that a soldadera existed in the army via a relationship with a soldier. It was for this soldier that the quintessential soldadera labored. Often, if that soldier died, she would find another soldier to accompany.2 Macias has documented the truly monumental role which these women played for the Revolution; without them, the armies could not have existed, for they lacked the infrastructure and discipline which traditional armies use to support soldiers. -
An Analysis of Gendered Spaces Before, During, and After the French Revolution of 1789 and the Mexican Revolution of 1910 Kevin Kilroy
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2019 Trading Spaces: An Analysis of Gendered Spaces Before, During, and After the French Revolution of 1789 and the Mexican Revolution of 1910 Kevin Kilroy Recommended Citation Kilroy, Kevin, "Trading Spaces: An Analysis of Gendered Spaces Before, During, and After the French Revolution of 1789 and the Mexican Revolution of 1910" (2019). Scripps Senior Theses. 1405. https://scholarship.claremont.edu/scripps_theses/1405 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. TRADING SPACES: AN ANALYSIS OF GENDERED SPACES BEFORE, DURING, AND AFTER THE FRENCH REVOLUTION OF 1789 AND THE MEXICAN REVOLUTION OF 1910 By KEVIN IRELAND KILROY SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS IN HISTORY PROFESSOR AISENBERG PROFESSOR MESTAZ APRIL 19, 2019 ACKNOWLEDGEMENTS First, I would like to thank Professors Aisenberg and Mestaz for being wonderful thesis readers: listening to me ramble during meetings, answering my numerous questions, but most importantly, encouraging my passion for this thesis topic. I also want to thank Professor Mestaz, again, and Professor Kates because without their tremendous teaching skills this thesis may never have come to fruition. Without the support of my friends and family, I may not have made it through this grueling process. Thank you to my parents for supporting my choice to study History while at Scripps, and to my siblings for always keeping me humble. -
Soldaderas Y Revolución En La Obra De Elena Poniatowska Trabajo De
Soldaderas y Revolución en la obra de Elena Poniatowska Una aproximación desde Hasta no verte Jesús mío y Las Soldaderas Trabajo de grado presentado como requisito para optar por el título de Profesional en Estudios Literarios Presentado por: Julián Darío Useche Castiblanco Directora: María Piedad Quevedo Alvarado Pontificia Universidad Javeriana Facultad de Ciencias Sociales Carrera de Estudios Literarios Bogotá 2018 1 Agradecimientos. Quiero agradecerle especialmente a la profesora María Piedad Quevedo Alvarado por su dirección y asesoría en este trabajo, también al profesor Cristo Rafael Figueroa Sánchez por su disponibilidad y colaboración desde un primer momento. Este trabajo va de guerreras y heroínas, por eso se lo dedico a mi heroína favorita: mi mamá Carmencita. 2 Contenido Introducción......................................................................................................4 Capítulo I. Soldaderas: devoción, valentía y firmeza.....................................................17 1.1 Revolución en México e irrupción de la soldadera.............................................18 1.2 Jesusa Palancares: soldadera marginada, mujer sobreviviente...........................30 1.3 Mujeres y soldaderas, al filo de la violencia......................................................36 Capítulo II. Entre la lucha de género y la lucha revolucionaria.....................................41 2.1 Combatientes travestidas: esfuerzos celebrados mas no reconocidos...................43 2.2 Desafíos de género y soldaderas de posguerra: -
The Soldaderas: Battleground and Symbolism
THE SOLDADERAS: BATTLEGROUND AND SYMBOLISM THE IMPORTANCE OF FEMALE SOLDIERS IN THE MEXICAN REVOLUTION (1910-1920) Josca Oudenes 1350420 Master Thesis History: Politics, Culture and National Identities Faculty of Humanities, Leiden University Thesis supervisors: Dr. D. Bos Dr. P.A. Isla Monsalve Leiden, May 2020 Number of words: 22390 1 TABLE OF CONTENT Introduction 3 Chapter 1: 13 The Mexican Revolution: Contextualization Chapter 2: 21 The Revolution for the Soldaderas Chapter 3: 37 Symbolic meaning of the Soldaderas Conclusion 58 Bibliography 62 2 INTRODUCTION Popular entre la tropa era Adelita, La mujer que el sargento idolatraba Que además de ser valiente era bonita Que hasta el mismo coronel la respetaba1-2 The famous Mexican song La Adelita tells the story of a legendary soldadera, or female soldier, during the Mexican Revolution (1910).3 It describes her courage as well as her beauty, demonstrating the idolization of her various characteristics. The personage of Adelita has become a worldwide cult figure to such an extent, her name has become synonym to soldadera. Nowadays her image is used by feminist groups in both Mexico and the rest of the world. More importantly, Adelita has transferred into a universal symbol of the Mexican Revolution. This paper considers the definition of a soldadera as ranging from camp followers performing supporting tasks to female soldiers with a military rank. It furthermore takes into account the symbolic significance of these women. Whatever their role, the soldaderas have had a considerable impact on the Revolution and its aftermath. The image of the soldadera has become a national symbol of Mexico and the Revolution. -
La Ciudad De México Durante La Revolución Constitucionalista
La Ciudad de México durante la revolución constitucionalista Historia Comité para la Conmemoración del Centenario de la Constitución Política de los Estados Unidos Mexicanos Enrique Peña Nieto Presidente de los Estados Unidos Mexicanos Edmundo Javier Bolaños Aguilar Pablo Escudero Morales Presidente de la Cámara de Diputados Presidente de la Cámara de Senadores del Congreso de la Unión del Congreso de la Unión Luis María Aguilar Morales Presidente de la Suprema Corte de Justicia de la Nación y del Consejo de la Judicatura Federal Representantes Poder Ejecutivo Federal Miguel Ángel Osorio Chong Rafael Tovar y de Teresa Secretario de Gobernación Secretario de Cultura Poder Legislativo Federal Daniel Ordoñez Hernández Enrique Burgos García Diputado Federal Senador de la República Poder Judicial de la Federación José Ramón Cossío Díaz Manuel Ernesto Saloma Vera Ministro de la Suprema Corte Magistrado Consejero de Justicia de la Nación de la Judicatura Federal Patricia Galeana Secretaria Técnica Consejo asesor Sonia Alcántara Magos Rolando Cordera Campos Héctor Fix-Fierro Héctor Fix-Zamudio Rogelio Flores Pantoja José Gamas Torruco Sergio García Ramírez Javier Garciadiego Juan Martín Granados Torres Olga Hernández Espíndola Sergio López Ayllón Aurora Loyo Brambila Ricardo Pozas Horcasitas Pedro Salazar Ugarte Gloria Villegas Moreno BIBLIOTECA CONSTITUCIONAL INEHRM GOBIERNO DE LA CIUDAD DE MÉXICO Jefe de Gobierno Miguel Ángel Mancera Espinosa Secretaria de Gobierno Patricia Mercado Castro Autoridad del Centro Histórico Jesús González Schmal SECRETARÍA DE CULTURA Secretario de Cultura Rafael Tovar y de Teresa INSTITUTO NACIONAL DE ESTUDIOS HISTÓRICOS DE LAS REVOLUCIONES DE MÉXICO Directora General Patricia Galeana Consejo Técnico Consultivo Fernando Castañeda Sabido Salvador Rueda Smithers Luis Jáuregui Rubén Ruiz Guerra Álvaro Matute Enrique Semo Érika Pani Luis Barrón Córdova Ricardo Pozas Horcasitas Gloria Villegas Moreno La Ciudad de México durante la revolución constitucionalista Francisco Ramírez Plancarte F1386 R3 2016 Ramírez Plancarte, Francisco.