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Wrestling Masks in Chicano and Mexican Performance Art
Studies in 20th Century Literature Volume 25 Issue 2 Article 6 6-1-2001 (Ef)Facing the Face of Nationalism: Wrestling Masks in Chicano and Mexican Performance Art Robert Neustadt Northern Arizona University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the American Literature Commons, Latin American Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Neustadt, Robert (2001) "(Ef)Facing the Face of Nationalism: Wrestling Masks in Chicano and Mexican Performance Art ," Studies in 20th Century Literature: Vol. 25: Iss. 2, Article 6. https://doi.org/10.4148/ 2334-4415.1510 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. (Ef)Facing the Face of Nationalism: Wrestling Masks in Chicano and Mexican Performance Art Abstract Masks serve as particularly effective props in contemporary Mexican and Chicano performance art because of a number of deeply rooted traditions in Mexican culture. This essay explores the mask as code of honor in Mexican culture, and foregrounds the manner in which a number of contemporary Mexican and Chicano artists and performers strategically employ wrestling masks to (ef)face the mask- like image of Mexican or U.S. nationalism. I apply the label "performance artist" broadly, to include musicians and political figures that integrate an exaggerated sense of theatricality into their performances. -
Eric Nemeyer's
Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM October-November 2017 Interviews DafnisDafnis PrietoPrieto Jazz At Lincoln Center, Nov 3-4 ScottScott RobinsonRobinson Jazz Standard, October 31 BobbyBobby SanabriaSanabria Dizzy’s Clu, Nov 17-19 MariaMaria SchneiderSchneider Jazz Standard, November 21-26 WarrenWarren WolfWolf Dizzy’s Club, Nov 10-12 Comprehensive DirectoryDirectory of NY Club, Concert ElioElio VillafrancaVillafranca With Nuevo Jazz Latino at Jazz At Lincoln Center, November 3-4 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank To Advertise CALL: 215-887-8880 October-November 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) October-November 2017 – Volume 8, Number 8 Cover Photo (and photo at right) of Elio Villafranca by Jerry Lacay; Photo at right by Eric Nemeyer Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Depart- ment at 215-887-8880 for media kit, rates and information. -
Michel Camilo Trio & Luxembourg Jazz Orchestra Michel Camilo Trio Michel Camilo Piano Ricky Rodríguez Bass Mark Walker Drum
2018 20:00 20.11.Grand Auditorium Mardi / Dienstag / Tuesday Jazz & beyond / iPhil 13–17 ans Michel Camilo Trio & Luxembourg Jazz Orchestra Michel Camilo Trio Michel Camilo piano Ricky Rodríguez bass Mark Walker drums Luxembourg Jazz Orchestra Ernie Hammes conductor, trumpet Steve Greisch, David Ascani, Jitz Jeitz, Laurent Pierre, Georges Sadeler saxophone Melvin Burger, Serge Bausch, Carlo Nardozza, Patrice Lerech trumpet Jan Kamp, Laurent Lemaire, Jacques Reuter, Alex Brisbois trombone Eric Durrer percussion ~90’ sans pause iPhil Action n° 2: Artist talk Discussion with Ernie Hammes 19:00 Salle de Répétition II D’Knipserten Le célèbre caricaturiste allemand Der renommierte deutsche Karika- Martin Fengel (connu notamment turist Martin Fengel (bekannt u. a. pour ses contributions dans le aus dem Zeit-Magazin) begleitet Zeit-Magazin) ponctue les pro- die Abendprogramme der Saison grammes du soir de la saison 2018/19 mit Momentaufnahmen 2018/19 d’instantanés sur le thème zum Thema geräuschvollen Stö- des nuisances sonores dans les rens im Konzertsaal. Lassen Sie salles de concert. Laissez-vous sich durch die vergnügliche Dar- inspirer par cette présentation stellung zu rücksichtsvollem Musik- ludique, pour savourer la musique genuss inspirieren. en toute tranquillité. « L’âge d’or du jazz » Guillaume Bregeras Sous ses mains, le clavier tremble, incandescent. Une à une, les touches dansent, chahutent comme des enfants intrépides. Dans leur savante chorégraphie, elles révèlent l’un des pianistes les plus doués de sa génération, et le plus complet jamais sorti de République dominicaine. La perle des Caraïbes qui partage sa terre avec Haïti a produit moins de musiciens de renom que ses cousines cubaine ou portoricaine, mais possède une histoire artistique tout aussi riche. -
CATALOGUE En Français Nederlandstalige CATALOGUS
PRESENTS Brussels Animation Film Festival CATALOGUE en français Nederlandstalige CATALOGUS © Peter Elliott / Folioscope 2012 – Co-organisation Folioscope a.s.b.l. / Festival du dessin animé a.s.b.l. / Festival van de animatie lm v.z.w. – Éd. resp.: Philippe Moins, Folioscope, avenue de Stalingrad 52 - 1000 Bruxelles de Stalingrad avenue Folioscope, Moins, Philippe resp.: – Éd. lm v.z.w. de animatie van / Festival du dessin animé a.s.b.l. / Festival a.s.b.l. 2012 – Co-organisation Folioscope Elliott / Folioscope © Peter English CATALOGUE Merci à nos partenaires / Dank aan onze partners / Thanks to: www.knackfocus.be La Fédération Wallonie-Bruxelles, Ministère de l’Éducation et de la Communication, Direction de l’Audiovisuel et des Multimédias, Services de Prêt de Matériel de la Fédération Wallonie-Bruxelles, Ministère des Relations extérieures, Wallonie Bruxelles International ; Ministerie van de Vlaamse Gemeenschap; Le Gouvernement de la Région de Bruxelles-Capitale / De Brusselse Hoofdstedelijke Regering; Le Programme MEDIA de l’Union européenne / Het MEDIA Programma van de Europese Unie; La Commission communautaire française de la Région de Bruxelles-Capitale; De Vlaamse Gemeenschapscommissie; La Ville de Bruxelles / De Stad Brussel. Avec le soutien de / Met de steun van Willy Decourty, Bourgmestre / Burgemeester, Yves de Jonghe d’Ardoye, Député honoraire / Volksvertegenwoordiger, Échevin de la Culture / Schepen van Cultuur, et des membres du Collège des Bourgmestre et Échevins d’Ixelles / en het Schepencollege van Elsene. Prix des compétitions nationale et internationale Prijzen nationale en internationale competities National and international competition awards.................................... 5 Jurys – Jury’s – Juries ................................................................................................... 6–7 Sélection officielle longs métrages Officiële langspeelfilmselectie Official feature films selection ........................................................................ -
The Grotesque in the Fiction of Joyce Carol Oates
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1979 The Grotesque in the Fiction of Joyce Carol Oates Kathleen Burke Bloom Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Bloom, Kathleen Burke, "The Grotesque in the Fiction of Joyce Carol Oates" (1979). Master's Theses. 3012. https://ecommons.luc.edu/luc_theses/3012 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Kathleen Burke Bloom THE GROTESQUE IN THE FICTION OF JOYCE CAROL OATES by Kathleen Burke Bloom A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy March 1979 ACKNOWLEDGEMENTS I would like to thank Professors Thomas R. Gorman, James E. Rocks, and the late Stanley Clayes for their encouragement and advice. Special thanks go to Professor Bernard P. McElroy for so generously sharing his views on the grotesque, yet remaining open to my own. Without the safe harbors provided by my family, Professor Jean Hitzeman, O.P., and Father John F. Fahey, M.A., S.T.D., this voyage into the contemporary American nightmare would not have been possible. -
Is Castro's Cuba a Budding Narcostate?
Vol. 20, No. 4 April 2012 In the News Despite fall in U.S. food exports to Cuba, Advertising everywhere shipments of beans edge up every year Competition heats up in Cuba’s rapidly BY VITO ECHEVARRÍA It was also the same year Pat Wallesen visited decentralizing economy ................Page 3 he Cubans haven’t bought a single grain Cuba for the first time. Wallesen is managing of American rice for years. But when it partner of WestStar Food Co. in Corpus Christi, Tcomes to U.S. beans, state purchasing a major U.S. exporter of dry beans. SEC pressures Telefónica agency Alimport can’t seem to get enough. “The Cubans are opportunistic buyers,” said Spanish telecom giant is hounded over its According to USDA figures, dry bean exports Wallesen, telling CubaNews that global commo- business interests in Cuba ............Page 4 to Cuba reached $7.7 million last year, up from dity prices have fluctuated not only for beans lately, but other crops as well. He put total annu- $5.6 million in 2010 and $4.3 million in 2009. al dry bean purchases at 45,000 metric tons. Political briefs That’s still a lot less than the record $10.9 mil- “They buy when the time is right. They buy lion worth of beans sold in 2006, though dra- from the U.S. between November and Febru- Rubio lifts hold on Jacobson nomination; matically more than in 2007 and 2008, when U.S. Miami-Dade proposal under fire ...Page 5 ary,” he said. WestStar Foods sometimes sup- farmers exported only $73,000 and $68,000 plies the Cubans with its own inventory of worth of beans to Cuba (see chart, page 3). -
Dread Standard, PDF Version Layout Done with Adobe® Indesign® CS 3 on Mac OS X, Using the Typefaces Attic and Book Antiqua
Dread TID002 Table of Contents Chapter 1: To Begin With . 3 Chapter 2: Briefly, the Rules . 6 . Chapter 3: A Question of Character . 16 Chapter 4: How to Host a Dread Game . .28 . Chapter 5: How to Create a Dread Game . 38 . Chapter 6: The Suspenseful Game . 50 Chapter 7: The Supernatural Game . 53 . Chapter 8: The Mad Game . 56 . Chapter 9: The Moral Game . 59 Chapter 10: The Mysterious Game . 62 Chapter 11: The Gory Game . 65. Appendix: Alternate Methods . 68 Story: Beneath the Full Moon . 70 Story: Beneath a Metal Sky . 82 Story: Beneath the Mask . 89 . Dread is a horror game . There is no reason that the content of any game of Dread need be any more horrifying than you wish it to be, and therefore Dread can be suitable for nearly any age . However, the contents of this book delve into mature topics at points, in order to facilitate groups who enjoy those sorts of horror, so please exercise discretion when passing this book around . In par- ticular, Chapter 11 is not suitable for our younger players . For Leslie Scott . original concept by Epidiah Ravachol and woodelf development by The Impossible Dream writing by Epidiah Ravachol editing and additional writing by The Impossible Dream copy editing by Jere Foley layout and cover design by woodelf back cover illustration by Christy Schaefer illustrations on pages 13, 20, 35, 38, 49, 51, 57 by Taylor Winder illustrations on pages 7, 15, 28, 31, 45, 53, 60, 62, 63, 65, 66, 67, 69 by Jill Krynicki Dread Standard, PDF version Layout done with Adobe® InDesign® CS 3 on Mac OS X, using the typefaces Attic and Book Antiqua. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
UW Honors Jazz Band UW Jazz Orchestra Chris Rottmayer and Matthew Endres, Directors
UW Honors Jazz Band UW Jazz Orchestra Chris Rottmayer and Matthew Endres, directors featuring special guest Sharel Cassity, saxophone Thursday, April 18, 2019 7:30 p.m. Music Hall 925 Bascom Mall 2018 | 2019 UW HONORS JAZZ BAND UW JAZZ ORCHESTRA Chris Rottmayer and Matthew Endres, directors Sharel Cassity, saxophone PROGRAM UW Jazz Orchestra Papa Lips ............................................................................................ Bob Mintzer (b. 1953) I Get Along Without You Very Well............................................. Hoagy Carmichael (1899–1981) arr. Alan Ferber Jigsaw ...................................................................................................Alan Ferber (b. 1975) Sharel Cassity, saxophone Say What!? ....................................................................................... Sharel Cassity (b. 1978) arr. Michael Philip Mossman Sharel Cassity, saxophone Mead Witter School of Music performances are recorded. Please silence or turn off all cell phones, pagers, and other electronic devices. Thank you for helping us maintain a silence in the hall that is conducive to music-making. UW Honors Jazz Band Computer .................................................................................................... Mintzer Airegin ............................................................................................... Sonny Rollins (b. 1930) arr. Bill Holman Qintessence ....................................................................................... Quincy Jones (b. 1933) Sharel -
Melbourne Filmoteca 2014 Program
MELBOURNE FILMOTECA 2014 PROGRAM February 4th 2014 7pm ACMI Cinemas 1. Chinese Takeaway- Un Cuento Chino Director: Sebastián Borensztein Year: 2011 Country: Argentina Duration: 95 minutes Roberto, an Argentinean, and Jun, a Chinese who has just arrived in Buenos Aires meet each other randomly after Jun has just been robbed and kicked out of a cab in the street. Jun is looking for his only family member alive, his uncle. Roberto decides to play the hero in this story. How will they start to communicate and cohabit with each other if neither they both speak Spanish or Chinese? March 4th 2014 7pm ACMI Cinemas *Free Screening, first in-best dressed based 2. Son of Clouds Director: Alvaro Longoria Year: 2012 Country: Spain Duration: 80 min Alvaro Longoria partners with Academy Award® winner Javier Bardem for his directorial debut, Sons of the Clouds: The Last Colony. This compelling documentary brings to light the political and human rights issues facing the people of the Western Sahara, and the responsibility of Western powers to restore peace to the region. The film examines the current political turmoil and the failed policies, namely realpolitik, which have generated tremendous instabilities in the region. A personal journey for Bardem, the film focuses on the bleak reality of the Western Sahara, a former Spanish colony that is now occupied, in part, by Morocco, and has resulted in almost 200,000 refugees living in camps in the desert. www.melbournefilmoteca.org April 1st 2014 7pm ACMI Cinemas 3. Mondays in the Sun- Los Lunes al sol Director: Fernando Leon de Aranoa Year: 2002 Country: Spain Duration: 113 min The closing of a shipyard in the city of Vigo (northern Spain) has left six men at a loose end, and now they treat each day as if it was a Sunday; philosophizing, reminiscing and sharing their disappointments. -
47Th Chicago International Film Festival October 6–20
WhatTheWorld Is Watching © 47th Chicago International Film Festival October 6–20 AMC River East 21 (322 E. Illinois St.) CHICAGOFILMFESTIVAL.COM PRESENTING PARTNER facebook.com/chicagofilmfestival twitter @chifilmfest ...SeeForYourself In this year’s lineup, you will find films that are visually bold and Lelouch. Speaking of the great masters of cinema, they are also well artistically daring. Some present a refreshing view on the growing represented in our program this year. pains of childhood while others explore the immigrant experience from truly original perspectives. You will find award-winning films Each film provides a once-in-a-lifetime opportunity to experience the as well as stories about real people that go beyond the headlines. sights, sounds and experiences of other cultures on the big screen And in keeping with our tradition of discovering new talent, this and the chance to hear and maybe even meet some of the artists year’s filmmakers will take you on provocative and exciting journeys behind them. The languages may be different, but the emotions are to lands near and far. These more than 45 first-time filmmakers the same. Film unites us like no other art form can. could very well be the future Cronenberg, Herzog, Wenders or Michael Kutza | Founder and Artistic Director 3 easy ways to buy tickets & passes PHONE ONLINE IN PERSON Festival Hotline: 312.332.FILM Festival Passes available exclusively in our Festival FESTIVAL THEATER BOX OFFICE Tickets purchased by phone need to be reserved no Store: CHICAGOFILMFESTIVAL.COM AMC River East 21 (322 E. Illinois St.) later than 24 hours in advance. -
The Dramatic World Harol I Pinter
THE DRAMATIC WORLD HAROL I PINTER RITUAL Katherine H. Bnrkman $8.00 THE DRAMATIC WORLD OF HAROLD PINTER By Katherine H. Burkman The drama of Harold Pinter evolves in an atmosphere of mystery in which the surfaces of life are realistically detailed but the pat terns that underlie them remain obscure. De spite the vivid naturalism of his dialogue, his characters often behave more like figures in a dream than like persons with whom one can easily identify. Pinter has on one occasion admitted that, if pressed, he would define his art as realistic but would not describe what he does as realism. Here he points to what his audience has often sensed is distinctive in his style: its mixture of the real and sur real, its exact portrayal of life on the surface, and its powerful evocation of that life that lies beneath the surface. Mrs. Burkman rejects the contention of some Pinter critics that the playwright seeks to mystify and puzzle his audience. To the contrary, she argues, he is exploring experi ence at levels that are mysterious, and is a poetic rather than a problem-solving play wright. The poetic images of the play, more over, Mrs. Burkman contends, are based in ritual; and just as the ancient Greeks at tempted to understand the mysteries of life by drawing upon the most primitive of reli gious rites, so Pinter employs ritual in his drama for his own tragicomic purposes. Mrs. Burkman explores two distinct kinds of ritual that Pinter develops in counter point. His plays abound in those daily habit ual activities that have become formalized as ritual and have tended to become empty of meaning, but these automatic activities are set in contrast with sacrificial rites that are loaded with meaning, and force the charac ters to a painful awareness of life from which their daily routines have served to protect them.