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María R. Esparza Rodríguez Charlottesville, VA MA

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María R. Esparza Rodríguez Charlottesville, VA MA Cartographies of Vulnerability: Body and Space in Contemporary Mexican Literature and Culture María R. Esparza Rodríguez Charlottesville, VA M.A. Spanish, University of Delaware, 2014 B.A. Psychology; Spanish Studies, University of Delaware, 2012 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Spanish, Italian, and Portuguese University of Virginia August, 2021 Abstract Moving away from dominant narratives my interdisciplinary project, “Cartographies of Vulnerability: Body and Space in Contemporary Mexican Literature and Culture,” explores how Mexican women writers and artists are contending with and reconfiguring notions of gender, sexuality, citizenship, and space in a globalized twenty-first century Mexico. Chapter one examines bodily and spatial malleability in Cristina Rivera Garza’s Nadie me verá llorar (1999). I argue that the spaces represented within the narration as well as the ones that inspired this historical work of fiction allow for the representation of sexual, class, and gender fluidity. Taking as a point of departure an analysis of Ana Clavel’s Cuerpo naúfrago (2005), chapter two explores perceptions of sexuality and gender identity, and simultaneously examines disruptions of the traditional literary forms and other artistic interventions. Chapter three argues that Guadalupe Nettel’s El huésped (2006) provides new approaches to understanding the city and its irrepresentability. The novel also rethinks the role that works of fiction and other artistic objects offer in response to the growing urbanization of the country. In this way, the spatial representations in much of the chronicles of the mid-twentieth century by men authors are reconfigured by Nettel and other women artists. The final chapter focuses on relingos, mapmaking, and the disappearing boundaries of spaces in Valeria Luiselli’s work of fiction and non-fiction. This dissertation examines the thematic, theoretical, and narrative innovations that Mexican women authors and artists integrate in their recent works. It also requires that we consider how these works challenge current perceptions of gender, sexuality, and space while offering a way to rethink the Mexican literary production of the twenty-first century through cultural studies. ii List of Figures Chapter 1 Figure 1. Anonymous. La Castañeda, ca. 1910. El Universal Archive and Colección Villasana- Torres, México City. http://www.eluniversal.com.mx/. Digital Image. Jan, 2018. Figure 2. Pasillos entre pabellones y jardines del Manicomio La Castañeda, vista general.1938. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. June. 2018. Figure 3. Cynthia Talavera. Portada de registro de mujeres públicas. 2018. El Universal, México City. Web. Digital Image. Jan. 2018. Figure 4. Coronel[a] Ameli[o]a Robles revolucionari[o]a, retrato. México City, 1914. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Jan. 2019. Figure 5. Anonymous. La casa de citas en el barrio galante. Ca. 1900-1920. Ava Vargas Collection, Mexico City. 1991. Figure 6. Felipe S. Gutiérrez, La cazadora de los Andes (Huntress of the Andes), 1891. Museo Nacional de Arte, CONALCUTA, INBA. Mexico. Web. Aug. 2018. http://www.munal.mx/en/. Figure 7. Cynthia Talavera. Fotografías mujeres públicas. 2018. El Universal, México City. Web. Digital Image. Jan. 2018. Figure 8. Kahlo, Frida. El suicidio de Dorothy Hale (The Suicide of Dorothy Hale). 1939. Phoenix Art Museum, http://egallery.phxart.org/view/objects/asitem/items$0040:12878. Colección Archivo Casasola, Fototeca Nacional. Enfermos mentales en una habitación del manicomio de La Castañeda. 1945; 1950. CONALCUTA. INAH. SINAFO.FN. iii MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. ---. Internos dormidos en una habitación del manicomio de La Castañeda. 1945; 1950. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. ---. Enfermos mentales comiendo en un patio del manicomio de La Castañeda. 1945; 1950. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. ---. Enfermos mentales en los patios del hospital psiquiátrico La Castañeda. 1945; 1950. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. ---. Enfermos mentales acostados en el interior de un dormitorio del manicomio La Castañeda. 1945; 1950. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. ---. Enfermos mentales acostados en un dormitorio del manicomio La Castañeda. 1945; 1950. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. ---. Enfermos mentales recostados en colchones en los patios del manicomio La Castañeda. 1945; 1950. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. ---. Maestro instruye a internos para realizar ejercicios en los patios del manicomio La Castañeda. ca. 1945. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. iv ---. Internos del manicomio La Castañeda en clase de gimnasia. Ca. 1945. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. ---. Internos del manicomio de La Castañeda en taller de artes manuales. ca. 1945. CONALCUTA. INAH. SINAFO.FN. MÉXICO. México City, Colección Archivo Casasola. https://mediateca.inah.gob.mx/. Dec. 2018. Colección Salud Pública. Internos del manicomio de la Castañeda, boxeando. 1932. INAH, Mexico City. https://mediateca.inah.gob.mx/. Dec. 2018. Colección Salud Pública. Peluquero corta el cabello a interno de La Castañeda. ca. 1935. INAH, Mexico City. https://mediateca.inah.gob.mx/. Dec. 2018. Chapter 2 Figure 1. Secretaria de Cultural del Gobierno de México. Government issued flyer advertising the exhibition “Emiliano: Zapata después de Zapata.” Facebook, 6 Dec, 2019, 2:30 p.m., https://www.facebook.com/SecretariaCulturaMx/photos/a.419847938104701/258473275 8282864/?type=3. Accessed 20 Dec 2019. Figure 2. Fabian Cháirez at Mexico City's Palacio de Bellas Artes next to his painting La Revolución. Courtesy of the author. Instagram, 3 Dec, 2019, https://www.instagram.com/p/B5oNqpEhG9_/. Accessed 20 Jan 2021. Figure 3. Ana Clavel and Paul Alarcón, La censura también es fuente, 2005. https://cuerponaufrago.com/. Figure 4. Jean Auguste Dominique Ingres, La Source. 1856, Paris, Musée d'Orsay. https://www.musee-orsay.fr/en/collections/works-in- focus/painting.html?no_cache=1&zoom=1&tx_damzoom_pi1%5BshowUid%5D=2032. v Figure 5. Marcel Duchamp, Fountain. 1917, replica 1964, porcelain urinal on plinth, Tate Museum. https://www.tate.org.uk/art/artworks/duchamp-fountain-t07573. Figure 6. Ana Clavel. Banner and bus stop installations based on the intervention “UrbEspectaculArt: La censura también es Fuente.” Screen capture taken from https://cuerponaufrago.com/. Figure 7. Ana Clavel. “Somos cuerpos encarcelados por nuestras mentes". YouTube, uploaded by tancredomaravilla, 29 Oct 2016, https://www.youtube.com/watch?v=sU2yHdinSxg. Accessed 28 June 2019. Figure 8. Ana Clavel. “Somos cuerpos encarcelados por nuestras mentes". YouTube, uploaded by tancredomaravilla, 29 Oct 2016, https://www.youtube.com/watch?v=sU2yHdinSxg. Accessed 28 June 2019. Figure 9. Ana Clavel. “Somos cuerpos encarcelados por nuestras mentes". YouTube, uploaded by tancredomaravilla, 29 Oct 2016, https://www.youtube.com/watch?v=sU2yHdinSxg. Accessed 28 June 2019. Chapter 3 Figure 1. Tina Modotti. “Telegraph Wires.” Mexican Modernity, MIT Press, Mexico City, 2005, p. 55. Figure 2. Tina Modotti. “Stadium.” Mexican Modernity, MIT Press, Mexico City, 2005, p. 52. Figure 3. Diane Arbus. “Identical Twins, Roselle, N.J.” Art Institute Chicago, Chicago, 1966, www.artic.edu/artworks/67958/identical-twins-roselle-n-j. Figure 4. Stanley Kubrick, et al. The Shining. 1980. Figure 5.1. Teresa Margolles, Los Herederos - Die Erben. 17 Jan. -21 Feb. 2009, Galerie Peter vi Kilchmann, Zurich. https://www.peterkilchmann.com/exhibitions/past/UID5C4AF21E7A1CC-teresa- margolles. Figure 5.2. Teresa Margolles, Los Herederos - Die Erben. 17 Jan. -21 Feb. 2009, Galerie Peter Kilchmann, Zurich. https://www.peterkilchmann.com/exhibitions/past/UID5C4AF21E7A1CC-teresa- margolles. Figure 6. Melanie Smith, Spiral City. 2002. http://melaniesmith.site/spiral.html Figure 7. Robert Smithson, Spiral Jetty, 1970. “From the portfolio Smithson’s Spiral Jetty Photographs, 1970-2014,” Gianfranco Gorgoni. Utah Museum of Fine Artes. https://umfa.utah.edu/third-saturday-spiral-jetty-field-guide. Chapter 4 Figure 1. Manuel Aguirre Botello, “El Paseo de la Reforma, 1864-2020. Ciudad de México.” Mexico Maxico, 2003, www.mexicomaxico.org/Reforma/reforma.htm. Figure 2. Carlos González Lobo, “Plan for Tenement Housing Project Completed in Mexico City.” Carlos González Lobo: caminos hacia lo alternativo dentro del ámbito conceptual, proyectual y contextual de la arquitectura, Universitat Politècnica de Catalunya. 2002, p. 190. Figure 3. Juan O’Gorman, Cecil O’Gorman House. Uniditified photographer. Museo de la Casa Estudio Diego Rivera y Frida Kahlo, 1929. Figure 4. El Informador
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