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By Jairo Antonio Hoyos Galvis BA In LOS LABERINTOS DE LA JOTERÍA: UNA HISTORIA SEXUAL DE LA ESTÉTICA MEXICANA (1917-1934) by Jairo Antonio Hoyos Galvis B. A. in Literature, Universidad de los Andes, 2010 M.A. in Literature, Universidad de los Andes, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS & SCIENCES This dissertation was presented by Jairo Antonio Hoyos Galvis It was defended on November 8, 2016 and approved by Duchesne-Winter, Ph.D., Professor Latin American Literature Elizabeth Monasterios, Ph.D., Professor of Latin American Literature Jennifer Josten, Ph.D., Assistant Professor, Art and Architecture of Latin America Dissertation Advisor: Daniel Balderston, Ph.D., Mellon Professor of Modern Languages ii Copyright © by Jairo Antonio Hoyos Galvis 2016 iii LOS LABERINTOS DE LA JOTERÍA: UNA HISTORIA SEXUAL DE LA ESTÉTICA MEXICANA (1917-1934) Jairo Antonio Hoyos Galvis, PhD University of Pittsburgh, 2016 Sex is fundamental. This research analyzes the deep entanglements between artistic expression and sexuality in Mexico from 1917-1934. Particularly, I examine the works of effeminate and homosexual artists: Salvador Novo, Xavier Villaurrutia, Agustín Lazo, Elías Nandino, Carlos Pellicer, Germán Pardo García, and Roberto Montenegro. This dissertation is divided into three chapters and a “Coda”. In the first chapter, I explore the genesis of “jotería literaria” in the works of Novo and Villaurrutia. I also develop my concepts of “trans-corporality,” “intimacy,” and “corporal assemblage.” In the second chapter, I study how artists understood the relationship between the body and avant-garde art during the first half of the 1920s: on the one hand, I study the concept of masculine body that supports Manuel Maples Arce’s aesthetic project. On the other, I examine how homosexual artists created an artistic expression for the effeminate male body. In the third chapter, I examine the disputes between communist and homosexuals in Mexico from 1924 to 1934. I analyze how eugenics entangled with public policy and biology to support homophobic political movements. In the first part, I study these entwines through the works of Carlos Gutiérrez Cruz, José Clemente Orozco, and Diego Rivera. In the second part, I study how Novo, Villaurrutia, Lazo, Pellicer, Pardo García, and Nandino’s poetry and paintings created an artistic expression that conveys the experience of homosexual love and sexuality. Finally, this dissertation objective was to write a sexual history of male effeminacy and its relevance in the debates on art and literature in Mexico. iv TABLA DE CONTENIDO PREFACIO ............................................................................................................................... VIII 1.0 VEDADA OBERTURA: EL CULO NOVO Y LOS AMANTES DE WILDE ...... 1 2.0 SEXUAR LA LITERATURA: ESCRITURA DE JOTERÍA (1917-1920) ........... 12 2.1 CON XAVIER: LA CORPORALIAD DE LOS CONDENADOS................ 23 2.2 A LOS AMANTES: EL OTRO MAETERLINCK O “PARÁBOLA DEL HERMANO” ....................................................................................................................... 47 3.0 AFEMINAR LA VANGUARDIA: RETRATO DE JOTERÍA (1920-1923) ........ 65 3.1 A MANUEL MAPLES ARCE: UNA HIGIENE DE MIEMBROS ELÉCTRICOS .................................................................................................................... 71 3.2 CUERPOS PARA SAN SEBASTIÁN: RETRATOS DE JOTERÍA ............ 90 4.0 MARICONEAR MÉXICO: JOTAS VS. COMUNISTAS ................................... 137 4.1 EL CULO, EL ÓRGANO Y LA PIERNA: LA HOMOFOBIA BIOLÓGICA DEL COMUNISMO MEXICANO ................................................................................. 140 4.2 NUEVO AMOR: MIRADAS EXPLOSIVAS DE LA JOTERÍA ................. 182 CODA: “HUBO SIEMPRE LOCAS EN MÉXICO” Y QUIEN SE LAS CHINGARA .... 210 BIBLIOGRAPHY ..................................................................................................................... 213 APÉNDICE: LISTA DE ARCHIVOS .................................................................................... 226 v LISTA DE FIGURAS Figure 1: John Sholto Douglas. “To Oscar Wilde, posing somdomite” [sic] ................................ 2 Figure 2: Récipe del sanatorio y consultorio de los doctores Voiers y Grande Ampudia. ............ 6 Figure 3: Manuel Maples Arce. Actual No.1. .............................................................................. 79 Figure 4: Autoría Colectiva. Caligrama D.R. .............................................................................. 84 Figure 5: Ricardo Salazar. Salvador Novo con una escultura de San Sebastián......................... 89 Figure 6: Giovanni Antonio Bazzi “Il Sodoma”, San Sebastián. ................................................ 94 Figure 7: Guido Reni. San Sebastián. .......................................................................................... 96 Figure 8: The Illustrated Sporting and Dramatic News. Oscar Wilde. ...................................... 105 Figure 9: Atribuidos a Salvador Novo. Desnudos I, II III. ........................................................ 106 Figure 10: Atribuidos a Salvador Novo. San Sebastián. ........................................................... 107 Figure 11: Roberto Montenegro. El árbol de la vida. 1922. ..................................................... 108 Figure 12: Roberto Montenegro. El árbol de la vida. 2016. ..................................................... 109 Figure 13: Roberto Montenegro. San Sebastian. 1915. ............................................................. 112 Figure 14: Manuel Rodríguez Lozano. Retrato de Salvador Novo, 1924. ................................ 117 Figure 15: El chafirete. “Como se dirige el tráfico en México”. 1922 (izquierda) ................... 123 Figure 16: El chafirete. “El ‘humanitarismo’ de las cruces”. 1922. (derecha) ......................... 123 Figure 17: Roberto Montenegro. Intercalado en las páginas de “¡Qué México!” ..................... 124 Figure 18: Fernando Bolaños Cacho. “Manuscrito de un hombre colonial”, 1923. .................. 126 vi Figure 19: Abraham Ángel. Caratula de la tesis de Raul Fournier, 1924. ............................... 135 Figura 20: Jesús Guerrero Galván. “Uno de los otros. Uno de los nuestros”, 1934. ................. 136 Figure 21: José Clemente Orozco. “Los anales” en “Los rorros fachistas”. ............................. 144 Figure 22: Diego Rivera, “El que quiera comer que trabaje”. ................................................... 164 Figure 23: Diego Rivera. “Man at the Crossroads” (Destruido), 1933...................................... 169 Figure 24: Diego Rivera. “El hombre, controlador del universo”, 1934. .................................. 169 Figure 25: Xavier Guerrero. “El que no trabaja no come”, 1926. ............................................. 172 Figure 26: Diego Rivera, “El que quiera comer que trabaje” (detalle). ..................................... 174 Figure 27: Tina Modotti. Antonieta Rivas Mercado. 1929 (derecha). ....................................... 176 Figure 28: Diego Rivera. “El que quiera…” Detalle de Rivas Mercado (izquierda). ............... 176 Figure 29: Recopilación de ilustraciones de Salvador Novo, 1926-1932. CEHM. ................... 177 Figure 30: Diego Rivera, “El que quiera comer que trabaje” (detalle) ...................................... 179 Figure 31: Federico García Lorca. “Amor” (izquierda). ........................................................... 200 Figure 32: Federico García Lorca. “Sólo el misterio nos hace vivir” (derecha). ...................... 200 Figure 33: Agustín Lazo. Que se cierre esa puerta. Sin Fecha. ................................................ 203 Figure 34: Salvador Novo. “Al porvenir/poema confío la pena”. ............................................. 208 Figure 35: Dibujo, Xavier Villaurrutia, César Moro y José Manuel Delgado. Agustín Lazo.... 209 vii PREFACIO Gracias… viii 1.0 VEDADA OBERTURA: EL CULO NOVO Y LOS AMANTES DE WILDE Yo no nací para amar nadie nació para mí… mis sueños nunca se volvieron realidad. Siempre lo busqué pero nunca pude encontrar ese amor Juan Gabriel, “Yo no nací para amar” En la primavera de 1895, Oscar Wilde (1854-1900) fue sentenciado a dos años de trabajos forzados en la prisión de Reading por haber ofendido a la sociedad inglesa con sus prácticas indecentes —el tiempo de prisión adjudicado fue el máximo establecido en la Enmienda Labouchere de 1885 (Bristow 16). Aunque no fue condenado por inversión, pederastia o sodomía, el “Sentencing Statement of Justice Wills” dictaminó que el escritor fue “el centro de un extenso círculo de la más inmunda corrupción entre los hombre jóvenes”1 [“the center of a circle of extensive corruption of the most hideous kind among young men”]. En el juicio del 26 de abril al 1 mayo, el fiscal Charles Gill lo incriminó usando como parte de la evidencia dos 1 Al menos que se indique lo contrario, todas las traducciones son mías. 1 poemas de uno de sus presuntos amantes, Lord Alfred Bruce Douglas (1870-1945): “In Praise of Shame” y “Two Loves” —ambos publicados en la revista The Chameleon en 1894. El alegado amante era hijo del noveno marqués de Queensberry John Sholto Douglas (1844-1900). Precisamente, este noble caballero británico fue quien denunció los comportamientos impúdicos de Wilde
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