Portrait of a Young Painter 1. Elias, “Terrorism in the German Federal Republic,” 229–98
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Notes Introduction: Portrait of a Young Painter 1. Elias, “Terrorism in the German Federal Republic,” 229–98. Emerging schol- arship on the global 1960s stays close to Elias’s narrative particularly for the United States and Western Europe. See, for example, Marwick, The Sixties, and Suri, “The Rise and Fall,” 45–68. 2. For literature, see, among others, Agustín, La tumba; Pacheco, Las batallas en el desierto; Sainz, El compadre lobo. For testimonials and biography, Pon- iatowska, La noche de Tlatelolco; Taibo, ’68; on music, Zolov, Refried Elvis; Agustín, La contracultura en México; Rubli, Estremécete y rueda; Blanco Labra, Rockstalgia; Monsiváis, “De marzo de 1970,” 91–114; on the arts, De- broise, ed., La era de la discrepancia; Goldman, Pintura mexicana contempo ranea en tiempos de cambio; Hijar Serrano, ed., Frentes, coaliciones y talleres; McCaughan, Art and Social Movements; Tibol, Confrontaciones; on gender, Carey, Plaza of Sacrifices, and Frazier and Cohen, “Mexico ’68,” 617–60; for a powerful historical reflection, Hiriart, “ ‘La revuelta antiautoritaria,’ ” 17–21; on festive street democracy, Guevara Niebla, La democracia en la calle; Jardón, El fuego de la esperanza; Soldatenko, “Mexico ’68,” 111–32. See also Zolov, “Ex- panding Our Conceptual Horizons,” 47–73; Monsiváis, El 68. More directly relevant to the formal politics of the movement are González de Alba, Los años y los días; Revueltas, México 1968; Ramírez, El movimiento estudiantil de México; Pensado, Rebel Mexico. 3. Nasaw, “Introduction,” 577. 4. Merleau-Ponty, The Structure of Behavior, 75. 5. Spiegel, “Comment on a Crooked Line,” 412. 6. For a recent in-depth philosophical exploration of the term, see Ferguson, Modernity and Subjectivity; for a more accessible explanation, see Roper, “Slip- ping out of View,” 57–72. Downloaded from http://read.dukeupress.edu/books/book/chapter-pdf/590509/9780822376125-012.pdf by guest on 28 September 2021 . 7 See de Certeau, Practice. 8. Kessler Harris, “Why Biography?,” 626–28. 9. On memory and oral history, most helpful are Grele, “Oral History as Evi- dence,” 43–99; Portelli, Death of Luigi Trastulli. 10. James, Doña María’s Story. 11. Margadant, The New Biography, 25. 12. González y González, Pueblo en vilo. 13. It has been and still is such a prevailing view that to single out particular works may be superfluous, but it may be worth citing classical analyses such as Aguilar Camín and Meyer, In the Shadow of Revolution, and Hellman, Mexico in Crisis. 14. The Mexican Instituto de Seguro Social was founded in 1943 as a tripartite organization of government, employers, and workers to provide health care, pensions, and other social services to principally unionized workers. 15. Christopher Robin is a contemporary of Cri- Cri. He first appeared in the poem “Vespers,” published in 1923 by Vanity Fair magazine before his big debut in the book When We Were Very Young, written by his father A. A. Milne and published in 1924 by Methuen. See Sedgwick and Frank, Touching Feeling, 42–43. 16. The classical study of childhood in Mexico City in this period that captures the multiple experiences of the well-cared-for and precociously stimulated middle-class child is a novel, Pacheco’s Las batallas en el desierto, that in 1986 was made into a movie, Mariana, Mariana, adapted by Vicente Leñero and directed by Alberto Isaac. I am not alone in pursuing the idea of a mobilization for children in Mexico in this period. See, in particular, the excellent studies of Jackson Albarran, “Children of the Revolution,” and Ford, “Children of the Mexican Miracle.” Research on Mexican children is proliferating with five important books, Alcubierre Moya, Ciudadanos del future; Blum, Domestic Economies; Del Castillo Troncoso, Conceptos, imágenes y representaciones; Sosenski Correa, Niños en acción; Sanders, Gender and Welfare in México; collections such as Alcubierre Moya and Carreño, Los niños villistas; Sánchez Calleja and Salazar Anaya, eds., Los niños; Agostoni, ed., Curar, sanar, y edu car; and articles by these authors and Galván, “Un encuentro con los niños,” 221–32; Gudiño Cejudo, “Estado benefactor,” 167–90; Sosenski Correa, “El niño consumidor,” 191–222; Stern, “Responsible Mothers and Normal Chil- dren,” 369–97; Vaughan, “Mexican Revolution,” 194–214. 17. On the transnational campaign for children’s rights in Latin America, see Guy, “Politics of Pan American Cooperation,” 449–69, Jackson Albarran, “Chil- dren of the Revolution.” 18. Jackson Albarran, “Children of the Revolution.” 19. Sanders, Gender and Welfare in Mexico. 20. Lewis, The Children of Sánchez. 21. Claudio Lomnitz discusses the twentieth-century Mexican public sphere in terms of press censorship in “Ritual, rumor, y corrupción,” 241–74. Pablo Pic- cato has done a rich, innovative analysis of the public sphere as press expression in the second half of the nineteenth century (The Tyranny of Opinion). For new work on the twentieth century, see introduction and essays in Sacristán and 242 Notes to Introduction Downloaded from http://read.dukeupress.edu/books/book/chapter-pdf/590509/9780822376125-012.pdf by guest on 28 September 2021 Piccato, eds., Actores, espacios, y debates, particularly Piccato, “Honor y opinión pública,” 145–78, Leidenberg, “Habermas en el Zócalo,” 179–98, and Davis, “El rumbo de la esfera pública,” 233–72. In his current work on crime journalism (“Murders of Nota roja”), Pablo Piccato argues that while censors monitored the political news, crime reporting encouraged reader engagement and com- mentary and permitted a critique of the corrupt police and judicial systems. 22. Habermas, Structural Transformation, 28–29, 36–51; for critical essays, see Calhoun, ed., Habermas and the Public Sphere. 23. Habermas, Structural Transformation, 155–94. 24. E.g., Mills, The Power Elite; Marcuse, One Dimensional Man; the classic work of Habermas’s colleagues of the Frankfurt School, Adorno and Horkheimer, Dialectic of Enlightenment. Scholarly and artistic disdain for the mass media was general in this period and part of a modernist distinction between high- and lowbrow culture. Consider Adorno and Horkheimer, “The Culture Indus- try,” 120–267; Read, Cartas a un joven pintor; Riesman, Glazer, and Denney, The Lonely Crowd; Goodman, Growing Up Absurd; MacDonald, “Masscult and Midcult,” 1–75; or Fellini’s La dolce vita. It is not surprising that Oscar Lewis entirely ignored the impact of movies and the radio on the Sánchez children, although he notes they were avid fans. Nor does Norbert Elías give the media their full due in the formation of 1960s rebels. 25. In his reflective essay on The Structural Transformation, Habermas acknowl- edges the seminal work of Stuart Hall, Encoding and Decoding, in influencing his reassessment of the media. See Habermas, “Further Reflections,” 439–57. 26. On the sensorial revolution, see particularly Hansen as she draws on Wal- ter Benjamin in “Fallen Women, Rising Stars” and “Benjamin and Cinema,” 306–43. On community creation and sensorial revolution, see Lovigilio, Ra dio’s Intimate Public. 27. Hansen, “Fallen Women, Rising Stars,” 10–12. 28. On the formative role of cinema, radio, music, and comic books in Mexico, see, among others, Granados Chaparro, xew; Loaeza and Granados Chap- arro, Mi novia, la tristeza; Monsiváis, “Instituciones,” 23–46, “Agustín Lara,” 61–86, “South of the Border,” 51–78, and Pedro Infante, 67–79; Rubenstein, Bad Language and “Theaters of Masculinity,” 132–56. On radio listening ex- periences, see essays in Tierra Adentro, “Días de radio,” and Robles, “Shaping Mexico Lindo.” On cinema, see also Sosenski, “Diversiones malsanas,” 35–64; on gender roles, behavior, and anxieties in cinema, see Tuñón, Mujeres de luz; Hershfield, Mexican Cinema/Mexican Women, and Imagining the Chica Moderna; de la Mora, Cinemachismo. On live theater and the negotiation of old and new gender behavior in the 1920s, see Eineigel, “Distinction, Culture, and Politics,” 200–206. 29. On the imagined city, see Tuñon, La ciudad actriz, and Lara Chávez, Una ciudad inventada por el cine. 30. Interviews with Elva Garma, Elizabeth del Castillo Velasco González. 31. atm abbreviates ¡A toda maquina! In the 1951 film, Pedro Infante and Luis Aguilar play members of the Squadron of Transit Police in the Federal District. 32. See, among others, Poniatowska, La noche de Tlatelolco; Agustín, La tumba; Sainz, El compadre lobo, Taibo, ’68. Notes to Introduction 243 Downloaded from http://read.dukeupress.edu/books/book/chapter-pdf/590509/9780822376125-012.pdf by guest on 28 September 2021 33. Piccato, City of Suspects, 89–90. 34. Classic primary sources are Guerrero, El Génesis del crimen; Roumagnac, Los criminales en México; Ramos, El Perfil del hombre. Key secondary sources are Bliss, “The Science of Redemption,” 1–40, and “Health of the Nation,” 197–218; Buffington, Criminal and Citizen; French, A Peaceful and Working People; Piccato, City of Suspects; Gustafson, “ ‘He Loves the Little Ones’ ”; Rath, Myths of Demilitarization; Stern, “Responsible Mothers and Normal Children,” 369– 397; Vaughan, Cultural Politics in Revolution, 40–44, 93–95, 177–84, and “The Modernization of Patriarchy,” 194–214. 35. The Porfirian approach is well examined in Buffington, Criminal and Citizen, and Piccato, City of Suspects, and the revolutionary shift well explained by Bliss, “The Science of Redemption,” esp. 2, 4–6, 8–9, 17. 36. On the increasing ability of Mexican working-class men to support their families through gainful employment between 1940 and 1970, see Thompson, “Households,” 218. 37. Malanich, “Non- Normative Families.” She bases her argument on Arraros, “Concubinage in Latin America,” 330–39, and Therborn, Between Sex and Power. She also notes that the trend reversed after 1970. In Mexico marriage rates rose from 4 per 1,000 inhabitants in 1910 to 8.5 in 1942 to 11.4 in 1972 (Quilodran, Un siglo de matrimonio en México, 100). 38. On male domestic violence as socially perceived and legally handled in the Porfiriato into the 1920s, see Piccato, City of Suspects, 103–30.