In the years following the Mexican Revolution, a nationalist and masculinist image of Mexico emerged through the novels of the Revolution, the murals of Diego Rivera, and the movies of Golden Age cinema. Challenging this image were the Contemporáneos, a group of writers whose status as outsiders (sophisticated urbanites, gay men, women) gave them not just a different perspective, but a different gaze, a new way of viewing the diverse Mexicos that exist within Mexican society. In this book, Salvador Oropesa offers original readings of the works of five Contemporáneos—Salvador Novo, Xavier Villaurrutia, Agustín Lazo, Guadalupe Marín, and Jorge Cuesta—and their efforts to create a Mexican literature that was international, attuned to the realities of modern Mexico, and flexible enough to speak to the masses as well as the elites. Oropesa discusses Novo and Villaurrutia in relation to neo-baroque literature and satiric poetry, showing how these inherently subversive genres provided the means of expressing difference and otherness that they needed as gay men. He explores the theatrical works of Lazo, Villaurrutia's partner, who offered new representations of the closet and of Mexican history from an emerging middle-class viewpoint. Oropesa also looks at women's participation in the Contemporáneos through Guadalupe Marín, the sometime wife of Diego Rivera and Jorge Cuesta, whose novels present women's struggles to have a view and a voice of their own. He concludes the book with Novo's self-transformation from intellectual into celebrity, which fulfilled the Contemporáneos' desire to merge high and popular culture and create a space where those on the margins could move to the center.
Although in the periphery, Pellicer was also considered to belong in the group. The Contemporaneos started working together in 1920, and their collaboration lasted until 1932, by which time several members had left the country and the ...
... Karen Cordero, Leigh Cotnoir, Charles Cramer, Jaime Cuadrillo, Rafael Doniz, Eduardo Douglas, María Estela Duarte Sánchez, James Farmer, Barbara Fredrich, Amy Galpin, Ana Garduño, Marta Garsd, Jennifer Giancarlo, Catherine Gleason, ...
Of more lasting impact was the Contemporáneos group, which was associated with several literary reviews, notably Ulises (1927–28) and Contemporáneos (1928–31). The magazines carried writing by Mexican authors, but devoted many of their ...
The Mexican Soccer Federation of 1927 affiliated with the International Soccer Federation . Mexico played in the first World Cup , held in 1930 in Uruguay . It has qualified for numerous other World Cups since ; its best showing to date ...
Before going into this description of El café de nadie, I mentioned three revolutionary postures of the Contemporáneos group. The first was the explosive characteristic of the youth of the 1920's, which was even more apparent among the ...
Provides entries for important writers, literary schools, and cultural movements in Mexican literary history, discussing major works, biographical sketches, and more
The War of the Fatties and Other Stories from Aztec History . Trans . Michael Alderson . Austin : University of Texas Press , 1994. ix - lviii . Alfonso X. Las siete partidas del sabio rey Don Alfonso X / nuevamente glosadas por el ...
Grew up on a sugar plantation surrounded by former slaves and their children. ... Selected Works Novels Menino de engenho, Rio de Janeiro: Adeusen, 1932; as Plantation Boy, translated by Emmi Baum, New York: Knopf, 1966 Doidinho, ...
Nandino is generally associated with the literary group “Contemporáneos.” This group of young Mexican poets published a literary magazine of the same name and created a major literary movement in Mexico. This group, however ...
Strategic Occidentalism examines the transformation, in both aesthetics and infrastructure, of Mexican fiction since the late 1970s.