Vulnerable identities: Maya Yucatec identities in a postmodern world

In numerous anthropological works there have been preoccupations about the relationships between Indigenous and non-Indigenous peoples. Whatever social researchers have concluded, one thing is consistent: the tendency to interpret ethnographic “data” in terms of binary oppositions. This dissertation reviews the works which have been centered upon binary oppositions, as for instance, in the case of Yucatan, between the Maya and the Dzul—the Yucatec Maya term for white males—and highlights the fact that such works have failed to recognize that within and between each “pole,” or social group there are individuals that have multiple identities, and that do not recognize themselves as belonging to a homogenized “pole.” Instead, these individuals, recognize themselves as belonging to different groups and, therefore, being aware that they have not a single identity but multiple ones. ^ Analogical anthropology is highly criticized because of its emphasis on binary oppositions, its authoritarianism, and the notion of the “Other.” In contrast, dialogical anthropology places great importance on the relationship between the individuals and the anthropologist. A relation in which both, the anthropologist and the subject, are immersed in a dialogue, because of the identification between the writer and the story that is being written. ^ However, anthropologists seem to be more interested in “dialoguing” among themselves rather than with the people that they write about. Indigenous people are relegated, they are voiceless, and, therefore, we keep treating them as “objects,” and not as individuals. This is ironic, precisely because it undermines the aim of the dialogical discourse. ^ In this context, awareness of self-identity or self-identities and the various ways in which Francisco, a good friend and the main character of this dissertation, assumes them, and the way I assume them, within multicultural contexts, leads us along the road to establish and reestablish communication. The methodology is based on four considerations: positioning, fieldwork conversations, self reflexivity and vulnerability. Hence, this dissertation constitutes an attempt to break with authoritarian models of ethnography, it is a dialogue between Francisco and me, a conversation among ourselves. A dialogue that expresses the desire of hearing our voices being echoed by each other. ^

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^

El discurso vindicatorio de Juan Goytisolo y Zoe Valdes: Deconstruccion y recodificacion del lenguaje hegemonico

The goal of this dissertation is to explore the use of transgressive language in the works of Juan Goytisolo and Zoé Valdés. This study examines the socio-political and cultural contexts in which the narrative of both authors develops, as well as the textual devices employed by these writers for undermining the “official history” imposed by the dictatorial regimes in Francoist Spain and Castro's Cuba. Furthermore, this dissertation argues that the deconstructing strategies in Goytisolo and Valdés mark their literary trajectory. Their vindicatory standpoints seek an alternative discourse of national identity. ^ The function of language in demythifying and recodifying hegemonic discourse is examined in Goytisolo's trilogy Señas de identidad, Reivindicación del conde don Julián, and Juan sin tierra; and the novels of Zoé Valdés La nada cotidiana and Te di la vida entera. The parallelisms in the literary works of Goytisolo and Valdés are established by contrasting the authors' revisionist approach to history, the self-reflexivity of their novels, the sexual referent, and the use of irony and parody. The theoretical framework incorporates poststructuralist theorists such as Todorov, Foucault, Lacan, Barthes, Derrida, and Kristeva; the psychoanalytical theory of Freud; and the feminist theories of Cixous and Irigaray. The comparative approach of this study and the interplay of power, politics, aesthetic creation, and author's psychology provide an illuminating perspective that could be of interest to individuals from a variety of disciplines. ^