Podcast appearances and mentions of jos vasconcelos

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Carlos Pellicer Cámara (1897–1977) fue un poeta, museógrafo y político mexicano, considerado una de las voces más destacadas del modernismo tardío y del vanguardismo poético en América Latina. Nació en Villahermosa, Tabasco, y desde joven mostró una profunda sensibilidad artística, marcada por el amor a la naturaleza, la espiritualidad y el arte. Estudió en la Universidad Nacional Autónoma de México y en universidades de Colombia y Francia, donde entró en contacto con las corrientes literarias de su tiempo. Fue amigo de grandes figuras como José Vasconcelos, Diego Rivera y Gabriela Mistral. Su poesía se caracteriza por la intensidad lírica, el paisajismo exaltado y la alegría vital. Pellicer veía en la naturaleza una expresión de lo divino y una fuente de belleza inagotable. Algunos de sus libros más conocidos son:Colores en el mar y otros poemas (1921)Piedra de sacrificios (1924)Hora de junio (1937)Material poético 1918–1961 (1962)Además de poeta, fue un promotor cultural y museógrafo notable: organizó museos en México, entre ellos el Museo de Frida Kahlo (Casa Azul) y el Museo de Tabasco, que hoy lleva su nombre. También se desempeñó como diputado federal y fue un ferviente defensor del patrimonio artístico y natural de México. En 1976 recibió el Premio Nacional de Literatura de México. Carlos Pellicer es recordado como el “poeta de la luz”, por su fe en la belleza, la naturaleza y el poder espiritual de la palabra.

Julieta García abre el programa con la pregunta "¿Dónde encontrarse con la cultura?” y junto con el escritor Federico Guzmán Rubio, examinan cómo se construyen nuestras ideas sobre lo cultural y por qué persiste la percepción de que la cultura pertenece a ámbitos elitistas o distantes. Abordan la obsolescencia de las categorías de alta y baja cultura, reflexionan sobre la manera en que las redes sociales reconfiguran el acceso cotidiano a expresiones culturales, aunque de forma a veces superficial. También se discuten las divisiones impuestas por los medios al separar la cultura de otras áreas sociales, así como la confusión entre antielitismo y antiintelectualismo. Como parte de esta reflexión, se presenta un fragmento histórico entre Andrés Henestrosa y José Vasconcelos que permite pensar la construcción de la identidad mexicana desde la convergencia de raíces indígenas y españolas.Federico Guzmán Rubio. Egresado de la Licenciatura de Letras Hispánicas de la UNAM, se doctoró por la Universidad Autónoma de Madrid. Es autor de novelas, cuentos, crónicas y libros infantiles. Actualmente es profesor del ITAM y colabora en la revista Letras Libres y en el suplemento El Cultural.

Entrevista con Paola Morán donde se abordan temas como: cómo establecer espacios culturales que sobrevivan al vendaval político, el papel que ha jugado la UNAM en esto, la oferta de la Coordinación Cultural y cómo mejorar las dinámicas culturales entre instituciones, gobierno y la sociedad. Dentro de la entrevista se presenta un audio de José Vasconcelos, de un programa de televisión de 1957, donde destaca el papel del locutor o conductor en los medios de difusión.Paola Morán Leyva. Editora y gestora cultural. Egresada de Relaciones Internacionales de la Facultad de Ciencias Políticas y Sociales UNAM, estudió una Maestría en Historiografía en la UAM. Actualmente es la Secretaria Técnica de Vinculación de la Coordinación de Difusión Cultural de la UNAM.

José Vasconcelos chegou a integrar o elenco do pioneiro PRK-30, como substituto de Lauro Borges e Castro Barbosa. Um de seus personagens mais conhecidos é um narrador de futebol gago, que você acompanha no LP Eu sou o Espetáculo, de 1960, com mais de 100 mil cópias, destaque deste episódio.Como é possível conferir na performance deste áudio raro e histórico que foi resgatado por Geraldo Nunes na antiga Nova Eldorado AM, em 2004, Vasconcellos é - juntamente com Chico Anysio - considerado pioneiro no gênero stand-up commedy.CAPÍTULOS:00:00 Abertura sobre importância de José Vasconcellos e o pioneirismo no gênero Stand-up, ao lado de Chico Anysio03:48 Geraldo Nunes no programa São Paulo de Todos os Tempos, da Rádio Eldorado, anuncia o áudio do disco Eu Sou o Espetáculo04:36 "Eu sou o Espetáculo", gravação de apresentação de José Vasconcellos, nos anos 6020:47 Encerramento 21:19 Depoimentos de radialistas sobre a força deste meio de comunicação: Salomão Ésper, José Paulo de Andrade, Eli Corrêa, Vanessa Rabello, Joseval Peixoto, Nicolau Tuma, Hélio Ribeiro

In this episode, I'm joined by Dr. Alison Posey, Postdoctoral Researcher in Duke University's Department of Romance Studies (Spanish) to discuss José Vasconcelos' "The Cosmic Race." Please consider donating to one of the following organizations: Palestinian Children's Relief Fund: https://pcrf1.app.neoncrm.com/forms/general United Nations Relief and Works Agency: https://donate.unrwa.org/gaza/~my-donation Middle East Children's Alliance: https://secure.everyaction.com/1_w5egiGB0u0BAfbJMsEfw2 Twitter: @DavidGuignion IG: @theory_and_philosophy

En 1922, José Vasconcelos, en nombre del gobierno mexicano, entrega en Brasil una estatua de Cuauhtémoc. Celebra la resistencia y tiende un puente entre dos naciones a través de la cultura, el respeto y una historia compartida de lucha y dignidad.

La poeta, que recibió el Premio Nobel de Literatura en 1945, es considerada una de las principales referentes de la literatura chilena e hispanoamericana del siglo XX. Nació el 7 de abril de 1889 en Vicuña, ciudad nortina situada en el Valle del Elqui, en la Región de Coquimbo, Chile. Fue bautizada como Lucila de María Godoy Alcayaga, según consta en los registros parroquiales de su ciudad natal. Su madre fue Petronila Alcayaga Rojas, modista de oficio, y su padre, Juan Jerónimo Godoy Villanueva, profesor. Hacia 1905, inició su carrera docente como ayudante en la Escuela de La Compañía Baja; se desempeñó también como maestra en la localidad de La Cantera hasta 1907 y, en 1910, tras aprobar los exámenes especiales en la Escuela Normal de Preceptoras, regularizó su magisterio. A partir de entonces empezó a trabajar en distintas escuelas en las ciudades de Traiguén, Punta Arenas, Antofagasta y Temuco, ciudad en la que conoció a Pablo Neruda. Los progresos en la profesión docente corrieron paralelos al desarrollo de su producción poética. En 1908 sus trabajos fueron objeto de un primer estudio por parte de Luis Carlos Soto Ayala, quien recopiló en el volumen Literatura coquimbana algunas prosas como "Ensoñaciones", "Junto al Mar" y "Carta íntima". Durante su residencia en Coquimbito, Los Andes, compuso los famosos "Sonetos de la Muerte", conjunto por el que obtuvo en septiembre de 1914 la más alta distinción en los Juegos Florales de ese año. En junio de 1922 viajó a México invitada por el ministro de Educación mexicano, José Vasconcelos, para colaborar en la reforma educacional y la creación de bibliotecas populares en ese país. Ese año fue publicado en Nueva York, Estados Unidos, su primer libro, “Desolación”, lo que le dio reconocimiento y prestigio internacional. Durante 1930, dictó numerosas conferencias y clases tanto en Estados Unidos como en América Central y Europa. Hacia 1938, publicó en Buenos Aires, Argentina, su libro “Tala”, por intermedio de la Editorial Sur, dirigida por la escritora Victoria Ocampo. El 10 de diciembre de 1945 recibió el galardón por el Premio Nobel de Literatura de manos del Rey Gustavo V de Suecia y en 1951 el Premio Nacional de Literatura en Chile. Con posterioridad, en 1954, Mistral publicó Lagar, que corresponde al único libro de toda su producción en vida cuya primera edición vio la luz en Chile antes que en el extranjero. Falleció el 10 de enero de 1957, en el Hospital de Hempstead, en Nueva York, debido a complicaciones derivadas de un cáncer de páncreas. Tras su muerte, aparecieron libros que reunieron prosas, rondas, cantos, oraciones y poemas inéditos, como Motivos de San Francisco (1965), Poema de Chile (1967) y Lagar II (1991), así como un conjunto amplio de estudios sobre su obra realizados por escritores como Gastón von dem Bussche, Roque Esteban Scarpa, Rodolfo Oroz Scheibe, Luis Oyarzún Peña o Jaime Quezada. La recordamos en esta fecha y repasamos algunos aspectos destacados de su trayectoria, a partir de registros sonoros conservados en el Archivo Histórico de Radio Nacional. FICHA TÉCNICA Edición: Fabián Panizzi Música y testimonios Contrastes (Eduardo Carrasco) Quilapayún [1993 del Álbum “Instrumental”] Introducción (Jaime Soto León) Mares González [1996 del Álbum Recados de Gabriela Mistral] Canción de los que buscan olvidar (Gabriela Mistral - E Peralta) Eduardo Peralta [2009 del Álbum “XXI Poetas Chilenos”] 60s Neruda, Pablo (Poeta) Sobre Gabriela Mistral (Ciclo Poetas de Chile) Susurro (Rodolfo Parada) Quilapayún [1993 del Álbum “Instrumental”] 1938-01-27 Mistral, Gabriela (Poeta) Encuentro con Jana de Ibarbourou y Alfonsina Storni (IAVA – Montevideo) 60s Neruda, Pablo (Poeta) Sobre Gabriela Mistral (Ciclo Poetas de Chile) 1938-01-27 Mistral, Gabriela (Poeta) Encuentro con Jana de Ibarbourou y Alfonsina Storni (IAVA – Montevideo) 60s Neruda, Pablo (Poeta) Sobre Gabriela Mistral (Ciclo Poetas de Chile)

En “Bonanza or False Riches: Changing Mexican Imaginaries of the Tropics and the Civilizing Impulse,” publicado en el segundo número del volumen 12 de HALAC en 2022, Matthew Vitz da una nueva lectura a algunos de los más emblemáticos representantes del pensamiento intelectual mexicano desde una lente poco explorada: su contribución a la conceptualización de las tierras tropicales. Al rastrear los cambios y continuidades de los discursos respecto de la tropicalidad de los mexicanos en un contexto global, Vitz resalta el subestimado pensamiento ambiental y geográfico de personajes como Clavijero, Francisco Javier Clavijero, Matías Romero, Francisco Bulnes y José Vasconcelos, que pocas veces resuenan en la historiografía ambiental. Los aportes de intelectuales mexicanos en cuanto a la conceptualización de sus tierras tropicales dieron forma a proyectos del estado-nación y contribuyeron a la producción global de conocimiento ambiental en el momento en el que nociones de los trópicos como espacios peligrosos y degenerativos comenzaban a perder terreno frente a las promesas de la bonanza tropical. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

En “Bonanza or False Riches: Changing Mexican Imaginaries of the Tropics and the Civilizing Impulse,” publicado en el segundo número del volumen 12 de HALAC en 2022, Matthew Vitz da una nueva lectura a algunos de los más emblemáticos representantes del pensamiento intelectual mexicano desde una lente poco explorada: su contribución a la conceptualización de las tierras tropicales. Al rastrear los cambios y continuidades de los discursos respecto de la tropicalidad de los mexicanos en un contexto global, Vitz resalta el subestimado pensamiento ambiental y geográfico de personajes como Clavijero, Francisco Javier Clavijero, Matías Romero, Francisco Bulnes y José Vasconcelos, que pocas veces resuenan en la historiografía ambiental. Los aportes de intelectuales mexicanos en cuanto a la conceptualización de sus tierras tropicales dieron forma a proyectos del estado-nación y contribuyeron a la producción global de conocimiento ambiental en el momento en el que nociones de los trópicos como espacios peligrosos y degenerativos comenzaban a perder terreno frente a las promesas de la bonanza tropical. Learn more about your ad choices. Visit megaphone.fm/adchoices

En “Bonanza or False Riches: Changing Mexican Imaginaries of the Tropics and the Civilizing Impulse,” publicado en el segundo número del volumen 12 de HALAC en 2022, Matthew Vitz da una nueva lectura a algunos de los más emblemáticos representantes del pensamiento intelectual mexicano desde una lente poco explorada: su contribución a la conceptualización de las tierras tropicales. Al rastrear los cambios y continuidades de los discursos respecto de la tropicalidad de los mexicanos en un contexto global, Vitz resalta el subestimado pensamiento ambiental y geográfico de personajes como Clavijero, Francisco Javier Clavijero, Matías Romero, Francisco Bulnes y José Vasconcelos, que pocas veces resuenan en la historiografía ambiental. Los aportes de intelectuales mexicanos en cuanto a la conceptualización de sus tierras tropicales dieron forma a proyectos del estado-nación y contribuyeron a la producción global de conocimiento ambiental en el momento en el que nociones de los trópicos como espacios peligrosos y degenerativos comenzaban a perder terreno frente a las promesas de la bonanza tropical. Learn more about your ad choices. Visit megaphone.fm/adchoices

En “Bonanza or False Riches: Changing Mexican Imaginaries of the Tropics and the Civilizing Impulse,” publicado en el segundo número del volumen 12 de HALAC en 2022, Matthew Vitz da una nueva lectura a algunos de los más emblemáticos representantes del pensamiento intelectual mexicano desde una lente poco explorada: su contribución a la conceptualización de las tierras tropicales. Al rastrear los cambios y continuidades de los discursos respecto de la tropicalidad de los mexicanos en un contexto global, Vitz resalta el subestimado pensamiento ambiental y geográfico de personajes como Clavijero, Francisco Javier Clavijero, Matías Romero, Francisco Bulnes y José Vasconcelos, que pocas veces resuenan en la historiografía ambiental. Los aportes de intelectuales mexicanos en cuanto a la conceptualización de sus tierras tropicales dieron forma a proyectos del estado-nación y contribuyeron a la producción global de conocimiento ambiental en el momento en el que nociones de los trópicos como espacios peligrosos y degenerativos comenzaban a perder terreno frente a las promesas de la bonanza tropical. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ricardo y Nicolás leen el primer volumen de la autobiografía de José Vasconcelos y se preguntan qué deben hacer con un escritor genial que también fue el nazi más famoso de México.

Aprovecha la promoción exclusiva de NordVPN y Leyendas Legendarias y obtén 4 meses gratis: https://nordvpn.com/legendarias Notas Macabrosas - Mujer en tiktok asegura ser prima de Richard Ramírez - Una escuela de Francia matricula a cuatro ovejas para llegar al cupo de alumnos exigidos  - La siniestra casa amarilla en los Alpes austríacos donde una doctora experimentó cruelmente con niños - Hombre es arrestado por robar cacahuates, pringles, pan y chorizo - Mujer muere ahogada con el semen de su amante - Una bandada de 100 pollos salvajes atormenta la aldea de Snettisham, Norfolk - Niña asegura que hay monstruos en su cuarto, encuentran 60,000 abejas viviendo en la pared  - Actualización sobre la situación de la pelea de los mariachis contra el tragafuegos Cañitas según Chat GPT - Rodrigo Jurado nos envía una reinterpretación de Cañitas al estilo de José Vasconcelos, realizada por Chat GPT También puedes escucharnos en Youtube, Spotify, Apple Podcasts, Amazon Music o tu app de podcasts favorita. Apóyanos en Patreon: https://www.patreon.com/leyendaspodcast​ Apóyanos en YouTube: https://www.youtube.com/c/leyendaslegendarias/join Síguenos: https://instagram.com/leyendaspodcast​ https://twitter.com/leyendaspodcast​ https://facebook.com/leyendaspodcast​ #Podcast​ #LeyendasLegendarias​ #HistoriasDelMasAca Learn more about your ad choices. Visit megaphone.fm/adchoices

Aprovecha la promoción exclusiva de NordVPN y Leyendas Legendarias y obtén 4 meses gratis: https://nordvpn.com/legendarias Notas Macabrosas - Mujer en tiktok asegura ser prima de Richard Ramírez - Una escuela de Francia matricula a cuatro ovejas para llegar al cupo de alumnos exigidos  - La siniestra casa amarilla en los Alpes austríacos donde una doctora experimentó cruelmente con niños - Hombre es arrestado por robar cacahuates, pringles, pan y chorizo - Mujer muere ahogada con el semen de su amante - Una bandada de 100 pollos salvajes atormenta la aldea de Snettisham, Norfolk - Niña asegura que hay monstruos en su cuarto, encuentran 60,000 abejas viviendo en la pared  - Actualización sobre la situación de la pelea de los mariachis contra el tragafuegos Cañitas según Chat GPT - Rodrigo Jurado nos envía una reinterpretación de Cañitas al estilo de José Vasconcelos, realizada por Chat GPT También puedes escucharnos en Youtube, Spotify, Apple Podcasts, Amazon Music o tu app de podcasts favorita. Apóyanos en Patreon: https://www.patreon.com/leyendaspodcast​ Apóyanos en YouTube: https://www.youtube.com/c/leyendaslegendarias/join Síguenos: https://instagram.com/leyendaspodcast​ https://twitter.com/leyendaspodcast​ https://facebook.com/leyendaspodcast​ #Podcast​ #LeyendasLegendarias​ #HistoriasDelMasAca Learn more about your ad choices. Visit megaphone.fm/adchoices

Notas Macabrosas - Hombre va a visitar a “las cariñosas” y se encuentra a su esposa trabajando - Volaris rescata a un menor de la trata de personas en la AICM - Piloto muere tras intentar hacer maniobra al estilo de ‘Top Gun' - Bebé de un año se escapa de su casa en la madrugada acompañado de un perro - Abren un 'portal' entre EE.UU. e Irlanda y se arrepienten de inmediato - Encontraron a un hombre que estuvo 27 años desaparecido, estaba en el sótano de su vecino - El encuentro de José Vasconcelos con 3 ovnis zumbadores - Una abuela quedó ciega cuando un stripper se quitó los pantalones - Mujer aterroriza a sus vecinos al colocar la figura de un baphomet en su barda - Messi golpea a niña con balón en pleno partido - El asesino en serie Robert Pickton es atacado salvajemente en prisión - Mariachis se pelean con un Tragafuegos afuera de una taquería También puedes escucharnos en Youtube, Spotify, Apple Podcasts, Amazon Music o tu app de podcasts favorita. Apóyanos en Patreon: https://www.patreon.com/leyendaspodcast​ Apóyanos en YouTube: https://www.youtube.com/c/leyendaslegendarias/join Síguenos: https://instagram.com/leyendaspodcast​ https://twitter.com/leyendaspodcast​ https://facebook.com/leyendaspodcast​ #Podcast​ #LeyendasLegendarias​ #HistoriasDelMasAca Learn more about your ad choices. Visit megaphone.fm/adchoices

Notas Macabrosas - Hombre va a visitar a “las cariñosas” y se encuentra a su esposa trabajando - Volaris rescata a un menor de la trata de personas en la AICM - Piloto muere tras intentar hacer maniobra al estilo de ‘Top Gun' - Bebé de un año se escapa de su casa en la madrugada acompañado de un perro - Abren un 'portal' entre EE.UU. e Irlanda y se arrepienten de inmediato - Encontraron a un hombre que estuvo 27 años desaparecido, estaba en el sótano de su vecino - El encuentro de José Vasconcelos con 3 ovnis zumbadores - Una abuela quedó ciega cuando un stripper se quitó los pantalones - Mujer aterroriza a sus vecinos al colocar la figura de un baphomet en su barda - Messi golpea a niña con balón en pleno partido - El asesino en serie Robert Pickton es atacado salvajemente en prisión - Mariachis se pelean con un Tragafuegos afuera de una taquería También puedes escucharnos en Youtube, Spotify, Apple Podcasts, Amazon Music o tu app de podcasts favorita. Apóyanos en Patreon: https://www.patreon.com/leyendaspodcast​ Apóyanos en YouTube: https://www.youtube.com/c/leyendaslegendarias/join Síguenos: https://instagram.com/leyendaspodcast​ https://twitter.com/leyendaspodcast​ https://facebook.com/leyendaspodcast​ #Podcast​ #LeyendasLegendarias​ #HistoriasDelMasAca Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 102 of Overthink, Ellie and David discuss diverse ideas of racial mixedness, from family-oriented models of mixed race to José Vasconcelos' and Gloria Anzaldua's idea of the ‘mestizo' heritage of Mexican people. They work through phenomenological accounts of cultural hybridity and selfhood, wondering how being multiracial pushes beyond the traditional Cartesian philosophical subject. Is mestizaje or mixed-race an identity in its own right? What are its connections to the history of colonialism and contemporary demographic trends? And, how can different relations to a mixed heritage lead to flourishing outside of white supremacist categories?Check out the episode's extended cut here! Works DiscussedLinda Martín Alcoff, Visible Identities: Race, Gender, and the Self Gloria Anzaldúa, Borderlands/La Frontera Rosie Braidotti, Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory Elisa Lipsky-Karasz, “Naomi Osaka on Fighting for No. 1 at the U.S. Open”Mariana Ortega, In-Between: Latina Feminist Phenomenology, Multiplicity, and the SelfNaomi Osaka, “Naomi Osaka reflects on challenges of being black and Japanese”Octavio Paz, The Labyrinth of Solitude Adrian Piper, “Passing for White, Passing for Black” Carlin Romano, “A Challenge for Philosophy”José Vasconcelos, La Raza Cósmica Naomi Zack, Race and Mixed Race Patreon | patreon.com/overthinkpodcast Website | overthinkpodcast.comInstagram & Twitter | @overthink_podEmail | Dearoverthink@gmail.comYouTube | Overthink podcastSupport the show

-Localizan el cuerpo de un hombre sin vida en la cara sur del Pico de Orizaba-20 de mayo último día para solicitar una copia credencial para votar-El 27 de febrero de 1882 nació José Vasconcelos en Oaxaca-Más información en nuestro podcast

Mentioned in this episode:SBCC International - https://www.sbcc.edu/international/SBCC International Ambassadors - https://www.instagram.com/sbccambassadors/?hl=enShelby Arthur - https://www.linkedin.com/in/shelby-arthurSBCC Basic Needs Programs - https://www.sbcc.edu/equity/basic-needs-programs/SBCC Transitions Program - https://www.sbcc.edu/eopscare/transitions.phpPaloma Arnold - https://sbcc-vaquero-voices.simplecast.com/episodes/episode-36-paloma-arnold-QGi1Tqu3Food Not Bombs - https://foodnotbombs.net/new_site/PLUR - https://en.wikipedia.org/wiki/PLURThe Casualties - https://en.wikipedia.org/wiki/The_CasualtiesSuper Cucas - https://www.supercucasrestaurant.com/Los Agaves - https://los-agaves.com/Chile Rellenos - https://cooking.nytimes.com/recipes/1022118-chiles-rellenosSBCC AAPI+ mural - https://www.noozhawk.com/new-sbcc-mural-pays-tribute-to-asian-american-pacific-islander-and-desi-american-heritage/Tacos El Vladis - https://www.yelp.com/biz/tacos-el-vladis-oxnardTaqueria Mena - https://www.yelp.com/biz/taqueria-mena-santa-barbaraTacos de Canasta - https://en.wikipedia.org/wiki/Tacos_de_canastaPeso Pluma - https://en.wikipedia.org/wiki/Peso_PlumaGrupo Firme - https://en.wikipedia.org/wiki/Grupo_FirmeFuerza Regida - https://en.wikipedia.org/wiki/Fuerza_RegidaEZ Band - https://www.youtube.com/@EZBANDOFFICIALMexrissey - https://en.wikipedia.org/wiki/MexrrisseyLa Raza Cósmica by José Vasconcelos - https://en.wikipedia.org/wiki/La_raza_c%C3%B3smicaLos Caminos De La VIda - https://www.youtube.com/watch?v=aSg-XIpovewBuena Vista Social Club - https://en.wikipedia.org/wiki/Buena_Vista_Social_ClubEliades Ochoa - https://en.wikipedia.org/wiki/Eliades_OchoaOmara Portuondo - https://en.wikipedia.org/wiki/Omara_PortuondoDeceits - https://deceitsband.bandcamp.com/Depresión Sonora - https://depresionsonora.bandcamp.com/Voodoo Glow Skulls - https://en.wikipedia.org/wiki/Voodoo_Glow_SkullsChencha Berrinches - https://www.instagram.com/chencha_berrinches_official/?hl=enTijuana No! - https://en.wikipedia.org/wiki/Tijuana_No!Los Rude Boys - https://open.spotify.com/artist/2hnZsQ7mRwI8Sy2fOFL9wAEskorbuto - https://en.wikipedia.org/wiki/EskorbutoAtmosphere/Emo Rap - https://chicagoreader.com/music/how-atmosphere-accidentally-predicted-juice-wrld/

En La tormenta, José Vasconcelos refiere las calamidades que la presencia de Villa y sus soldados trajeron a la capital del país cuando la ocuparon en diciembre de 1914.

Producida en 1957, Charlas Mexicanas es una serie pionera en la televisión cultural de México. Este episodio rescata la participación del intelectual José Vasconcelos. Tema: Porfirio Díaz.

Producida en 1957, Charlas Mexicanas es una serie pionera en la televisión cultural de México. Este episodio rescata la participación del intelectual José Vasconcelos. Tema: Hernán Cortés.

Antonieta Rivas Mercado se suicidó un 11 de febrero de 1931 en la Catedral de Notre Dame en París, la pistola era de José Vasconcelos, pero él nunca supo que se la había quitado, quieres ver que pasó...

Anxieties of Experience ofrece una nueva interpretación de las literaturas de las Américas desde mediados del siglo XIX hasta principios del siglo XXI. Girándose en debates de larga duración acerca de las fuentes de las literaturas del “Nuevo Mundo”—¿se derivan del contacto de primera mano con las distintas geografías americanas o del uso creativo de tradiciones ya existentes?—el libro señala una creciente divergencia en el modo en que los autores norteamericanos e hispanoamericanos definen su autoridad. Mientras que el campo literario norteamericano empieza a organizarse alrededor de una “literatura de la experiencia”, argumenta Lawrence, literatura hispanoamericana se aglutina alrededor de una “literatura del lector”. Anxieties of Experience traza la trayectoria de esos dos ejes literarios en distintas épocas históricas, situando su argumento en el período posterior a la guerra de 1898 con el ascenso de Estados Unidos como fuerza hegemónica en la región. El libro aporta preguntas nuevas sobre el grado en que estas dos líneas literarias se han constituido mutuamente, traduciendo los desequilibrios geopolíticos y económicos en el hemisferio a un registro específicamente estético. El argumento se gira en torno a lecturas de varios autores canónicos, desde Walt Whitman, José Martí, Stephen Crane, y José Enrique Rodó a Ricardo Piglia, Toni Morrison, Sandra Cisneros, Cristina Rivera Garza, y Roberto Bolaño, pasando por Jorge Luis Borges, Ernest Hemingway, William Faulkner, José Vasconcelos, Langston Hughes, Katherine Anne Porter y Waldo Frank. Entrevista realizada por Jeffrey Herlihy-Mera catedrático de Humanidades, Universidad de Puerto Rico-Mayagüez. Learn more about your ad choices. Visit megaphone.fm/adchoices

Anxieties of Experience ofrece una nueva interpretación de las literaturas de las Américas desde mediados del siglo XIX hasta principios del siglo XXI. Girándose en debates de larga duración acerca de las fuentes de las literaturas del “Nuevo Mundo”—¿se derivan del contacto de primera mano con las distintas geografías americanas o del uso creativo de tradiciones ya existentes?—el libro señala una creciente divergencia en el modo en que los autores norteamericanos e hispanoamericanos definen su autoridad. Mientras que el campo literario norteamericano empieza a organizarse alrededor de una “literatura de la experiencia”, argumenta Lawrence, literatura hispanoamericana se aglutina alrededor de una “literatura del lector”. Anxieties of Experience traza la trayectoria de esos dos ejes literarios en distintas épocas históricas, situando su argumento en el período posterior a la guerra de 1898 con el ascenso de Estados Unidos como fuerza hegemónica en la región. El libro aporta preguntas nuevas sobre el grado en que estas dos líneas literarias se han constituido mutuamente, traduciendo los desequilibrios geopolíticos y económicos en el hemisferio a un registro específicamente estético. El argumento se gira en torno a lecturas de varios autores canónicos, desde Walt Whitman, José Martí, Stephen Crane, y José Enrique Rodó a Ricardo Piglia, Toni Morrison, Sandra Cisneros, Cristina Rivera Garza, y Roberto Bolaño, pasando por Jorge Luis Borges, Ernest Hemingway, William Faulkner, José Vasconcelos, Langston Hughes, Katherine Anne Porter y Waldo Frank. Entrevista realizada por Jeffrey Herlihy-Mera catedrático de Humanidades, Universidad de Puerto Rico-Mayagüez. Learn more about your ad choices. Visit megaphone.fm/adchoices

Anxieties of Experience ofrece una nueva interpretación de las literaturas de las Américas desde mediados del siglo XIX hasta principios del siglo XXI. Girándose en debates de larga duración acerca de las fuentes de las literaturas del “Nuevo Mundo”—¿se derivan del contacto de primera mano con las distintas geografías americanas o del uso creativo de tradiciones ya existentes?—el libro señala una creciente divergencia en el modo en que los autores norteamericanos e hispanoamericanos definen su autoridad. Mientras que el campo literario norteamericano empieza a organizarse alrededor de una “literatura de la experiencia”, argumenta Lawrence, literatura hispanoamericana se aglutina alrededor de una “literatura del lector”. Anxieties of Experience traza la trayectoria de esos dos ejes literarios en distintas épocas históricas, situando su argumento en el período posterior a la guerra de 1898 con el ascenso de Estados Unidos como fuerza hegemónica en la región. El libro aporta preguntas nuevas sobre el grado en que estas dos líneas literarias se han constituido mutuamente, traduciendo los desequilibrios geopolíticos y económicos en el hemisferio a un registro específicamente estético. El argumento se gira en torno a lecturas de varios autores canónicos, desde Walt Whitman, José Martí, Stephen Crane, y José Enrique Rodó a Ricardo Piglia, Toni Morrison, Sandra Cisneros, Cristina Rivera Garza, y Roberto Bolaño, pasando por Jorge Luis Borges, Ernest Hemingway, William Faulkner, José Vasconcelos, Langston Hughes, Katherine Anne Porter y Waldo Frank. Entrevista realizada por Jeffrey Herlihy-Mera catedrático de Humanidades, Universidad de Puerto Rico-Mayagüez. Learn more about your ad choices. Visit megaphone.fm/adchoices

¡Hola, chichonas! Esta semana nos acompaña Sierva Malina (@bronce_latino): latinoamericanista, modelo, voguera, académica y chichona certificada. Estaremos hablando del mestizaje, la raza cósmica de José Vasconcelos, la latinidad, la identidad y responderemos la pregunta ¿Rosalía es latina? Besitos, mi gente latino

Les dejamos la segunda parte de este episodio donde nos acompañó nuestra amiga Mirza Domínguez e intentamos hablar brevemente sobra la vida de este filósofo, educador y multifacético mexicano. ¡Gracias por escucharnos! ¡Si aun no lo haces, suscríbete y deja tu pulgar arriba, para nosotros es muy importante! ¡Episodio nuevo cada lunes! Los invitamos a que comenten y manden sus saludos, leemos todos los comentarios y hacemos un video respondiendolos. ¡Entra al grupo de histeriadores en facebook donde ustedes podrán compartir contenido! https://www.facebook.com/groups/histeriadoresdemexico Nuestras cuentas personales: Mirza Domínguez. https://www.instagram.com/mirzadominguez Diana Grijalva. https://www.instagram.com/_dianasinh Omar Benítez. https://www.instagram.com/soyomar.bntz Mariano Pérez. https://www.instagram.com/meapodanmarin ¿Ya sigues a nuestra productora Público Difícil? No es tan difícil. Te dejamos el enlace: https://www.instagram.com/publicodificilproductora ¡Sigue a La Histeria De México en todas las redes! Instagram: https://www.instagram.com/lahisteriademexico Facebook: https://www.facebook.com/LaHisteriaDeMexico Spotify: https://open.spotify.com/show/2p3iNUfuxdfOBINW0UiXAe Apple podcast: https://podcasts.apple.com/mx/podcast/la-histeria-de-m%C3%A9xico/id1564666592 Google podcast: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy81NjYyNGQ1NC9wb2RjYXN0L3Jzcw?sa=X&ved=2ahUKEwjcl9f0nvPwAhWWmJ4KHWnYB9cQ9sEGegQIARAC

Reacción a comentarios del Ep.60 José Vasconcelos

En esta ocasión nos acompaña nuevamente nuestra amiga Mirza Dominguez para hacerun pequeño y breve homenaje a un intelectual político, filósofo, místico y educador mexicano. Una de las figuras mexicanas más complejas del siglo 20 y que marcó a varias generaciones que gracias a él vieron y entendieron de una nueva manera a México y su rica cultura. Conocido como el maestro de la Juventud de América, les presentamos a José Vasconcelos. ¡Gracias por escucharnos! ¡Si aun no lo haces, suscríbete y deja tu pulgar arriba, para nosotros es muy importante! ¡Episodio nuevo cada lunes! Los invitamos a que comenten y manden sus saludos, leemos todos los comentarios y hacemos un video respondiendolos. ¡Entra al grupo de histeriadores en facebook donde ustedes podrán compartir contenido! https://www.facebook.com/groups/histeriadoresdemexico Nuestras cuentas personales: Mirza Dominguez. https://www.instagram.com/mirzadominguez Diana Grijalva. https://www.instagram.com/_dianasinh Omar Benítez. https://www.instagram.com/soyomar.bntz Mariano Pérez. https://www.instagram.com/meapodanmarin ¿Ya sigues a nuestra productora Público Difícil? No es tan difícil. Te dejamos el enlace: https://www.instagram.com/publicodificilproductora ¡Sigue a La Histeria De México en todas las redes! Instagram: https://www.instagram.com/lahisteriademexico Facebook: https://www.facebook.com/LaHisteriaDeMexico Spotify: https://open.spotify.com/show/2p3iNUfuxdfOBINW0UiXAe Apple podcast: https://podcasts.apple.com/mx/podcast/la-histeria-de-m%C3%A9xico/id1564666592 Google podcast: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy81NjYyNGQ1NC9wb2RjYXN0L3Jzcw?sa=X&ved=2ahUKEwjcl9f0nvPwAhWWmJ4KHWnYB9cQ9sEGegQIARAC

Muro y rejilla de secundaria José Vasconcelos se encuentran dañados tras el impacto de un vehículo.

La inflación en el país se desacelera y llega a 7.12 por ciento en la primera quincena de marzo… Los productos que más bajaron: el gas LP, pollo, jitomate y huevo… En contraste, lo que subió: el limón, los boletos de avión y los servicios turísticos… En otros temas… El Secretario de Estado de Estados Unidos, Antony Blinken, aseguró que los cárteles del narcotráfico controlan territorios en México por encima del gobierno… En el escenario político… Nueva derrota para el “Plan B” del Presidente… El Tribunal Electoral resolvió que no es aplicable el artículo para destituir a Edmundo Jacobo Molina de la Secretaría Ejecutiva del INE… En el Senado, Miguel Ángel Osorio Chong dejó de ser el coordinador de la bancada del PRI; no saldrá del partido pero sí del grupo parlamentario… En Oaxaca, una vez más, los usos y costumbres vencen a la autoridad… En una reunión entre las autoridades educativas, municipales y los padres de familia de la telesecundaria “José Vasconcelos” de Villa Tutu-tepec, determinaron que Paola, la joven a la que no le dejaban tomar clases porque quería usar pantalón, sea expulsada de esa escuela, y si quiere asistir a clases, que se vaya a otra comunidad… Indignante… Los derechos humanos de una niña sometidos a votación... Revictimizada, vulnerada... Como me lo dijo su mamá aquí mismo... Son los adultos el problema... En información internacional… Jóvenes en Afganistán se refugian en las escuelas coránicas luego de la prohibición y cierre de colegios de mujeres… En lugar de clases normales, las adolescentes memorizan el Corán… Y en los otros temas… La futbolista Katty Martínez levantó la voz desde el América Femenil en favor de su excompañera Scarlett Camberos tras sufrir acoso y violencia digital… Bizarrap lanza su nuevo sencillo con Arcangel y se vuelve tendencia de nuevo… Y Laura Pausini sorprende a todos con su boda.

La inflación en el país se desacelera y llega a 7.12 por ciento en la primera quincena de marzo… Los productos que más bajaron: el gas LP, pollo, jitomate y huevo… En contraste, lo que subió: el limón, los boletos de avión y los servicios turísticos… En otros temas… El Secretario de Estado de Estados Unidos, Antony Blinken, aseguró que los cárteles del narcotráfico controlan territorios en México por encima del gobierno… En el escenario político… Nueva derrota para el “Plan B” del Presidente… El Tribunal Electoral resolvió que no es aplicable el artículo para destituir a Edmundo Jacobo Molina de la Secretaría Ejecutiva del INE… En el Senado, Miguel Ángel Osorio Chong dejó de ser el coordinador de la bancada del PRI; no saldrá del partido pero sí del grupo parlamentario… En Oaxaca, una vez más, los usos y costumbres vencen a la autoridad… En una reunión entre las autoridades educativas, municipales y los padres de familia de la telesecundaria “José Vasconcelos” de Villa Tutu-tepec, determinaron que Paola, la joven a la que no le dejaban tomar clases porque quería usar pantalón, sea expulsada de esa escuela, y si quiere asistir a clases, que se vaya a otra comunidad… Indignante… Los derechos humanos de una niña sometidos a votación... Revictimizada, vulnerada... Como me lo dijo su mamá aquí mismo... Son los adultos el problema... En información internacional… Jóvenes en Afganistán se refugian en las escuelas coránicas luego de la prohibición y cierre de colegios de mujeres… En lugar de clases normales, las adolescentes memorizan el Corán… Y en los otros temas… La futbolista Katty Martínez levantó la voz desde el América Femenil en favor de su excompañera Scarlett Camberos tras sufrir acoso y violencia digital… Bizarrap lanza su nuevo sencillo con Arcangel y se vuelve tendencia de nuevo… Y Laura Pausini sorprende a todos con su boda.

El espacio de difusión de las noticias más importantes de la Máxima Casa de Estudios de Puebla lo encuentras de lunes a viernes a las 20:00 horas en Informativo BUAP. Alumnas BUAP encabezan la delegación poblana que asiste a la XI Olimpiada Nacional de Filosofía. Conoce la oferta educativa que se oferta al interior del estado de Puebla para el proceso de Admisión BUAP 2023. Convocatoria para el XXVIII Verano de la investigación científica y tecnológica del Pacífico 2023 o Programa Delfín. Amoxcalli y Mirada Antropológica, revistas de la FFyL, fueron indexadas a la red LatinREV y Latindex. Se conmemora el natalicio de José Vasconcelos. Participa en el Croquetón Lenguas 2023. El poeta, Miguel Maldonado, presenta una reflexión sobre el volcán Paricutín. Cultura: se presenta el libro: Los historiadores. Una comunidad del saber. México. 1903-1955 de Jesús Iván Mora Muro. Deportes: fuimos sede del Campeonato Estatal Selectivo de Gimnasia de trampolín. Te acompaña en la transmisión José Carlos Bernal Suárez.

Carta de José Vasconcelos a Esperanza Cruz.

Decía José Vasconcelos que nuestro propósito como personas debía ser el “trabajo útil, el trabajo productivo, la acción noble y el pensamiento alto”.

Edgar Estrada nos cuenta todo sobre el mundo del entretenimiento; espectáculos, cultura, cine, televisión, teatro y muchas recomendaciones a tu alcance. ¡Estamos "Del Tingo al Tango"!Una producción original de Audio Centro

El 21 de septiembre los estudiantes de la Preparatoria 5 José Vasconcelos realizaron una asamblea en la que decidieron tomar una vez más las instalaciones, esto a tres semanas de ocurrir una situación similar. Autoridades capitalinas reportan que no hubo conflictos al momento de tomar el plantel. Los estudiantes encapuchados se negaron a ser entrevistados pero declararon que su pliego petitorio publicado el pasado 6 de septiembre no ha tenido respuesta. A pesar de esto, la directora de la preparatoria, Velia Carrillo García ha comentado que cada uno de los puntos del pliego ya ha sido atendido.

Sube a El Cocodrilo y escucha la crónica del 9 de julio de 1922, día en que fue inaugurado el edificio de la Secretaría de Educación Pública, bajo la presidencia de Álvaro Obregón y siendo titular de esta dependencia, José Vasconcelos.

Entrevista con el arquitecto español Miquel Adrià, director de la revista Arquine, sobre la reciente publicación del libro de Alberto Kalach sobre su obra arquitectónica, entre la que destaca la biblioteca José Vasconcelos en la CDMX.

Orientaciones transpacíficas: la modernidad mexicana y el espectro de Asia (Chapel Hill: The University of North Carolina Press, 2019) rastrea una orientación intelectual hacia el este y el sur de Asia en la tradición intelectual y artística mexicana de los siglos XX y XXI. El libro abarca un arco temporal amplio, desde el Porfiriato tardío, pasando por los imaginarios culturales del nacionalismo posrevolucionario, hasta la Guerra Fría y la expansión del neoliberalismo en los albores de este nuevo siglo. Torres-Rodríguez demuestra que, aunque después de la independencia mexicana se corta el importante vínculo comercial y las redes imperiales que mantuvieron materialmente unidos al virreinato de la Nueva España con el continente asiático durante el periodo colonial, el este y el sur de Asia continúan constituyendo un punto de referencia crucial a través del cual la tradición intelectual mexicana afirma su centralidad global y ancla sus discursos de singularidad cultural y/o excepción política. Más allá de comprender el orientalismo mexicano como una imitación ornamental o accidental de los archivos orientalistas europeos, Torres-Rodríguez lo reconceptualiza como una orientación espacial, corporal y geográfica enraizada en la propia historia (post)colonial mexicana y en una tradición transpacífica de larga duración. Este estudio marca el giro transpacífico en las crónicas de viaje del diario de José Juan Tablada, en las fotografías paisajísticas de Manuel Álvarez Bravo, en los ensayos culturales y en las campañas de alfabetización de José Vasconcelos, en los ensayos marxistas sobre el modo de producción asiático de Roger Bartra, en la novela negra de Rafael Bernal, en la ópera coral juarense de Marcela Rodríguez y Mario Bellatin y en las instalaciones tijuanenses de Shinpei Takeda. Orientaciones transpacíficas revisa el énfasis tradicional en la relación trasatlántica con Europa y demuestra que es una imaginación transpacífica y verdaderamente planetaria –en vez de una mera dialéctica entre ex colonia y metrópolis– la que define la conceptualización sobre la modernidad cultural y literaria mexicana. Orientaciones transpacíficas explora los puntos de intersección entre el orientalismo mexicano y las ideologías centrales del latinoamericanismo para develar la influencia espectral de Asia en la formación de definiciones culturales y continentales que son fundamentales para el campo de los estudios latinoamericanos. Presenta Rodrigo del Río, a researcher and writer with experience in Latin American literature.

Contrary to what most students were taught in U.S. History class, over 35,000 years before Christopher Columbus sailed the ocean blue in 1492, the first inhabitants of North American arrived and they did not come from Europe. Join host Sabrina, as she explores the question "Where Are You From?" with Clearbear, an Activist/Model/Filmmaker who is Kumeyaay (a tribe of Indigenous peoples of the Americas who live at the northern border of present-day Baja California, Mexico and the southern border of present-day California,USA) and Chichimeca (the name of the Nahua peoples of the present-day Bajio region of Mexico). After a challenging childhood navigating his own identity, he has dedicated his life to supporting identity liberation for all Indigenous people. He offers an interesting perspective on the question, and shares advice for anyone who is struggling with identity work. Sabrina also jumps into the Fact Check space in this episode for the first time, and Natalia shares a bit more about how this conversation made her reflect on her Mexican-American identity. If you want to dive deeper into Sabrina and Natalia's fact-checks from this episode, check out the links below: You can follow Clearbear @Topash.Skharr on Instagram Census Data referenced: https://www.census.gov/about/partners/cic/resources/data-links/aian.html Native Knowledge: https://americanindian.si.edu/nk360 Treaty of Guadalupe Hidalgo: https://www.history.com/topics/mexican-american-war/treaty-of-guadalupe-hidalgo Jose Vasconcelos: Hilton, Ronald. “José Vasconcelos.” The Americas, vol. 7, no. 4, 1951, pp. 395–412. JSTOR, www.jstor.org/stable/978353. Accessed 7 Apr. 2021. https://www-jstor-org.libproxy1.usc.edu/stable/pdf/978353.pdf?ab_segments=0%252Fbasic_search_gsv2%252Fcontrol&refreqid=excelsior%3A4017d1ede862cdeb991263bbd95eb3de https://en.wikipedia.org/wiki/Jos%C3%A9_Vasconcelos The opinions views and beliefs expressed by the guests and participants of this podcast are solely their own and do not reflect the opinions, views and beliefs of the host of the podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/belonginusa/support

A dancer and a musician, this couple has been a part of the history of Mexican traditional musics in the LA area for more than half a century! We interview them in a double episode. SUMMARY OF RESEARCH SOURCES The great majority of sources about twentieth-century Mexican music in Los Angeles are in English. In order not to present two very different-sized bibliographies, we have combined them here into a single document. Mariachi & Son jarocho in LA & at UCLAAlexandro Hernández, “The Son Jarocho and Fandango Amidst Struggle and Social Movements:Migratory Transformation and Reinterpretation of the Son Jarocho in La Nueva España, México, and the United States. “ PhD Dissertation, UCLA. 2014 Loza, Steven. Barrio Rhythm: Mexican American Music in Los Angeles. Vol. 517. University of Illinois Press, 1993.   ----------------- "From Veracruz to Los Angeles: The Reinterpretation of the" Son Jarocho"." Latin American Music Review/Revista de Música Latinoamericana 13.2 (1992): 179-194. Maureen Russell, “Highlights from the Ethnomusicology Archive: Music of Mexico Ensemble.” Nov. 2012 https://ethnomusicologyreview.ucla.edu/content/highlights-ethnomusicology-archive-music-mexico-ensemble (https://ethnomusicologyreview.ucla.edu/content/highlights-ethnomusicology-archive-music-mexico-ensemble) ----------------------“Special Guest: Dr. Robert Saxe and the Music of Mexico Ensemble, 1964” -- Ethnomusicology Review https://ethnomusicologyreview.ucla.edu/content/special-guest-dr-robert-saxe-and-music-mexico-ensemble-1964 (https://ethnomusicologyreview.ucla.edu/content/special-guest-dr-robert-saxe-and-music-mexico-ensemble-1964) Salazar, Lauryn Camille. "From Fiesta to Festival: Mariachi Music in California and the Southwestern United States." PhD diss., UCLA, 2011. https://www.proquest.com/docview/919079833?accountid=14512 (https://www.proquest.com/docview/919079833?accountid=14512) El Ballet Folklórico“Emilio Pulido Interview, 1999) -- USC Digital Library http://digitallibrary.usc.edu/digital/collection/p15799coll105/id/1589/rec/1 (http://digitallibrary.usc.edu/digital/collection/p15799coll105/id/1589/rec/1) “A History of Mexican Folklórico in Southern California” -- The Dance History Project of Southern California http://www.dancehistoryproject.org/articles/culture-and-context/world-arts-culture-context/a-history-of-mexican-folorico-in-southern-california/ (http://www.dancehistoryproject.org/articles/culture-and-context/world-arts-culture-context/a-history-of-mexican-folorico-in-southern-california/) “Grupo Folklorico de UCLA” -- gfdeUCLA.com https://www.gfdeucla.com (https://www.gfdeucla.com) “The Role of Folklorico and Danzantes Unidos in the Chican@ Movement” -- Eve Marie Delfin https://escholarship.org/uc/item/6mw0n3x9 (https://escholarship.org/uc/item/6mw0n3x9) El MestizajeA great deal has been written (and debated) around this theme; even a representative bibliography is not within the scope of this document. We offer here just a couple of classic sources, in which the idea of Mexican national identity as a “mixture” was developed. José Vasconcelos. La Raza Cósmica. Misión de la raza iberoamericana. Notas de viajes a la América del Sur. (1925) Madrid, Spain : Aguilar, 1966. Bilingual edition: Cosmic race: a bilingual edition. Translated and annotated by Didier T. Jaén  Baltimore, Maryland : Johns Hopkins University Press, 1997 Octavio Paz. t El laberinto de la soledad. (1950) ed. por Anthony Stanton. Manchester University Press/ Palgrave, 2008. English translation: The labyrinth of solitude: life and thought in Mexico, by Octavio Paz. Translated by Lysander Kemp. New York : Grove Press, 1961.

Bailarina y músico, esta pareja ha sido una parte de la historia de las músicas tradicionales mexicanas en la área de Los Ángeles ¡durante más de medio siglo! Los entrevistamos en un episodio doble. RESUMEN DE FUENTES DE INVESTIGACIÓN La gran mayoría de las fuentes sobre la historia de la música mexicana en el s.XX en Los Ángeles son anglófonas. Para no presentar dos bibliografías muy desiguales, las hemos combinado aquí en un solo documento. Mariachi & Son jarocho in LA & at UCLA Alexandro Hernández, “The Son Jarocho and Fandango Amidst Struggle and Social Movements:Migratory Transformation and Reinterpretation of the Son Jarocho in La Nueva España, México, and the United States. “ PhD Dissertation, UCLA. 2014 Loza, Steven. Barrio Rhythm: Mexican American Music in Los Angeles. Vol. 517. University of Illinois Press, 1993.   ----------------- "From Veracruz to Los Angeles: The Reinterpretation of the" Son Jarocho"." Latin American Music Review/Revista de Música Latinoamericana 13.2 (1992): 179-194. Maureen Russell, “Highlights from the Ethnomusicology Archive: Music of Mexico Ensemble.” Nov. 2012 https://ethnomusicologyreview.ucla.edu/content/highlights-ethnomusicology-archive-music-mexico-ensemble (https://ethnomusicologyreview.ucla.edu/content/highlights-ethnomusicology-archive-music-mexico-ensemble) ----------------------“Special Guest: Dr. Robert Saxe and the Music of Mexico Ensemble, 1964” -- Ethnomusicology Review https://ethnomusicologyreview.ucla.edu/content/special-guest-dr-robert-saxe-and-music-mexico-ensemble-1964 (https://ethnomusicologyreview.ucla.edu/content/special-guest-dr-robert-saxe-and-music-mexico-ensemble-1964) Salazar, Lauryn Camille. "From Fiesta to Festival: Mariachi Music in California and the Southwestern United States." PhD diss., UCLA, 2011. https://www.proquest.com/docview/919079833?accountid=14512 (https://www.proquest.com/docview/919079833?accountid=14512) El Ballet Folklórico“Emilio Pulido Interview, 1999) -- USC Digital Library http://digitallibrary.usc.edu/digital/collection/p15799coll105/id/1589/rec/1 (http://digitallibrary.usc.edu/digital/collection/p15799coll105/id/1589/rec/1) “A History of Mexican Folklórico in Southern California” -- The Dance History Project of Southern California http://www.dancehistoryproject.org/articles/culture-and-context/world-arts-culture-context/a-history-of-mexican-folorico-in-southern-california/ (http://www.dancehistoryproject.org/articles/culture-and-context/world-arts-culture-context/a-history-of-mexican-folorico-in-southern-california/) “Grupo Folklorico de UCLA” -- gfdeUCLA.com https://www.gfdeucla.com (https://www.gfdeucla.com) “The Role of Folklorico and Danzantes Unidos in the Chican@ Movement” -- Eve Marie Delfin https://escholarship.org/uc/item/6mw0n3x9 (https://escholarship.org/uc/item/6mw0n3x9) El MestizajeSe ha escrito (y discutido) muchísimo en torno a este tema; ni siquiera una bibliografía representativa esté al alcance de este documento. Ofrecemos nomás un par de fuentes clásicas, en las cuales se desarrollaba la idea de la identidad nacional mexicana como mestiza. José Vasconcelos. La Raza Cósmica. Misión de la raza iberoamericana. Notas de viajes a la América del Sur. (1925) Madrid, Spain : Aguilar, 1966. Bilingual edition: Cosmic race: a bilingual edition. Translated and annotated by Didier T. Jaén  Baltimore, Maryland : Johns Hopkins University Press, 1997 Octavio Paz. El laberinto de la soledad. (1950) ed. por Anthony Stanton. Manchester University Press/ Palgrave, 2008. English translation: The labyrinth of solitude: life and thought in Mexico, by Octavio Paz. Translated by Lysander Kemp. New York : Grove Press, 1961.

Bailarina y músico, esta pareja ha sido una parte de la historia de las músicas tradicionales mexicanas en la área de Los Ángeles ¡durante más de medio siglo! Los entrevistamos en un episodio doble. La gran mayoría de las fuentes sobre la historia de la música mexicana en el s. XX en Los Ángeles son anglófonas. Para no presentar dos bibliografías muy desiguales, las hemos combinado aquí en un solo documento. The great majority of sources about twentieth-century Mexican music in Los Angeles are in English. In order not to present two very different-sized bibliographies, we have combined them here into a single document. Mariachi & Son jarocho in LA & at UCLAAlexandro Hernández, “The Son Jarocho and Fandango Amidst Struggle and Social Movements:Migratory Transformation and Reinterpretation of the Son Jarocho in La Nueva España, México, and the United States. “ PhD Dissertation, UCLA. 2014 Maureen Russell, “Highlights from the Ethnomusicology Archive: Music of Mexico Ensemble.” Nov. 2012 https://ethnomusicologyreview.ucla.edu/content/highlights-ethnomusicology-archive-music-mexico-ensemble (https://ethnomusicologyreview.ucla.edu/content/highlights-ethnomusicology-archive-music-mexico-ensemble)  ----------------------“Special Guest: Dr. Robert Saxe and the Music of Mexico Ensemble, 1964” -- Ethnomusicology Review https://ethnomusicologyreview.ucla.edu/content/special-guest-dr-robert-saxe-and-music-mexico-ensemble-1964 (https://ethnomusicologyreview.ucla.edu/content/special-guest-dr-robert-saxe-and-music-mexico-ensemble-1964)  Salazar, Lauryn Camille. "From Fiesta to Festival: Mariachi Music in California and the Southwestern United States." PhD diss., UCLA, 2011. https://www.proquest.com/docview/919079833?accountid=14512 (https://www.proquest.com/docview/919079833?accountid=14512)  El Ballet Folklórico“Emilio Pulido Interview, 1999) -- USC Digital Library  http://digitallibrary.usc.edu/digital/collection/p15799coll105/id/1589/rec/1 (http://digitallibrary.usc.edu/digital/collection/p15799coll105/id/1589/rec/1) “A History of Mexican Folklórico in Southern California” -- The Dance History Project of Southern California http://www.dancehistoryproject.org/articles/culture-and-context/world-arts-culture-context/a-history-of-mexican-folorico-in-southern-california/ (http://www.dancehistoryproject.org/articles/culture-and-context/world-arts-culture-context/a-history-of-mexican-folorico-in-southern-california/)  “Grupo Folklorico de UCLA” -- gfdeUCLA.com https://www.gfdeucla.com (https://www.gfdeucla.com)  “The Role of Folklorico and Danzantes Unidos in the Chican@ Movement” -- Eve Marie Delfin https://escholarship.org/uc/item/6mw0n3x9 (https://escholarship.org/uc/item/6mw0n3x9)  El MestizajeSe ha escrito (y discutido) muchísimo en torno a este tema; ni siquiera una bibliografía representativa esté al alcance de este documento. Ofrecemos nomás un par de fuentes clásicas, en las cuales se desarrollaba la idea de la identidad nacional mexicana como mestiza. A great deal has been written (and debated) around this theme; even a representative bibliography is not within the scope of this document. We offer here just a couple of classic sources, in which the idea of Mexican national identity as a “mixture” was developed. José Vasconcelos. La Raza Cósmica. Misión de la raza iberoamericana. Notas de viajes a la América del Sur. (1925) Madrid, Spain : Aguilar, 1966. Bilingual edition: Cosmic race: a bilingual edition. Translated and annotated by Didier T. Jaén  Baltimore, Maryland : Johns Hopkins University Press, 1997 Octavio Paz. El laberinto de la soledad. (1950) ed. por Anthony Stanton. Manchester University Press/ Palgrave, 2008. English translation: The labyrinth of solitude: life and thought in Mexico, by Octavio Paz. Translated by Lysander Kemp. New York : Grove Press, 1961.

Welcome to the first episode! The topic of this first episode is the Latine identity crisis. In this episode, I define the different labels used to identify ourselves as an ethnic group such as Hispanic, Latino/a, and Latinx/e. I will also clarify that these labels only describe our ethnic identity, not our race. Then, I will talk briefly about José Vasconcelos and his essay, La Raza cósmica. Vasconcelos was a controversial Mexican politician, philosopher, and author known to have defended eugenics in his writings and later in life held antisemitic beliefs and sympathize with the Nazis by writing for the racist magazine known as Timón. However, the ideas presented in his essay, La Raza cósmica, became a staple in the formation of the NCLR, National Council of La Raza, and the Chicano movement. Anti-Blackness and anti-indigeneity are prevalent in the Latine community. And, in a way, the eurocentric ideologies of Vasconcelos only served to push these sentiments within the Latine community over the years. However, we must be able to think critically, understand and recognize, historically, where these sentiments came from, just how embedded they are in our cultural beliefs and work actively to fight against them if we are truly going to move forward as the "cosmic race." Here's a list of resources I found interesting as I learned about the complex and controversial Mexican politician and philosopher, José Vasconcelos. Read La Raza cósmica for FREE here. Yo te perdono José Vasconcelos (TEDx Talks en español) This is a video of a chef who became disillusioned by the lack of diversity in gastronomy in the northern Mexican state of Nuevo León. He became much more disappointed because of Vasconcelos's theory that "Norteños" were barbaric in nature due to the climate of the region and therefore, their gastronomy was limited to just grilling meats. This chef pardons Vasconcelos's ideologies and actually thanks him. Vasconcelos's negative sentiments toward the people of this chef's home of Monterrey, Nuevo León, pushed him to be stubborn enough to defy his ideologies and find success in diversifying the gastronomy of an entire state. I'd say the same can be applied in other sectors besides gastronomy.

El 11 de febrero de 1931 la escritora, actriz y promotora cultural Antonieta Rivas Mercado decidió quitarse la vida en la catedral de Notre Dame, París. En el libro La Flama, José Vasconcelos anota: «En el Diario de Valeria se halló este fragmento, que es quizás el último salido de su pluma y explica su estado de ánimo en las postrimerías de su corta existencia».

A 135 años del nacimiento de José Vasconcelos (1882-1959) te presentamos una semblanza biográfica de este escritor, político y funcionario mexicano. Escúchala, acompañada de una selección de material de nuestro acervo: comentarios del escritor y periodista René Avilés Fabila, y fragmentos de Ulises criollo (1935), una de las obras más importantes de Vasconcelos.