By Anne T. Doremus
From 1929 to 1952 Mexico underwent a interval of severe nationalism because the nation, newly rising from the Mexican Revolution, sought to legitimize itself, consolidate its associations, and advertise monetary progress. subsequently, those years additionally witnessed a fervent look for nationwide self-awareness within the cultural sphere. This paintings contrasts buildings of nationwide id in probably the most well known literary works of the interval with these in the most well known motion pictures, revealing their certain features in the nationalist undertaking. It demonstrates that during spite in their outstanding dissimilarities, articulations of a Mexican awareness in those mediums have been complementary in the framework of nationalism, as they happy and formed the pursuits and wishes of unique sectors of Mexican society.
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Additional resources for Culture, Politics, and National Identity in Mexican Literature and Film, 1929-1952
The ideological structure of his paragraphs was the scum that fell to the ground; the intuitive, irrational principlegenerator of enthusiasm and fertilizer of hope-went straight to the heart. (813) Axkana's communication skills enable him to inspire the masses even though he has little in common with them. However, this talent is cut short by his collaboration with politicians much more powerful but much less educated than he. This is a key element of the novel. Axkana symbolizes the unfortunate fate to which a Mexican intellectual (like Guzman) could befall.
First of all, like Guzman, who based his novel closely on a real event, Munoz underscores the veracity of the events he recounts by telling us before we even begin the novel that "the events referred to here are true, one by one," and by explaining at the conclusion that his information is based on the words of a general who had accompanied Pancho Villa for thirteen years. (66I) We are to believe, furthermore, that because the narrator did not participate directly in the action he is more objective about them.
Moralism became hugely successful both within and outside of Mexico. Its success was due in large part to the fact that it was accessible to the masses. Its themes-the Revolution, agrarian reform, Yankee imperialism, indigenous and popular culture-also appealed to the poor. The artists, who in 1923 became known as the "Mexican School", firmly believed that art should fulfill a social function. They perceived their own role as that of educating the public and of instilling a sense of ethnic and national pride.