In this article I try to show how the Mexican Revolution was not only national in nature but also helped ordinary individuals break down barriers in their personal lives. The protagonist of Nadie me verá llorar was considered a madwoman in Porfirian society and with the Revolution she comes into her own and finds a space in post revolutionary Mexico D.F.

An analysis of the life and corridos of Jenni Rivera the sole woman narco corridista

The travels and writings of Octavio Paz and Severo Sarduy in India.

The lives of Spanish immigrants during the Mexican Revolution, their participation therein.

El retrato de la Ciudad de México en la literatura.

The reception of Jesuit priests at the the court of Akbar the Mughal emperor of India

A series of derivative verses from the late-third century has pride of place in one of the foundational collections of Chinese poetry. These verses, “Filling out the Missing Odes” by Shu Xi, can be found at the beginning of the lyric-poetry (shi 詩) section of the Wenxuan. This essay seeks to understand why such blatantly imitative pieces may have…[Read more]

In this article I investigate the portrayal role of the Aztecs, indigeneous peoples and movements in the writings of Carlos Fuentes.

Asian directors leverage Shakespeare’s own propensity to undermine dominant ideologies of gender—notably through the Ophelia figure—in their effort to renew Asian performance traditions. How do Shakespeare and modern directors talk to each other across cultural and historical divides? How does Ophelia become “unbound” through supraling…[Read more]

In this article I investigate the portrayal role of the Aztecs, indigeneous peoples and movements in the writings of Carlos Fuentes.

This essay explores the challenge to the chivalric myth of the aviator in Willa Cather’s One of Ours and William Faulkner’s Soldier’s Pay. Revived during the First World War, this romantic myth cloaked the aviator in idealism and hid the actual body of the flyer in rhetoric. In this war of increasing mechanization, the air war was the last basti…[Read more]

A syllabus for an undergraduate course, taught in English, on the visual culture (primarily film, photography, and aesthetic theory) of the Weimar Republic. The course is housed in German Studies and crosslisted with Art History, Cinema, and other departments.

This essay recovers, describes, and analyzes the theatrical tradition emerging from New Orleans’s free people of color during the antebellum period. I will start out by tracing the presence of free people of color in the francophone theatres of New Orleans, teasing out their impact on the early formations of a francophone theatrical culture in the…[Read more]

On January 1, 1824, the English-speaking population of New Orleans celebrated the grand opening of the American Theatre, lauding
the advent of “Bards our own” and the rise of “our Drama” in the Crescent City (qtd. in Smither 41). For the city’s francophone residents, this event marked a new stage in the ongoing battle for cultural survival.…[Read more]

Moving from France to the Caribbean to the American continent, Creole Drama follows the people that created, shaped, and sustained French theatre culture in New Orleans from its inception in 1792 until the beginning of the Civil War. In doing so, it draws upon the neglected archive of francophone drama native to Louisiana, as well as a range of…[Read more]

IMC paper for panel 374 Medieval Futura 1: Now, sponsored by the Medieval Studies Institute, Indiana Univ.–Bloomington and organised by Dr Andrea Whitacre.

This essay brings together two texts, a letter to the editor written in experimental prose by the Black avant-garde Beat poet, Bob Kaufman, and “The Unlocking,” a spoken-word poem written and performed by Ursula Rucker that appears at the end of The Roots’ critically acclaimed rap album, Do You Want More??!?. By using the aural to disrupt expec…[Read more]