Transnationalism and performance: Mexican Astrid Hadad, Chicana Mónica Palacios, and strategies of the oppressed

Public Deposited
Analytics

Downloadable Content

Download PDF
Request Version for Screen Reader
Last Modified
  • March 22, 2019
Creator
  • Godoy Navarro, Zaida
    • Affiliation: College of Arts and Sciences, Department of English and Comparative Literature
Abstract
  • The strong national emphasis contained in the works of Mexican Astrid Hadad and Chicana Mónica Palacios should distance them, since they come from different countries. Rather than that, the term "transnationalism" explains the similarities that will be analyzed between both contemporary women. The Mexico/US national borders crossed by means of "transnationalism" represent just one of the limitations that these women confront for not belonging to the "dominant" culture of their societies. The very genre that they work with, theater, is challenged by the relevance given to the elements added: dance, music, singing, visual elements and, in the case of Palacios, stand-up comedy. Both Hadad and Palacios have often been categorized as performance women because of this and the central role that their bodies achieve during their shows. This study links them first by focusing on the several historical traditions that have influenced them (diachronically) and, then, by analyzing the similar strategies with which they address oppression and create art (synchronically).
Date of publication
DOI
Resource type
Rights statement
  • In Copyright
Advisor
  • DeGuzmán, María
Degree granting institution
  • University of North Carolina at Chapel Hill
Language
Access right
  • Open access
Date uploaded
  • October 20, 2010

Relations

Parents:

This work has no parents.

Items

Thumbnail Title Date Uploaded Visibility Actions
file details Transnationalism and performance : Mexican Astrid Hadad, Chicana Mónica Palacios, and strategies of the oppressed 2019-04-09 Public Download