MARC Record from marc_columbia

LEADER: 03969cam a22003733i 4500
001 12848213
005 20190405133742.0
006 m o d
007 cr |n||||a||||
008 170913s2015 nyu|||| om 00| ||eng d
035 $a(OCoLC)1004800503
035 $a(OCoLC)on1004800503
035 $a(NNC)ACfeed:legacy_id:ac:208165
035 $a(NNC)ACfeed:doi:10.7916/D8H994NC
035 $a(NNC)12848213
040 $aNNC$beng$erda$cNNC
100 1 $aLuiselli, Valeria.
245 10 $aTranslation Spaces :$bMexico City in the International Modernist Circuit /$cValeria Luiselli.
264 1 $a[New York, N.Y.?] :$b[publisher not identified],$c2015.
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
300 $a1 online resource.
502 $aThesis (Ph.D.)--Columbia University, 2015.
500 $aDepartment: Latin American and Iberian Cultures.
500 $aThesis advisor: Graciela Raquel Montaldo.
520 $aThis dissertation studies modernist translation spaces in Mexico City, a city that became an important hemispheric destination during the early twentieth-century. Although some earlier examples are provided for historical context, my analysis focuses primarily on architectural and editorial spaces that emerged in the city between 1917 and the late 1930s, the decades between the final years of the Mexican Revolution—during Venustiano Carranza’s administration, following the Queretaro Constitution—and the instauration of the Partido de la Revolución Mexicana—founded by Lázaro Cárdenas in 1938. Modernism in Mexico City involved an international circuit of people—such as the poet Langston Hughes, the art historian Anita Brenner, the editor and anthropologist Frances Toor, the Indian activist, and founder of the communist party in Mexico M.N. Roy, and the photographers Tina Modotti and Edward Weston—all of whom traveled to or lived in Mexico City during the 1920s and 1930s. It also involved a series of Mexican writers, artists and intellectuals—among them, the poets Gilberto Owen, Salvador Novo and Xavier Villaurrutia, the writer and intellectual Alfonso Reyes, the muralist Diego Rivera, the architects Juan O’Gorman and Juan Segura, and the painters Dr.
520 $aAtl and Nahui Olin—whose translation practices were instrumental for the making of Mexican modernism. I argue that these modernist actors played a key role as cultural translators and that it was ultimately through their work that Mexico City, among other so-called peripheral modernities, found a place in the cultural and geographical map of international modernism—a place, nonetheless, which modernist studies still tend to ignore or misrepresent. Drawing from translation theory, architectural history, transatlantic modernism, and the spatial semiology and hermeneutics, Translation Spaces maps the places, both cultural and physical, that these international modernists occupied or, in some cases, created. The five chapters study different architectural spaces—i.e. theaters, rooftops, houses, cinemas, and apartment buildings—and combine spatial analysis and architectural history of such spaces with analysis of specific translation practices that took place in them, such as literary translation, film dubbing and subtitling in modern sound cinemas, urban photography, adaptations of architectural languages to local needs, as well as literary representations and discussions of modern spaces.
520 $aTaken together as different examples of modernist translation practices, the objects of study in this dissertation map modernist Mexico City as a space in a synchronic relationship to the larger map of international modernism.
653 0 $aComparative literature
653 0 $aArchitecture
653 0 $aLatin American literature
856 40 $uhttps://doi.org/10.7916/D8H994NC$zClick for full text
852 8 $blweb$hDISSERTATIONS