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This paper demonstrates how the compelling humor of María Victoria Cervantes, the cantankerous criada bien criada, Ángelines Fernández Abad, the celebrated bruja del 71 and María Elena Velasco Fragoso, Mexico’s favorite “India María” made explicit aesthetic selections to create nuanced and alternative Mexican female identities. Cervantes, Fernández Abad, and Velasco Fragoso strategically navigate the pleasurable, oppositional, and transformational in and through the unexpected nuances of performance and humor. Even as humor appears to be intransitive and inconsequential, Cervantes, Fernández Abad, and Velasco Fragoso comedically perform and showcase the unspoken and deliver an indictment on hegemonic and oppressive patriarchy. These comedic actors negotiate the boundaries of gender, cultural privilege, and power hierarchies within the context of early to mid-twentieth century Mexican humor [ABSTRACT FROM AUTHOR]

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The controversy in the Mexican media is analyzed for the alleged relationship of the #Metoo movement with the suicide of a musician accused of harassment. This controversy opened a debate on the relevance of the anonymous report of the harassment, its legal, social and personal implications, both for the victims and for the accused. Following the theoretical-methodological proposal of cultural sociology, a review was made of the opinion columns that dealt with the subject. The movement was interpreted in the media as: a) an expression of legitimate justice; b) a justified manifestation but contaminated by rancor and revenge; c) as an expression that sought from the beginning the digital lynching of alleged harassers. This dispute allows us to understand the challenges of feminist justice in cases of violence against women. [ABSTRACT FROM AUTHOR]

Buena Risa Social Club is a humoristic-musical performance by Cuban-Mexican singer-songwriter Alejandro García Villalón ("Virulo"), who presented it at the Café Antropía in León de Los Aldama, Guanajuato, Mexico, on November 30, 2018. Considering the few studies carried out on his performative compositions, for the present essay a live sound recording of the musical event was used, the segmentation of the show, analysis of the literary-musical discourse, and an interpretation of the data obtained during the fieldwork. For this approach, methodological tools from the ethnomusicology of performance were used in its link to phenomenology and hermeneutics. This enabled an understanding of the creative mechanisms used by Virulo to subjectively exercise a critique of the prevailing social reality in Cuba, Mexico, and the United States from a sited perspective. [ABSTRACT FROM AUTHOR]

The Forgotten is a f!lm by Luis Buhuel (1950), which narrates the story of teenagers influenced by the environment in which they live. The filmmaker makes a crude attempt at social criticism and draws the past and present Mexico. It is a desert vision of the world where a dispossessed youth lives and whose only alternatives are crime and migration, product of a hostile, aggressive and violent society. The film is said to be a sociological treatise full of nuances that reflect the current reality of the youth in Mexico and moves us to deep reflection that hurts right now, considering that young people have historically been major players of the forgotten social our country. [ABSTRACT FROM AUTHOR]

The objective of the present analysis is to approach the political philosophy of Ricardo Flores Magón. Our study examines the demographic context in which he lived, his critique of the upper middle-class political economy of Porfiriato and the concept of private property, his use of religious metaphors to dispute the validity of the status quo, and future challenges involving the theme of land ownership. [ABSTRACT FROM AUTHOR]

The article discusses an essay written by Mexican artist and architect Juan O'Gorman around 1955, titled "The Degeneration of Architecture in Mexico Today," for the "Journal of the Society of Architectural Historians" but never published. O'Gorman's critique of modernism in architecture, especially the International Style and its proponents such as Le Corbusier and Walter Gropius, is discussed, along with his espousal of a more native Mexican style of architecture. His own background and training in modern architecture is also discussed.

Social criticism is central to Jorge Ibargüengoitia’s Las muertas (1977). However, it is often overlooked that Ibargüengoitia’s novel can also be considered to be a parody of creative nonfiction, particularly of New Journalism. In Las muertas, Ibargüengoitia gives a humorous account of the infamous Poquianchis case (1963–1964) by drawing on the extensive press coverage which the case elicited. Ibargüengoitia’s borrowing of several literary techniques characteristic of the creative nonfiction genre serves to question its objective of factual accuracy and, in addition, condemn the sensationalist style in which the Poquianchis case was covered by the Mexican press. Ibargüengoitia’s literary attempt to uncover the “truth” behind the Poquianchis case did not impede him from taking artistic license and adding a strong dose of irony to criticize the Mexican authorities involved in the scandal. His innovative fusion of journalism and literature results in a fascinating narrative which suggests authenticity despite substantial factual changes. [ABSTRACT FROM AUTHOR]