Mexico's Ruins: Juan Garcia Ponce and the Writing of Modernity

INDEX

INDEX Anderson, Benedict, 3, 82, 118, 133 Ángel de la Independencia, 25–26, 115 See also Mexico (city); modernity “Ante los demonios” (García Ponce), 57 “Autobiografía” (García Ponce), 32, 37 Avelar, Idelber, 145, 146, 147, 151, 158–59, 161, 177 Avilés Fabila, René, 88–89 See also Olympic Games of 1968: Díaz Ordaz Balthus (Klossowski de Rola) adolescents, paintings of, 163, 173, 175, 176 Living Room, The, 167 fig.1 Street, The, 168 fig. 2, 173–74 taboos, 163 Baphomet, The (Klossowski), 132 See also Klossowski, Pierre Barthes, Roland afterlife of photograph, 154, 158 authentication, 150 Camera Lucida, 143, 180 contingency, 148, 149, 151 expenditure, 139, 140 innocence, 153 past as corpse, 147, 155, 163 photograph as object and loss, 144–48, 151–53, 157, 162 See also specific titles Bataille, Georges, 20, 85, 106, 139 écriture corporelle, 50, 132, 134, 139 expenditure, 112, 139, 140, 141, 157, 198nn4–6 transgression, 133, 134, 136, 137, 138, 142, 158 See also Klossowski, Pierre Baudrillard, Jean, 130, 134 Benjamin, Walter afterlife of work of art, 16, 54, 55, 60, 97, 142 allegory, 17, 25, 26, 29, 32, 54–56, 58, 86, 89, 152, 159, 181 Angel of History, 22, 25, 26, 47, 57, 120, 143, 152, 182 Arcades Project, 13, 53, 55, 91, 105 atrophy, 127 aura, 13, 34, 77, 148 Baudelaire, 24, 25, 42, 53, 143, 146, 163 cityscapes and architectural dreamworlds , 14, 45, 50–51, 76, 89–91, 105, 123, 127, 137, 160, 179 excess, 17, 53 flâneur, 42, 85, 153 fossils and stones, 14, 50, 68, 144, 154 fragmentation, 17 marketplace, cultural, 152 melancholic vision, 54, 68–69, 86, 89, 92, 97, 103, 146, 158 䊏 211 䊏 Benjamin, Walter (continued) model for social critique, 2, 4–5, 10, 13, 14, 29, 54, 113, 115, 116 modernity, Paris as capital of, 13–14, 53, 60, 76, 91, 94, 144, 154 modernity, subjects of, 25, 63 monad, 61 nightmare of modernity, 58, 83 photography, 162 See also modernity; ruins; storyteller; specific titles Bhabha, Homi, 183 Bruce-Novoa, Juan, 29, 31, 196n1 Cascardi, Anthony, 143–46, 148, 149 Castañeda, Quetzil E. cultural dialogism, 5–6, 121, 126 defining the ruin, 6 reading ruins as runes, 10, 13, 16, 23, 66, 105 ruin as tourist trope, 1, 66 See also ruins Cézanne, Paul, 160 Corona, Ignacio, 111–12 Crónica de la intervención (García Ponce) allegory, 58, 61, 62, 68, 69, 74, 78, 79, 81, 83, 87, 88, 91, 92 atmósfera del 68, la, 58, 67, 89, 102–3, 153 bourgeois aesthetics, 56, 65, 66, 67, 70, 84–85 chiaroscuro, 49, 59, 90, 92, 106 class divisions in, 70, 71, 72, 77–78, 79, 82, 90, 91, 165 dust and lint as cultural residues, 90–91 female body, 63, 64, 66, 69–71, 77, 90, 124 historical events as nightmare, 58, 68, 69–70, 83, 84, 92, 93, 180 incest, 71, 91, 195n2 male gaze, 62, 63, 64, 68, 70 modernity as façade, 58–59, 63, 71, 72, 73–74, 79, 80 narrative, fragmentation of, 58–60, 62, 63, 66–68, 73, 77, 84–85, 164, 182 retablo, 60, 61, 62, 66, 67, 68, 81 role of photography in, 71, 77, 79–82 ruins of family and empire, 49, 57, 62, 77, 84, 90 triptych panel, 46, 55, 59, 60, 61, 63, 64, 66, 68, 71, 84, 104 crónicas, 3, 31, 89, 164, 193n3 Cuevas, José Luis, 39, 40, 97, 160 See also Mexico (country): muralists and new aesthetics De ánima (García Ponce) aesthetic influences on, 65, 113, 115, 116–19, 121, 122 allegory, 117, 121, 122, 123, 124, 127, 130, 132, 136, 140 authenticity, 130 autochthony, 131, 142 chiaroscuro, 142 diary format, 106, 109, 113, 114, 116–20, 123–24, 126–27, 128–29, 134–35, 137, 139, 141–42 discourse of desire, 128–29, 130, 131–32, 133–35, 137, 139, 141–42, 149, 160 edifices and façades of modernity, 127, 131 family epic, 137 fetishes, 119–20, 124 film, role of, 129, 130, 137–38 human body, 106–7, 113, 116, 122, 124, 133, 134–35, 137, 140, 141 incest, 133, 134, 136, 142 Laws of Hospitality, 125, 126, 134, 164 male gaze, 106–7, 110–11, 115–17, 125–26, 128–29, 130–31, 169 masquerade, 111, 118 montage, 131, 132 mourning and melancholy, 123, 124, 127, 140, 182 212 䊏 INDEX nightmare, 117...