Outline

The Underdogs

Lecture 2, May 17-18

Bruce-Novoa

 

  1. The novel's historical context can help place the action and development.

1910:  Sept. Centenary Celebration

   Oct.  Madero calls for revolt: regional fighting.

 

1st Phase of Revolution

1911:  May, Rebels take Juárez:  Diaz

     resigns the presidency.

   Nov. 6  Madero becomes President

1912:  Sporadic anti-Madero rebellions

1913: Feb. Madero assassinated,  Gen.Victoriano Huertaà President

 

2nd Phase of Revolution

1913: March,  Carranza declares Revolt.

     Fighting in provinces.

1914: June 23, Villa takes Zacatecas ***

   July, Huerta resigns presidency.

     Carranza calls for a Constitutional Convention for October.

1914: Sept, Villa and Zapata reject Carranza as

leader.

   Oct. Convention in Aguascalientes

      elects Eulalio Gutiérrez President***

 

3rd Phase of Revolution

   Nov, Carranza rejects Gutiérrez.

1915: Civil war

   Jan. Gutierrez flees Mexico City

   April 6-7. 13-15: Battles of Celaya, Villa decisively defeated by

       Carranza’s army. ***

    Aug. Carranza occupies Mexico City.

   Oct. Carranza presidency recognized by foreign Governments.

1917:  New Constitution

 

  1. Darmok Fallacy:  Translation of shared stories anc miss the details necessary to understand the specific meaning.  The translation can capture the story, but miss the art in which the true meaning of the story lies.

 

  1. Return to comparison of opening chapter of The Underdogs and the painting by Saturnino Herrán with which we ended first lecture.

 

  1. The novel is carefully structured through a series of repeated scenes, with the difference from one to the other constituting the development of the plot.  See  Power Point slides 12 & 13.

 

 

Some examples are:

 

        a. Reception: p. 14 “God bless you ...”

                               p. 114 “They don´t like us anymore ...”

b.      2 dead men, p 13 vs 2 Dead p.51

c.       Home(s) burning: pp. 8, 58, 79.

        d. Why we are in the Revolution à Why are we in the Revolution?

        e. Rev. As force that sweeps things away: pp. 38, 51, 109

         f. Rob & Kill à Rob & Kill à Rob & Kill

    

        g.  Family gathered at start vs. Family at end.

        h.  1st Ambush, pp. 20-15 vs. Last, pp. 116-118

i.         Demetrio: Start, middle, end.

 

 

 

 

 

 

  1. The novel includes architecture at the thematic level, with many structures being destroyed and looted.  It is important to follow this line of development to find where it will end and what it means.

 

  1. The novel also has its own architecture that reflects the plot, but tells us more about what is happening.  (See Chart slide 15)

 

  1. The character of Solís, the disillusioned intellectual, plays a major role.  He will raise the question about the goals of the Revolution and suggest how one might judge its success.  In the last chapter of Part 1, Solís speaks as a man about to die, so his words can be read as those of a prophet having an epiphany. 

 

  1. Solís' words can be read in the light of the discussion of architecture, especially regarding Mexican architects' critique of Gothic architecture.  The novel's last scene can be read as the realization of Solís' prediction of frustration.

 

  1. In the face of the possibility that the Revolution might be seen as a failure or a reactionary turn in Mexican history, the Government sought a way to recast it in terms of "history."  That is, with a narrative line, meaningful development, and heroic figures.  The space in which this is clearly seen is in muralism.  We will see examples drawn from Diego Rivera and José Clemente Orozco.

 

  1.  While some of the murals suggest some ambiguities in the revolutionary process, in the end the overwhelming effect is positive.  The muralists allowed the Revolution to present a new version of the allegory of the nation as a wealthy family.