The History, Symbols And Mistery In Rudolfo Anaya’s Novel ‘bless Me,ultima’

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Title:  ´´THE HISTORY, SYMBOLS AND MISTERY

IN RUDOLFO ANAYA’S NOVEL

‘BLESS ME,ULTIMA’´´

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2018

TABLE OF CONTENTS

´´THE HISTORY, SYMBOLS AND MISTERY

IN RUDOLFO ANAYA’S NOVEL

‘BLESS ME, ULTIMA’´´

GENERAL INTRODUCTION

The present study aims to address the chicano current in universal literature, by referring in particular to Rudolfo Anaya's work and his work '' Bless, me, Ultima''. The study is divided into five chapters. The first chapter describes the history and influence of chicano current in contemporary literature, from its origins in the native Aamerica people to the effervescence of the 1960s, and today's characteristics. The second chapter presents data about the life of author Rudolfo Anaya, his sources of inspiration, a selection of the most important works. In the third chapter there is a deepening of the chicano motifs and influences on the reference work. This highlights the theme of masculinity, myth and supernatural, accompanied by superstitions. The fourth chapter brings with it a deeper look at the analysis of the characters: Ultima and Antonio, as well as the spiritual connection between them according to the model: mentor-disciple. Also, a closer look is given to the maturing process of the boy, through the influence of the old woman, Ultima. The last chapter deals with a contemporary theme in contemporary society: translating the work into the film. Thus, we will see the differences between the book version and the scenario, how faithfully certain moments and scenes in the book were selected on the film, as well as the impact on the public. The motivation for choosing the theme is the interest in the gitano literature itself, as well as the desire to study the myth and the maturing process of a character in literature. The simple, commercial but also profound style of the author is also part of the motivation to choose this theme.

Abstract:

Chicano literature is usually younger, most of the works were created after 1848. The Treaty of Guadalupe Hidalgo of February 2, 1848 ended the Mexican-American War (1846-1848) and moved the Texan border on the Rio Grande. The present state of California (Alta California) and the whole area between Texas and California became American. Thus, the United States received more than half of the Mexican territory: California, Arizona, New Mexico, Utah, Nevada, Texas and part of Colorado and Wyoming. The Treaty of Guadalupe Hidalgo also gave the Mexicans living in the current southwestern United States the opportunity to opt-up; H. either emigrate to Mexico within one year or accept US citizenship. Most became US citizens. Unlike many other ethnic minorities in the United States , but similar to the indigenous peoples of North America, Mexican Americans became an ethnic minority by direct conquest of their homeland. The other nationality did not instantly lead to a change in cultural tradition or language. Over time, however, these Mexican Americans or Chicanos developed a culture of their own that was neither fully owned by the US nor Mexico. After 1848 Mexican-American culture gradually filled the gaps between the respective cultural spheres. This new cultural life was clearly a product of both spheres of influence, but clearly different from them at the same time. The continued immigration of Mexicans in the 19th, 20th and 21st centuries further changed this culture. Some critics believes that a clearly distinguishable Mexican-American literature existed as early as 1900. Key Chicano authors include Rudolfo Anaya, Américo Paredes, Rodolfo Gonzales, Rafael C. Castillo, Julian S. Garcia, Gary Soto, Oscar Zeta Acosta, Luis Valdez, John Rechy, Luis Omar Salinas, Tino Villanueva, Denise Chavez, Daniel Olivas, Benjamin Alire Saenz, Tomás Rivera, Luis Alberto Urrea, Lorna Dee Cervantes, Sergio Troncoso, Rigoberto González, Dagoberto Gilb, Rolando Hinojosa and Alicia Gaspar de Alba. After attending Albuquerque High School, Rudolfo Anaya studied English at the University of New Mexico (UNM) and graduated in 1963 with a Bachelor of Arts (B.A. English) and then a Master of Arts (M.A. Then he accepted the call to a professor of English at the University of New Mexico and taught there until his retirement.His literary debut gave Anaya in 1972 with the youth novel Bless Me, Ultima (1972), the story of a Chicano boy in New Mexico in the 1940s. In the following years he published the novels Heart of Aztlan (1976), Tortuga (1979), The Silence of the Llano (1982) and The Legend of La Llorona (1984), before he 1986 with A Chicano in China (1986) a collection from essays. Anaya also became involved politically and was among the supporters of Democrat John Kerry in the 2004 United States presidential election. Anaya received the National Humanities Medal 2015.After the books The Anaya Reader (1995) and Rio Grande Fall (1996), he published with Shaman Winter (1998), Alburquerque (1999) and Zia Summer (2000), the prelude to a four-part cycle to the private investigator Sonny Baca,some more novels.  This paper aims to analyze the mystical universe in Anaya's works, with a closer look at the characters and the motives being treated. The originality may be exploring the exposure of the chicano theme in a movie. The fidelity with which the director has managed to read the author's intentions is noteworthy. There is a danger of subjectivity in every literary critic. The literary critique, as well as the film, tries to understand and interpret according to its own pattern what the author wanted to expose. Too few critics or directors face the author in a face-to-face discussion to make a more faithful view of opera and man. So this is what we are proposing. Although we do not have the opportunity to meet the author, we only want to analyze in a theoretical study as much resources and data about it and its work, as in the end we can achieve a more faithful result in the reality of the work that treats the theme of mysticism and prejudice and their impact on simple people.

Míriam Colón and Yolanda Ortega as Ultima

Appendix no.2

Antonio

Appendix no.3

The villain

Appendix no.4

Family

Appendix no.5

School, Tony’s friends

Appendix no.6

Ultima teaching Antonio

Appendix no.7

Antonio and his mother

Appendix no.8

Young Rudolfo Anaya and with pressident Obbama