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Bruno Traven and Mariano Azuela. Murals

Gabriel Velázquez Toledo
The
Liróforo Bruno Traven and Mariano Azuela. Mainly

enforcement principles, derived from the ideas that are proclaimed as the basis of the violent events triggered in the Mexican Revolution, after the clear need to break with the paradigms established in previous schemes to surveys the second decade of the twentieth century, as was the legitimization of an acclaimed social change, was the first outbreaks strengthen intellectual ideology of progress that was put into function counterpart obsolete positivist ideology still held in education. Bruno Traven
When arriving in Mexico is booming with the change in the country after Vasconcelos contributions to education, made him communion because of his leftist political ideology, with actions at that time the government undertook "The last great revolution in Mexico not only freed the Indian, also released the child. " Observed a return to the traditions of a culture, which somehow had not lost momentum and found a stimulus to the ideas he shared "Thus, some teachers and a number of interested people had the idea of \u200b\u200bopening schools in which children could develop their artistic sense, in a completely new and truly revolutionary. "
The restructuring of the securities, led to the ideological underpinnings of the revolutionary regime, allowed the emergence and exaltation of works that represent the interests of the state as part of a formula of institutional legitimacy, based on these new values. Surely
la discusión que se originó con la popularización de la primer novela de la revolución, Los de Abajo, no hubiese sido suplida por alguna otra obra que conservara características similares, pues lo que devela la polémica que se originó, es la búsqueda emprendida en pos de obras que pudieran adaptarse de alguna forma al aparato ideológico que el estado estaba impulsando y a sus intereses (como derribar los antiguos valores del régimen porfirista) “mariano Azuela publicó sin pena ni gloria la novela Los de abajo en El Paso, Texas, hacia 1916”, no fue sino varios años después que dicha obra fue exaltada, a la par del triunfo de la revolución, pues era necesario un sustento ideológico to legitimize the actions they undertook.
course for the work of this controversy is the exaltation of the work "of the revolution," which reveals an interest in its consummation "while the topic was on the line of the old against the new, the old against the modern, in which the novelty always better, especially if it is the official side, "apparently ignoring their attitude disenchanted, later consecration demonstrates that his" accidental discovery "was always a clearly defined political intentions.
The period between 1910 and 1930 defined the Mexican society. The point at which Travens and Howell are literally has to do with a style disenchanted with the war. Propel, as critics and reformers of thought, a new social search, in which it is possible to find values \u200b\u200bthat persist in deep thought of the people. The works of both are in a framework of full social ideological conviction, led to a struggle that has above all to his greatest enemy in what was his first drive, the state.
The work of both writers is very current, the sensitivity with which it captures the discontent and human degradation, are an example (actual) of barbarism that comes built in distorted ideological levels, and end up being the same regime that was introduced after the revolution.