Class Activity

 "Subjectivity " and "Hailing" in Variants of the Corrido of Gregorio Cortez)

"Gregorio Cortez" exists as a historical figure, in legend, in numerous variants of the corrido, and on film. Today we will discuss some of these versions in terms of male subjectivity (especially that of the male, border hero) and how a literary text might play a role in shaping who we are.

Is subjectivity imposed or chosen?  Having discussed subject position as being similar to taking up the "mask" (personae) that others see as one's "person," we may come to see it as a very oppressive idea.  If we imagined the self as a kind of free agent,  then the subject seems defined by this loss.  But the Toolbox reading suggests that while none are absolutely free to choose the subject-positions of their choice, neither are we forced into them.  How does the Toolbox explain this through the use of metaphors such as  calling, hailing, or self-recognition?

How Do Corrido Variants Emerge? - Parades offers describes some of the ways that a single corrido might develop variants. It will be most interesting for our discussion if we assume some conscious shaping on the part of singers (who prefer the details of one version over another).  For then we have different perspectives/ emphases on similar material. 

Groups

Choose a variant of the corrido and reread it aloud with your group members. 

Subject - Identify at least two or three passages that signify subjectivity. (These might be actions or turns of phrase that present clear images of behavior, style, or characters). 

A Call? - Consider how each of these examples might constitute a kind of "call" to listeners, an invitation for them to occupy a certain subject position (i.e.,  seeing oneself in Cortez' shoes).

Choice? - What chance or leeway does a reader/listener have to say yes or know to the call?

When we occupy certain subject positions, they allow us to be "seen" and recognized by others ("There goes the professor, with this tweed coat and a bundle of student essays under his arm." )  At the same time, the restrictiveness of these positions can act as a limit or constraint on both an individuals' actions and others' ability to make sense of them.  How does the film dramatize such a crisis moment?

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Last Updated: 09 December, 2008