{"title":"Entrevistando a Javier Molina. Fotógrafo de Imágenes Paceñas","authors":"Tara Daly, R. Alfaro","doi":"10.5195/bsj.2021.250","DOIUrl":"https://doi.org/10.5195/bsj.2021.250","url":null,"abstract":"Interview with Javier Molina, photographer for mágenes paceñas (1979) by Jaime Saenz. Interviewers: Tara Daly and Raquel Alfaro","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44587653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this essay we disentangle what Jaime Saenz conceives of as the “magic” of La Paz as elaborated in Imágenes paceñas. We analyze magic from three complementary angles. First, we focus on the relationship between magic and unease. This take on magic is associated in the text, in an unexplicit and tangential way, with non-Western culture; that is, the Aymara indigenous. Our second point of entry intersects the first. The version of La Paz that Saenz depicts is moved by unfamiliar cultural forces. As a consequence, it is a product of, and produces, a distinct form of inhabiting characterized by a temporality that troubles that of modernity; this, too, results in a sense of magic. Finally, in our third approach to magic, we analyze the tensions derived from the visual and written registers Saenz combines in this text. In the montage forged between text and photography, writing is employed to maintain somewhat hidden, and for that reason alive, the magical aspects of the city. And so, the author is in part a magician: he reveals something only to distract, all in the name of protecting the very conditions that enable his art.
{"title":"Imágenes paceñas: El mago de la ciudad paceña moderna","authors":"Tara Daly, R. Alfaro","doi":"10.5195/bsj.2021.255","DOIUrl":"https://doi.org/10.5195/bsj.2021.255","url":null,"abstract":"In this essay we disentangle what Jaime Saenz conceives of as the “magic” of La Paz as elaborated in Imágenes paceñas. We analyze magic from three complementary angles. First, we focus on the relationship between magic and unease. This take on magic is associated in the text, in an unexplicit and tangential way, with non-Western culture; that is, the Aymara indigenous. Our second point of entry intersects the first. The version of La Paz that Saenz depicts is moved by unfamiliar cultural forces. As a consequence, it is a product of, and produces, a distinct form of inhabiting characterized by a temporality that troubles that of modernity; this, too, results in a sense of magic. Finally, in our third approach to magic, we analyze the tensions derived from the visual and written registers Saenz combines in this text. In the montage forged between text and photography, writing is employed to maintain somewhat hidden, and for that reason alive, the magical aspects of the city. And so, the author is in part a magician: he reveals something only to distract, all in the name of protecting the very conditions that enable his art. ","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42435662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Call for Papers","authors":"Martha E. Mantilla","doi":"10.5195/bsj.2021.264","DOIUrl":"https://doi.org/10.5195/bsj.2021.264","url":null,"abstract":"<jats:p>n/a</jats:p>","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45376966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Upon his return from Berlin in 1939, Jaime Saenz started working in La Paz for intelligence agencies and public relations offices of Bolivia and the United States, which led to correspondent positions with Reuters and McGraw-Hill World News. His trajectory into Cold War Bolivian state nobility seemed all but guaranteed. However, on the brink of this breakout moment, he renounced his job —and professionalism altogether— committing himself to a life of literature and alcoholism as his marriage unraveled. In response to repeated interventions, he justified his every loss with a further indictment of the precautious, which was an outgrowth of his belief in the existence of a higher truth that was both accessible and impervious to analytical reason. In this article, I ask how Saenz’s poetry from the 1950s metabolized the rhetoric of indictment which it had inherited from the Tellurism of the Chaco generation. How might Muerte por el tacto (1957) be symptomatic of a broader aim of restoring to modern poetry its oracular legitimacy? On what grounds did Saenz indict precautious defenders of historical culture? And how did such an indictment mediate “national energy” (Tamayo) as it came into language through the nativist discourse of the land? Paying focal attention to regimes of revelation in Saenz’s early poetry and the historical conditions of its production, this article updates a discussion among Transatlanticists about the legitimization of irrationalism in 20th-century poetics and politics by assessing the socio-symbolic value of the oracular in the regionalist discourse of modernism.
1939年，Jaime Saenz从柏林回国后，开始在拉巴斯为玻利维亚和美国的情报机构和公共关系办公室工作，并在路透社和麦格劳-希尔世界新闻社担任记者。他进入冷战时期玻利维亚国家贵族的轨迹似乎几乎是板上钉钉的。然而，在这个突破时刻的边缘，他放弃了自己的工作——也放弃了职业生涯——随着婚姻的破裂，他投身于文学和酗酒的生活。作为对反复干预的回应，他用对不谨慎的进一步控诉来证明自己的每一次损失，这是他相信存在一个更高的真理的结果，这个真理既可以理解，也不受分析理性的影响。在这篇文章中，我问萨恩斯20世纪50年代的诗歌是如何代谢其从查科一代的特勒里主义继承来的控诉修辞的。Muerte por el tacto（1957）如何成为恢复现代诗歌神圣合法性这一更广泛目标的象征？萨恩斯以什么理由起诉那些小心翼翼的历史文化捍卫者？当“国家能量”（Tamayo）通过本土主义话语进入语言时，这样的起诉是如何调解的？本文关注萨恩斯早期诗歌中的启示制度及其产生的历史条件，通过评估神谕在现代主义区域主义话语中的社会象征价值，更新了跨大西洋主义者关于20世纪诗学和政治中非理性主义合法化的讨论。
{"title":"Mediating Andean Modernity: The Literary Oracular in Muerte por el tacto by Jaime Saenz","authors":"Joseph Mulligan","doi":"10.5195/bsj.2021.252","DOIUrl":"https://doi.org/10.5195/bsj.2021.252","url":null,"abstract":"Upon his return from Berlin in 1939, Jaime Saenz started working in La Paz for intelligence agencies and public relations offices of Bolivia and the United States, which led to correspondent positions with Reuters and McGraw-Hill World News. His trajectory into Cold War Bolivian state nobility seemed all but guaranteed. However, on the brink of this breakout moment, he renounced his job —and professionalism altogether— committing himself to a life of literature and alcoholism as his marriage unraveled. In response to repeated interventions, he justified his every loss with a further indictment of the precautious, which was an outgrowth of his belief in the existence of a higher truth that was both accessible and impervious to analytical reason. In this article, I ask how Saenz’s poetry from the 1950s metabolized the rhetoric of indictment which it had inherited from the Tellurism of the Chaco generation. How might Muerte por el tacto (1957) be symptomatic of a broader aim of restoring to modern poetry its oracular legitimacy? On what grounds did Saenz indict precautious defenders of historical culture? And how did such an indictment mediate “national energy” (Tamayo) as it came into language through the nativist discourse of the land? Paying focal attention to regimes of revelation in Saenz’s early poetry and the historical conditions of its production, this article updates a discussion among Transatlanticists about the legitimization of irrationalism in 20th-century poetics and politics by assessing the socio-symbolic value of the oracular in the regionalist discourse of modernism. ","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41665982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Robinson Crusoe, the extraordinary ship-wrecked protagonist of Defoe’s novel, is actually a modern transfiguration of the old myth of the “savage man,” a myth that this article revisits. Robinson is brought by Defoe into a savage existence because the author intends to demonstrate that it is possible to defeat savagery in one’s own land, turning Robinson into the virtuous and modern homo economicus. But there are other Robinsons that challenge the original: that of Jean-Jacques Rousseau, and the urban Robinson, conceived in novelistic form by Antonio Muñoz Molina. Both serve as models for my reading of Felipe Delgado as a novel that exemplifies the marginal Robinson. As happens to some of the characters in Antonio Muñoz Molina’s novels, the Bolivian poet and novelist Jaime Saenz creates an urban, marginalized and eccentric Robinson that, unlike the previous mentioned, without a rational goal motivating him, secretly celebrates his incurable shipwrecks. Felipe is the Robinson born out of the lucid necessity of alcohol. Clairvoyant and repentant of his future, he is born for the night, a space and time that permits him to delve into the heart of the memory of his city.
{"title":"Felipe Delgado, otro de los Robinsones","authors":"J. Sanjinés C.","doi":"10.5195/bsj.2021.256","DOIUrl":"https://doi.org/10.5195/bsj.2021.256","url":null,"abstract":"Robinson Crusoe, the extraordinary ship-wrecked protagonist of Defoe’s novel, is actually a modern transfiguration of the old myth of the “savage man,” a myth that this article revisits. Robinson is brought by Defoe into a savage existence because the author intends to demonstrate that it is possible to defeat savagery in one’s own land, turning Robinson into the virtuous and modern homo economicus. But there are other Robinsons that challenge the original: that of Jean-Jacques Rousseau, and the urban Robinson, conceived in novelistic form by Antonio Muñoz Molina. Both serve as models for my reading of Felipe Delgado as a novel that exemplifies the marginal Robinson. As happens to some of the characters in Antonio Muñoz Molina’s novels, the Bolivian poet and novelist Jaime Saenz creates an urban, marginalized and eccentric Robinson that, unlike the previous mentioned, without a rational goal motivating him, secretly celebrates his incurable shipwrecks. Felipe is the Robinson born out of the lucid necessity of alcohol. Clairvoyant and repentant of his future, he is born for the night, a space and time that permits him to delve into the heart of the memory of his city. ","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41606019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes spatio-temporal logics in the representation of the city of La Paz in Imágenes Paceñas by Jaime Saenz and the urban chronicles of Víctor Hugo Viscarra. Juxtaposing the concepts of chrononormativity and queer time, it explores how linear temporal logic remains insufficient for the understanding of the city and its inhabitants in the two narrative projects. The article postulates that the marginal spaces of architectural ruins and garbage dumps, and the marginalized people who inhabit queer space-time are key to “revealing the hidden city” and understanding its contradictory place in the national narrative and space.
本文分析了Jaime Saenz的《Imágenes Paceñas》和Víctor Hugo Viscarra的《城市编年史》中拉巴斯市表现的时空逻辑。它将时间规范性和酷儿时间的概念并置，探讨了在这两个叙事项目中，线性时间逻辑如何仍然不足以理解城市及其居民。本文认为，建筑废墟和垃圾堆的边缘空间，以及居住在酷儿时空中的边缘人群，是“揭示隐藏的城市”并理解其在国家叙事和空间中矛盾位置的关键。
{"title":"Ruina/basural: Lógicas temporales y espaciales de la ciudad de La Paz en Saenz y Viscarra","authors":"I. Feldman","doi":"10.5195/bsj.2021.253","DOIUrl":"https://doi.org/10.5195/bsj.2021.253","url":null,"abstract":"This article analyzes spatio-temporal logics in the representation of the city of La Paz in Imágenes Paceñas by Jaime Saenz and the urban chronicles of Víctor Hugo Viscarra. Juxtaposing the concepts of chrononormativity and queer time, it explores how linear temporal logic remains insufficient for the understanding of the city and its inhabitants in the two narrative projects. The article postulates that the marginal spaces of architectural ruins and garbage dumps, and the marginalized people who inhabit queer space-time are key to “revealing the hidden city” and understanding its contradictory place in the national narrative and space.","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48607228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Postscriptum: Apuntes sobre el universo literario de Jaime Saenz","authors":"Leonardo García Pabón","doi":"10.5195/bsj.2021.260","DOIUrl":"https://doi.org/10.5195/bsj.2021.260","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42188401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay proposes a close reading of chapter VIII of the second part of Felipe Delgado, a novel by Jaime Saenz. In this chapter, which narrates Felipe's birthday, the projection process by which the protagonist dominates his world is staged; at the same time, Ramona (and the intruder into whom she will transexualize) will neutralize that dominant gaze. Comparing the chapter with Magritte's series The Lovers and Barthes's A Lover’s Discourse: Fragments, the importance of the amorous path will be brought to the fore in this novel.
{"title":"Aparición y desaparición del camino amoroso en la obra de Jaime Saenz: Análisis de un capítulo de Felipe Delgado","authors":"Camilo Gil Ostria","doi":"10.5195/bsj.2021.249","DOIUrl":"https://doi.org/10.5195/bsj.2021.249","url":null,"abstract":"This essay proposes a close reading of chapter VIII of the second part of Felipe Delgado, a novel by Jaime Saenz. In this chapter, which narrates Felipe's birthday, the projection process by which the protagonist dominates his world is staged; at the same time, Ramona (and the intruder into whom she will transexualize) will neutralize that dominant gaze. Comparing the chapter with Magritte's series The Lovers and Barthes's A Lover’s Discourse: Fragments, the importance of the amorous path will be brought to the fore in this novel. ","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42153899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I draw on Tupac Amaru Kamaq Taytanchisman (1962) by José María Arguedas and Imágenes paceñas (1979) by Jaime Saenz to illuminate the ways that serpents, rivers, and mountains bear upon the spatial organization of Lima and La Paz. I contend that for Saenz and Arguedas, entities such as the Amaru or the Illimani influence the production of non-human territorialities, reorganizing the structures of urban spaces and the lives of the citizens within them. Both texts make visible non-human territorialities through a process I call “territorial writing.” This kind of writing employs a variety of literary strategies (narrative time, characters, and figures) to visualize human and other-than-human vinculums as part of Andean cities. From this vantage point, “territorial writers” perceive urban geographies as territories in which different ethnic groups interact with powerful non-human entities or deities.
{"title":"Cities of Rivers, Mountains, and Serpents: Non-Human Territorialities in Jaime Saenz and José María Arguedas","authors":"Christian Elguera","doi":"10.5195/bsj.2021.258","DOIUrl":"https://doi.org/10.5195/bsj.2021.258","url":null,"abstract":"In this article, I draw on Tupac Amaru Kamaq Taytanchisman (1962) by José María Arguedas and Imágenes paceñas (1979) by Jaime Saenz to illuminate the ways that serpents, rivers, and mountains bear upon the spatial organization of Lima and La Paz. I contend that for Saenz and Arguedas, entities such as the Amaru or the Illimani influence the production of non-human territorialities, reorganizing the structures of urban spaces and the lives of the citizens within them. Both texts make visible non-human territorialities through a process I call “territorial writing.” This kind of writing employs a variety of literary strategies (narrative time, characters, and figures) to visualize human and other-than-human vinculums as part of Andean cities. From this vantage point, “territorial writers” perceive urban geographies as territories in which different ethnic groups interact with powerful non-human entities or deities.","PeriodicalId":30365,"journal":{"name":"Bolivian Studies Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47764061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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