Author(s): Chen-Lopez, Francisco Y. | Abstract: Yen, Huei Lan, Toma y daca: transculturacion y presencia de escritores chino-latinoamericanos. Purdue UP, 2016. 180pp.
提交人(s): Chen-Lopez、Francisco y Abstract:日元/ Huei Lan,各有取舍:transculturacion和作家chino-latinoamericanos的存在。普渡大学，2016年。180pp。
{"title":"Yen, Huei Lan, Toma y daca: transculturación y presencia de escritores chino-latinoamericanos. Purdue UP, 2016. 180pp.","authors":"Francisco Y. Chen-López","doi":"10.5070/T49653503","DOIUrl":"https://doi.org/10.5070/T49653503","url":null,"abstract":"Author(s): Chen-Lopez, Francisco Y. | Abstract: Yen, Huei Lan, Toma y daca: transculturacion y presencia de escritores chino-latinoamericanos. Purdue UP, 2016. 180pp.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76255850","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":"Benezra, Karen. Dematerialization: Art and Design in Latin America. University of California Press, 2020. Print. 256 pp.","authors":"Florencia San Martín","doi":"10.5070/t49653490","DOIUrl":"https://doi.org/10.5070/t49653490","url":null,"abstract":"","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79770925","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}
Author(s): Valenzuela-Zapata, Ana G. | Abstract: Machuca, Paulina. El vino de cocos en la Nueva Espana. Historia de una transculturacion en el siglo XVII. El Colegio de Michoacan, 2018. 400 pp.
提交人(s): Valenzuela-Zapata Ana g / Abstract: Machuca,护理。新西班牙的可可酒。17世纪的跨文化历史。米却肯学院，2018年。400 pp。
{"title":"Machuca, Paulina. El vino de cocos en la Nueva España. Historia de una transculturación en el siglo XVII. El Colegio de Michoacán, 2018. 400 pp.","authors":"Ana G. Valenzuela-Zapata","doi":"10.5070/T49653494","DOIUrl":"https://doi.org/10.5070/T49653494","url":null,"abstract":"Author(s): Valenzuela-Zapata, Ana G. | Abstract: Machuca, Paulina. El vino de cocos en la Nueva Espana. Historia de una transculturacion en el siglo XVII. El Colegio de Michoacan, 2018. 400 pp.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83118255","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}
Author(s): Balghzal, Ahmed | Abstract: El proposito del trabajo es la exploracion del alcance de la disidencia del marginal modelo orientalista latinoamericano. Partiendo de un enfoque que compara la naturaleza del discurso producido en y por el centrico paradigma euroamericano y el periferico hispanoamericano, buscamos revelar la operatividad de la enunciacion literaria intersticial e hibrida del ultimo para un alternativo modelo. Para ello, valemos de una aproximacion analitica de orden eclectico a la obra La mano del fuego del autor mexicano Alberto Ruy Sanchez, para manifestar la accion deconstructiva de varios recursos narratologicos que pintan el cuadro de un mundo novelesco ademas de nomada y transfronterizo es claramente intercultural. Tales recursos establecen desde la condicion literaria puentes entre Oriente y Occidente en una utopica gnosis “post-orientalista” latinoamericana.
提交人(s): Balghzal Ahmed / Abstract:这项工作的目的是探究边际模型的不同范围的拉丁美洲东方。本文的主要目的是分析西班牙裔美国人在拉丁美洲和加勒比地区的社会和文化背景下所产生的话语，并分析西班牙裔美国人在拉丁美洲的社会和文化背景下所产生的话语。为此,肯定一个aproximacion analitica eclectico秩序做了提交人的火之手为墨西哥Alberto布鲁桑切斯表示,竞争deconstructiva从各种来源narratologicos他想象一个虚构世界框此外nomada和跨界显然是不同文化。从文学的角度来看，这些资源在“后东方主义”拉丁美洲的乌托邦灵知中建立了东西方之间的桥梁。
{"title":"La disidencia de la marginalidad en el “centro” de un paradigma alternativo: el “post-orientalismo” en La mano del fuego de Alberto Ruy Sánchez","authors":"Ahmed Balghzal","doi":"10.5070/T49653488","DOIUrl":"https://doi.org/10.5070/T49653488","url":null,"abstract":"Author(s): Balghzal, Ahmed | Abstract: El proposito del trabajo es la exploracion del alcance de la disidencia del marginal modelo orientalista latinoamericano. Partiendo de un enfoque que compara la naturaleza del discurso producido en y por el centrico paradigma euroamericano y el periferico hispanoamericano, buscamos revelar la operatividad de la enunciacion literaria intersticial e hibrida del ultimo para un alternativo modelo. Para ello, valemos de una aproximacion analitica de orden eclectico a la obra La mano del fuego del autor mexicano Alberto Ruy Sanchez, para manifestar la accion deconstructiva de varios recursos narratologicos que pintan el cuadro de un mundo novelesco ademas de nomada y transfronterizo es claramente intercultural. Tales recursos establecen desde la condicion literaria puentes entre Oriente y Occidente en una utopica gnosis “post-orientalista” latinoamericana.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84593390","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}
Author(s): Corbalan, Ana | Abstract: This article analyzes the audiovisual codification of the colonial conflicts between Spain and Morocco as depicted in the TV series Morocco: Love in Times of War. The article explores the gender and cultural decolonization that is portrayed in the series, showing a resistance to the ideology promoted by Eurocentrism. It also highlights how the series’ female protagonists challenge the social conventions of 1921. However, this subversion of gender expectations can be somewhat problematic because the protagonists are characterized by their self-determination; their professional aspirations are more representative of contemporary Spain than that of the early twentieth century.Este articulo reconstruye el conflicto colonial por medio de la codificacion visual de las complejas relaciones entre espanoles y marroquies, teniendose en cuenta las zonas de contacto estipuladas por Mary Louise Pratt, que se entienden como espacios donde las culturas se encuentran y chocan a menudo en contextos de relaciones asimetricas de poder. Partiendo del protagonismo conferido en la serie Tiempos de guerra a las Damas Enfermeras, analizare la descolonizacion generica y cultural que se recrea en la pantalla y que muestra una resistencia ante las preconcepciones establecidas por la ideologia eurocentrista, clasista, sexista y racista. Destacare asimismo los procesos de rebelion de la mujer ante las convenciones sociales de 1921. No obstante, esta subversion de las expectativas de genero puede resultar en cierto modo problematica; los personajes femeninos que aparecen en la serie se caracterizan por su autodeterminacion, por sus acciones y aspiraciones profesionales que son mas representativas de la Espana contemporanea que la de principios del siglo XX.
摘要:本文分析了电视剧《摩洛哥:战争时期的爱情》中西班牙与摩洛哥殖民冲突的视听编纂。本文探讨了该系列中所描绘的性别和文化非殖民化，表现出对欧洲中心主义所倡导的意识形态的抵制。它还突出了该系列的女主人公是如何挑战1921年的社会习俗的。然而，这种对性别期望的颠覆可能有些问题，因为主角的特点是自我决定;他们的职业抱负比二十世纪初更能代表当代西班牙。Este articulo re re el冲突to colonial pmedio de de codificficion ion西班牙人与marroquies之间的复杂关系，tentense de cucuion ion西班牙人与marroquies之间的联系，tentense de cucuion ion西班牙人与marilouise Pratt之间的联系，que se entienden comcomespacion ion西班牙人与marilouise Pratt之间的联系，que se entienden comcomespacion ion西班牙人与marilouise Pratt之间的联系，que se entienden comcomespacion ion西班牙人与marroquies之间的联系，que se entienden comcomespacion ion西班牙人与marroquies之间的关系，以及menudo在cont脉络中与asmetricicos之间的关系。从文化的角度分析反殖民主义的普遍性，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义，从文化的角度分析反殖民主义。在一九二一年的社会会议之前，民主主义的革命进程。毫无疑问，这颠覆了人们的预期，导致了人们对模式的质疑;“我的个人，女性，不知道自己的性格，不知道自己的性格，不知道自己的愿望，不知道自己的职业，不知道自己的代表，不知道西班牙当代的代表，不知道自己的原则。”
{"title":"Tiempos de guerra: Etnocentrismo y descolonización de género","authors":"A. Corbalán","doi":"10.5070/T494048549","DOIUrl":"https://doi.org/10.5070/T494048549","url":null,"abstract":"Author(s): Corbalan, Ana | Abstract: This article analyzes the audiovisual codification of the colonial conflicts between Spain and Morocco as depicted in the TV series Morocco: Love in Times of War. The article explores the gender and cultural decolonization that is portrayed in the series, showing a resistance to the ideology promoted by Eurocentrism. It also highlights how the series’ female protagonists challenge the social conventions of 1921. However, this subversion of gender expectations can be somewhat problematic because the protagonists are characterized by their self-determination; their professional aspirations are more representative of contemporary Spain than that of the early twentieth century.Este articulo reconstruye el conflicto colonial por medio de la codificacion visual de las complejas relaciones entre espanoles y marroquies, teniendose en cuenta las zonas de contacto estipuladas por Mary Louise Pratt, que se entienden como espacios donde las culturas se encuentran y chocan a menudo en contextos de relaciones asimetricas de poder. Partiendo del protagonismo conferido en la serie Tiempos de guerra a las Damas Enfermeras, analizare la descolonizacion generica y cultural que se recrea en la pantalla y que muestra una resistencia ante las preconcepciones establecidas por la ideologia eurocentrista, clasista, sexista y racista. Destacare asimismo los procesos de rebelion de la mujer ante las convenciones sociales de 1921. No obstante, esta subversion de las expectativas de genero puede resultar en cierto modo problematica; los personajes femeninos que aparecen en la serie se caracterizan por su autodeterminacion, por sus acciones y aspiraciones profesionales que son mas representativas de la Espana contemporanea que la de principios del siglo XX.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84488007","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}
Author(s): Petrecca, Miguel Angel | Abstract: Las traducciones chinas de Juanele Ortiz (Juan Laurentino Ortiz), publicadas por primera vez en un numero de Cuadernos de cultura de 1959, continuan generando hoy un cumulo de preguntas en torno tanto a su estatuto como a las mediaciones implicadas en el proceso de traduccion. ?Se trata mas bien de versiones que de traducciones? ?Mas bien de poemas que de versiones? En la recepcion de estas traducciones en Argentina, se ha tendido a enfatizar su caracter de traducciones sin origen y su proximidad con las coordenadas esteticas de la obra de Juan L. Ortiz. Contra esa vision, tal vez valida como metafora de un proceso, nuestro trabajo intenta ir en busca de ese origen, el que ubicamos en el texto chino al que corresponde la traduccion y en las mediaciones que funcionan de puente entre ambos. A traves del acercamiento a los textos y a los autores elegidos por Juanele, podemos recuperar la experiencia del viaje y, a la vez, esa experiencia del viaje explica no solo la eleccion de los autores, sino que tambien el proceso mismo de traduccion—en algunos (nuestra hipotesis) corresponde a textos que son el producto mismo del viaje—Juanele Ortiz’s (Juan Laurentino Ortiz) Chinese translations, first published in a volume of Cuadernos de cultura in 1959, still generate today a number of questions regarding their nature as well as the mediations involved in the translation process. Are they versions or translations? Poems or versions? In the reception of these translations in Argentina, there has been a tendency to overemphasize their being translations unrelated to the aesthetic of Juan L. Ortiz’ works. In contrast with this vision, which may be valid as a metaphor for a process, our work attempts to search their origin, which we locate in the Chinese text to which the translation corresponds, and in the mediations that work as a bridge between the two. Approaching these texts and authors chosen by Juanele, we recover the experience of the trip and, at the same time, this experience of the trip explains not only the choice of the authors translated but also of the process of translation itself—some (our hypothesis) correspond to texts that are the outcome of the trip itself.
提交人(s): Petrecca,米开朗基罗- Juanele Abstract:中国翻译Ortiz (Juan Laurentino Ortiz)首次出版,1959年在文化上的一个数字,仍产生一个cumulo今天围绕既有其地位问题进程涉及中介的翻译。这更多的是版本而不是翻译?而是诗歌而不是版本?在阿根廷接受这些译本时，人们倾向于强调它们的无源译本的特点，以及它们与胡安·l·奥尔蒂斯作品的美学坐标的接近。在这种情况下，我们的工作试图在翻译对应的中文文本中寻找起源，以及在两者之间起到桥梁作用的中介作用。透过血缘的案文和肇事者Juanele选出,我们可以获得旅行的经验,同时,这种旅行体验,不仅作者的选择,也是过程中翻译—在一些我们hipotesis)属于案文(是旅行的产品—Juanele Ortiz (Juan Laurentino Ortiz)中国translations笔记本,first published in A volume of in 1959年文化今天，关于它们的性质以及翻译过程中所涉及的中介，仍然产生了许多问题。它们是版本还是翻译?诗歌还是版本?在阿根廷接受这些翻译时，有一种倾向，认为它们是与胡安·l·奥尔蒂斯作品的美感不相关的翻译。与此相反，我们的工作试图寻找它们的起源，我们在翻译对应的中文文本中找到它们，并在充当两者之间桥梁的中介中找到它们。Approaching这些texts and authors chosen by Juanele, we recover the experience of the trip and at the same time, this experience of the trip explains not only the choice of the authors translated确保of the process of英文本身—一些(our hypothesis)不符,texts that are the outcome of the旅行本身。
{"title":"Algunas cuestiones en torno a las traducciones chinas de Juan Laurentino Ortiz","authors":"Miguel Ángel Petrecca","doi":"10.5070/T493048191","DOIUrl":"https://doi.org/10.5070/T493048191","url":null,"abstract":"Author(s): Petrecca, Miguel Angel | Abstract: Las traducciones chinas de Juanele Ortiz (Juan Laurentino Ortiz), publicadas por primera vez en un numero de Cuadernos de cultura de 1959, continuan generando hoy un cumulo de preguntas en torno tanto a su estatuto como a las mediaciones implicadas en el proceso de traduccion. ?Se trata mas bien de versiones que de traducciones? ?Mas bien de poemas que de versiones? En la recepcion de estas traducciones en Argentina, se ha tendido a enfatizar su caracter de traducciones sin origen y su proximidad con las coordenadas esteticas de la obra de Juan L. Ortiz. Contra esa vision, tal vez valida como metafora de un proceso, nuestro trabajo intenta ir en busca de ese origen, el que ubicamos en el texto chino al que corresponde la traduccion y en las mediaciones que funcionan de puente entre ambos. A traves del acercamiento a los textos y a los autores elegidos por Juanele, podemos recuperar la experiencia del viaje y, a la vez, esa experiencia del viaje explica no solo la eleccion de los autores, sino que tambien el proceso mismo de traduccion—en algunos (nuestra hipotesis) corresponde a textos que son el producto mismo del viaje—Juanele Ortiz’s (Juan Laurentino Ortiz) Chinese translations, first published in a volume of Cuadernos de cultura in 1959, still generate today a number of questions regarding their nature as well as the mediations involved in the translation process. Are they versions or translations? Poems or versions? In the reception of these translations in Argentina, there has been a tendency to overemphasize their being translations unrelated to the aesthetic of Juan L. Ortiz’ works. In contrast with this vision, which may be valid as a metaphor for a process, our work attempts to search their origin, which we locate in the Chinese text to which the translation corresponds, and in the mediations that work as a bridge between the two. Approaching these texts and authors chosen by Juanele, we recover the experience of the trip and, at the same time, this experience of the trip explains not only the choice of the authors translated but also of the process of translation itself—some (our hypothesis) correspond to texts that are the outcome of the trip itself.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85136715","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}
Author(s): Valdivia, Carmen | Abstract: This paper proposes a decolonial feminist framework for doing research on the representation of Indigenous women in contemporary Peruvian cultural and media production. It argues for an analytical methodology that recognizes Indigenous women gendered experience of colonialism—of being subjected to violence, made invisible and muted throughout historiography, and reduced to stagnant and degrading stereotypes in current cultural representations. It appositionally reads both the modern Peruvian nation-state and Western academic research as structures of colonial figurations that obscure the gender complexity of Indigenous identity, engaging a gender perspective that considers the contested relationship between Indigeneity and Peruvian identity, while centering Indigenous women’ political and cultural mobilities shed light on the complexities of identitarian politics and the role of hetero—and ethnonormative neoliberal regimes.
{"title":"Toward a Decolonial Feminist Research on Indigeneity in Contemporary Peru","authors":"Carmen Valdivia","doi":"10.5070/T495051215","DOIUrl":"https://doi.org/10.5070/T495051215","url":null,"abstract":"Author(s): Valdivia, Carmen | Abstract: This paper proposes a decolonial feminist framework for doing research on the representation of Indigenous women in contemporary Peruvian cultural and media production. It argues for an analytical methodology that recognizes Indigenous women gendered experience of colonialism—of being subjected to violence, made invisible and muted throughout historiography, and reduced to stagnant and degrading stereotypes in current cultural representations. It appositionally reads both the modern Peruvian nation-state and Western academic research as structures of colonial figurations that obscure the gender complexity of Indigenous identity, engaging a gender perspective that considers the contested relationship between Indigeneity and Peruvian identity, while centering Indigenous women’ political and cultural mobilities shed light on the complexities of identitarian politics and the role of hetero—and ethnonormative neoliberal regimes.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76246496","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}
Author(s): Davis, Benjamin P. | Abstract: It is one thing to consider what human rights have been and another to inquire into what they could be. In this essay, I present a history of human rights vis-a-vis decolonization. I follow the scholarship of Samuel Moyn to suggest that human rights presented a “moral alternative” to political utopias. The question remains how to politicize the moral energy around human rights today. I argue that defending what Edouard Glissant calls a “right to opacity” could politicize the ethical energy around human rights today. Glissant’s right to opacity outlines a blueprint for the praxis of human rights to shift from a “functional model” to a “critical model,” to use Enrique Dussel’s distinction. My ultimate aim is to show how social movements around human rights and decolonization could converge today.
{"title":"What Could Human Rights Do? A Decolonial Inquiry","authors":"Benjamin P. Davis","doi":"10.5070/T495051209","DOIUrl":"https://doi.org/10.5070/T495051209","url":null,"abstract":"Author(s): Davis, Benjamin P. | Abstract: It is one thing to consider what human rights have been and another to inquire into what they could be. In this essay, I present a history of human rights vis-a-vis decolonization. I follow the scholarship of Samuel Moyn to suggest that human rights presented a “moral alternative” to political utopias. The question remains how to politicize the moral energy around human rights today. I argue that defending what Edouard Glissant calls a “right to opacity” could politicize the ethical energy around human rights today. Glissant’s right to opacity outlines a blueprint for the praxis of human rights to shift from a “functional model” to a “critical model,” to use Enrique Dussel’s distinction. My ultimate aim is to show how social movements around human rights and decolonization could converge today.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"81 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83403586","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}
Author(s): Mesmoudi, Mehdi | Abstract: Moroccan literature written in Spanish is a rare sociocultural and editorial phenomenon that began approximately in the last fifty years ago. In the last twenty years, literary criticism in Spain, Morocco, France, and the United States has become interested in such a literary production. Poetry has been the genre of choice among those Moroccan authors who write in Spanish. There are two generations of these artists: those who are in their fifties and sixties (Abderrahman El Fathi, Ahmed M. Mgara, Aziz Tazi, et al.) and a new generation who are in their late twenties to early forties (Farid Othman Bentria, Lamiae El Amrani, Rachid Boussad, Nisrin Ibn Larbi, et al.). This essay aims at examining, from a theoretical and methodological perspective, what I call “Transhispanity”—this literature is either a new paradigm of literary expression in Morocco or a continuation of a literary discourse that was forged in the 1990s. It is a literature characterized by nostalgia for “exacerbated Andalusian topics,” migration and identity, etc.La literatura de lengua espanola en Marruecos es un fenomeno sociocultural y editorial sumamente peculiar que tiene menos de medio siglo en vigor. En las ultimas tres decadas, la critica literaria en Espana, Marruecos, Francia y los Estados Unidos se ha interesado en dicha produccion literaria. La poesia es el genero preferido por estos artistas donde figuran nombres de la generacion anterior (Abderrahman El Fathi, Ahmed M. Mgara, Aziz Tazi y otros) y otros de la actual (Farid Othman Bentria, Lamiae El Amrani, Rachid Boussad, Nisrin Ibn Larbi y otros). El objetivo de este articulo es observar desde las coordenadas teorico-metodologicas de la transhispanidad literaria si estamos ante una nueva poesia de lengua espanola en Marruecos o, mas bien, es la continuidad de un discurso literario que se viene fraguando desde los 90, marcado por la nostalgia de un “andalucismo exacerbado”, los temas de la migracion y la identidad de los migrantes, entre otros.
摘要:用西班牙语写作的摩洛哥文学是一种罕见的社会文化和编辑现象，大约始于近50年前。在过去的二十年里，西班牙、摩洛哥、法国和美国的文学评论都对这样的文学作品产生了兴趣。诗歌一直是用西班牙语写作的摩洛哥作家的首选体裁。这些艺术家有两代人:五六十岁的(Abderrahman El Fathi, Ahmed M. Mgara, Aziz Tazi等人)和二十多岁到四十出头的新一代(Farid Othman Bentria, Lamiae El Amrani, Rachid Boussad, Nisrin Ibn Larbi等人)。本文旨在从理论和方法论的角度审视我所谓的“跨西班牙文学”——这种文学要么是摩洛哥文学表达的新范式，要么是20世纪90年代形成的文学话语的延续。这是一种以对“加剧的安达卢西亚话题”、移民和身份认同等怀旧为特征的文学。《西班牙语文学》是一种社会文化现象，它的编辑总结是“独特的文化特征”。En las ultimas trres decadas, la critica literaria在西班牙，马鲁埃科斯，法国和los Estados Unidos都看到interesado和dicha生产文学。La poesia是el genero preferido poestos艺术家的作品，包括前一代的人物(Abderrahman el Fathi, Ahmed M. Mgara, Aziz Tazi和otros)和实际的人物(Farid Othman Bentria, Lamiae el Amrani, Rachid Boussad, Nisrin Ibn Larbi和otros)。“我们的目的是观察，我们的目的是观察，我们的目的是协调，我们的目的是方法论，我们的目的是观察，我们的目的是观察，我们的目的是观察，我们的目的是观察，我们的目的是观察，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的是研究，我们的目的。”
{"title":"¿Existe una nueva poesía marroquí en lengua española? Aproximaciones transhispánicas","authors":"Mehdi Mesmoudi","doi":"10.5070/T494048547","DOIUrl":"https://doi.org/10.5070/T494048547","url":null,"abstract":"Author(s): Mesmoudi, Mehdi | Abstract: Moroccan literature written in Spanish is a rare sociocultural and editorial phenomenon that began approximately in the last fifty years ago. In the last twenty years, literary criticism in Spain, Morocco, France, and the United States has become interested in such a literary production. Poetry has been the genre of choice among those Moroccan authors who write in Spanish. There are two generations of these artists: those who are in their fifties and sixties (Abderrahman El Fathi, Ahmed M. Mgara, Aziz Tazi, et al.) and a new generation who are in their late twenties to early forties (Farid Othman Bentria, Lamiae El Amrani, Rachid Boussad, Nisrin Ibn Larbi, et al.). This essay aims at examining, from a theoretical and methodological perspective, what I call “Transhispanity”—this literature is either a new paradigm of literary expression in Morocco or a continuation of a literary discourse that was forged in the 1990s. It is a literature characterized by nostalgia for “exacerbated Andalusian topics,” migration and identity, etc.La literatura de lengua espanola en Marruecos es un fenomeno sociocultural y editorial sumamente peculiar que tiene menos de medio siglo en vigor. En las ultimas tres decadas, la critica literaria en Espana, Marruecos, Francia y los Estados Unidos se ha interesado en dicha produccion literaria. La poesia es el genero preferido por estos artistas donde figuran nombres de la generacion anterior (Abderrahman El Fathi, Ahmed M. Mgara, Aziz Tazi y otros) y otros de la actual (Farid Othman Bentria, Lamiae El Amrani, Rachid Boussad, Nisrin Ibn Larbi y otros). El objetivo de este articulo es observar desde las coordenadas teorico-metodologicas de la transhispanidad literaria si estamos ante una nueva poesia de lengua espanola en Marruecos o, mas bien, es la continuidad de un discurso literario que se viene fraguando desde los 90, marcado por la nostalgia de un “andalucismo exacerbado”, los temas de la migracion y la identidad de los migrantes, entre otros.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78205629","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}
Author(s): Bartholomew, Jake M. | Abstract: This paper argues that, while positive attempts to integrate European ethical approaches to the decolonial context have contributed much to decolonial ethics and have their place, a better means to understand the ethical content of the decolonial is through the challenge that it poses. That is, decolonial theory itself confronts one with a challenge–if one is truly engage in decolonial critique in good faith, one must attempt to decolonize oneself, one’s relations, one’s actions, one’s life. The question of what exactly this means and the depths to which one must confront this is examined through an engagement with the work of Fausto Reinaga and his argument that we must “turn our back to Europe.” Reading this both through the context of his political engagement as indigenous activist and also through the lens of Foucault’s reflections on the Cynic as a figure who haunts philosophy, demanding that it live up to its own commitments, it finds that decoloniaty thus stands as a challenge, not just of uniting theory and practice but of living one’s thought. What both Reinaga and the Cynic have in common is the challenge–that one recognize the tensions that animate their lives and point toward the possibility of an other life.
{"title":"Decoloniality as an Ethical Challenge","authors":"Jake M. Bartholomew","doi":"10.5070/T495051214","DOIUrl":"https://doi.org/10.5070/T495051214","url":null,"abstract":"Author(s): Bartholomew, Jake M. | Abstract: This paper argues that, while positive attempts to integrate European ethical approaches to the decolonial context have contributed much to decolonial ethics and have their place, a better means to understand the ethical content of the decolonial is through the challenge that it poses. That is, decolonial theory itself confronts one with a challenge–if one is truly engage in decolonial critique in good faith, one must attempt to decolonize oneself, one’s relations, one’s actions, one’s life. The question of what exactly this means and the depths to which one must confront this is examined through an engagement with the work of Fausto Reinaga and his argument that we must “turn our back to Europe.” Reading this both through the context of his political engagement as indigenous activist and also through the lens of Foucault’s reflections on the Cynic as a figure who haunts philosophy, demanding that it live up to its own commitments, it finds that decoloniaty thus stands as a challenge, not just of uniting theory and practice but of living one’s thought. What both Reinaga and the Cynic have in common is the challenge–that one recognize the tensions that animate their lives and point toward the possibility of an other life.","PeriodicalId":30612,"journal":{"name":"Transmodernity","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80371308","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：