{"title":"Intérprete/Interpreter","authors":"Felipe Hugueño","doi":"10.26824/lalr.261","DOIUrl":"https://doi.org/10.26824/lalr.261","url":null,"abstract":"This is a creative piece.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114938195","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}
Carolina Sánchez es una escritora e investigadora colombiana. Ha publicado sus textos literarios en revistas latinoamericanas y españolas como Corónica, Matera, Poesía, Zégel. Otro páramo y Temporales. Fue seleccionada para participar en The Americas Poetry Festival of New York 2019 y en el programa de poesía de la Feria Internacional del Libro de Nueva York, en el Instituto Cervantes (FILNYC 2019 y 2020). Es la autora del poemario bilingue Viaje / Voyage (Ultramarina Cartonera & Digital, 2020) que traduce las imágenes de la película Stalker de Tarkovski en palabras. Es co-editora de la Plataforma Latinoamericana de Humanidades Ambientales.
{"title":"Invisible","authors":"C. Sánchez","doi":"10.26824/lalr.285","DOIUrl":"https://doi.org/10.26824/lalr.285","url":null,"abstract":"Carolina Sánchez es una escritora e investigadora colombiana. Ha publicado sus textos literarios en revistas latinoamericanas y españolas como Corónica, Matera, Poesía, Zégel. Otro páramo y Temporales. Fue seleccionada para participar en The Americas Poetry Festival of New York 2019 y en el programa de poesía de la Feria Internacional del Libro de Nueva York, en el Instituto Cervantes (FILNYC 2019 y 2020). Es la autora del poemario bilingue Viaje / Voyage (Ultramarina Cartonera & Digital, 2020) que traduce las imágenes de la película Stalker de Tarkovski en palabras. Es co-editora de la Plataforma Latinoamericana de Humanidades Ambientales.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129141179","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}
"Sister of mine on The precipice" and "My uncle the carpenter" are two poems where union, identity and earth are the leitmotiv of a poets vision. He sings to his loved ones, his romantic partner, as well as to his uncle through metaphors involving soil, territory, and love in its human possibility. The poetic voice celebrates his cherished ones and that solid union they share.
{"title":"Two poems by Ángel José Fernández translated by Yasmín Rojas","authors":"Ángel José Fernández, Yasmín Rojas","doi":"10.26824/lalr.278","DOIUrl":"https://doi.org/10.26824/lalr.278","url":null,"abstract":"\"Sister of mine on The precipice\" and \"My uncle the carpenter\" are two poems where union, identity and earth are the leitmotiv of a poets vision. He sings to his loved ones, his romantic partner, as well as to his uncle through metaphors involving soil, territory, and love in its human possibility. The poetic voice celebrates his cherished ones and that solid union they share.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116946609","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}
Krisma Mancía (1980, El Salvador) is one of the most promising members of the postwar generation of young Salvadoran poets. Like Jacinta Escudos, Claudia Hernández and Vanessa Núñez Handal in prose, Krisma Mancía breaks free of the taboos still found within Salvadoran society that have kept women’s issues out of literary discourse longer than in other Latin American countries, and brings them to the forefront in her poetry. In this study, I focus on analyzing the poems “Exquisita ama de casa” and “El juego de la demencia,” both from the collection La era del llanto (2004) and showing how difficult it is for the female subjects to break free from patriarchal order and create an independent, strong female identity. Krisma Mancía delves deeply into the contradictions inherent in Salvadoran society to give us a harrowing look at two repressive expectations still placed upon Salvadoran women today: that of the traditional housewife and of the obedient and lady-like daughter. Through grotesque, often surrealistic images, and multiple voices within the poems, Mancía shows us how these societal expectations result in women becoming monstrous, becoming chimeras that can only find freedom in a descent into madness and rage.
克里斯玛Mancía(1980，萨尔瓦多)是萨尔瓦多战后一代年轻诗人中最有前途的成员之一。与杰辛塔·埃斯库多斯、克劳迪娅Hernández和凡妮莎·Núñez·汉达尔的散文一样，克里斯玛Mancía打破了萨尔瓦多社会中仍然存在的禁忌，这些禁忌使妇女问题比其他拉丁美洲国家更长久地远离文学话语，并将其带到她的诗歌中。在本研究中，我着重分析了诗集《la era del llanto》(2004)中的诗歌《Exquisita ama de casa》和《El juego de la demencia》，并展示了女性主体从父权秩序中挣脱出来，创造一个独立的、强烈的女性身份是多么困难。克里斯玛Mancía深入研究了萨尔瓦多社会固有的矛盾，让我们痛苦地看到今天萨尔瓦多妇女仍然受到的两种压抑的期望:传统的家庭主妇和顺从的和淑女般的女儿。通过怪诞的，通常是超现实主义的图像，以及诗歌中的多种声音，Mancía向我们展示了这些社会期望如何导致女性变得可怕，成为只能在疯狂和愤怒中找到自由的嵌合体。
{"title":"Madness, the Grotesque and Female Identity in “Exquisita ama de casa” and “El juego de la demencia” by Krisma Mancía","authors":"Raquel Patricia Chiquillo","doi":"10.26824/lalr.221","DOIUrl":"https://doi.org/10.26824/lalr.221","url":null,"abstract":"Krisma Mancía (1980, El Salvador) is one of the most promising members of the postwar generation of young Salvadoran poets. Like Jacinta Escudos, Claudia Hernández and Vanessa Núñez Handal in prose, Krisma Mancía breaks free of the taboos still found within Salvadoran society that have kept women’s issues out of literary discourse longer than in other Latin American countries, and brings them to the forefront in her poetry. In this study, I focus on analyzing the poems “Exquisita ama de casa” and “El juego de la demencia,” both from the collection La era del llanto (2004) and showing how difficult it is for the female subjects to break free from patriarchal order and create an independent, strong female identity. Krisma Mancía delves deeply into the contradictions inherent in Salvadoran society to give us a harrowing look at two repressive expectations still placed upon Salvadoran women today: that of the traditional housewife and of the obedient and lady-like daughter. Through grotesque, often surrealistic images, and multiple voices within the poems, Mancía shows us how these societal expectations result in women becoming monstrous, becoming chimeras that can only find freedom in a descent into madness and rage.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126819253","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}
The present article contends that the cinematic representation of the Chinese enclave in São Paulo, Brazil, along with the Chinese Brazilian characters in Plastic City (2008), are the product of a (self)-orientalization and exoticization process. While the plot takes place in Brazil, it is built on collective imaginations from Asia through plasticity, which has two dimensions. The definition of the first dimension draws on Bhaskar Sarkar’s theory of plasticity and globalization, which focuses on the mutability and flexibility of representations in a global context (452). As Plastic City is a cross-border collaboration from Asia for Asian spectators that engages these global representations, this research investigates how the transnational production process re-represents an exotic Orient in São Paulo. The other dimension of plasticity is based on Walter Benjamin’s theory of reproduced products and their auras (4) with a focus on how the re-representing process presents itself as an attempt to construct historical authenticity. This topic is symbolized through pirated goods and the film’s transnational production process, distribution, and reproducibility of plastic goods. This article also takes a cue from studies of the representation of Asia and Asian characters in Spanish and Latin American cinema, which is an area gaining increasing interest in recent years (Lu, Dávila Gonçalves, Vázquez Vázquez), by calling into question the often ignored or stigmatized population of the films.
{"title":"Plasticity as Globality and Authenticity: The Re-represented Chinese Brazilians in Cidade de Plástico/ 荡寇/蕩寇/Plastic City (2008)","authors":"Francisco Y. Chen-López","doi":"10.26824/lalr.279","DOIUrl":"https://doi.org/10.26824/lalr.279","url":null,"abstract":"The present article contends that the cinematic representation of the Chinese enclave in São Paulo, Brazil, along with the Chinese Brazilian characters in Plastic City (2008), are the product of a (self)-orientalization and exoticization process. While the plot takes place in Brazil, it is built on collective imaginations from Asia through plasticity, which has two dimensions. The definition of the first dimension draws on Bhaskar Sarkar’s theory of plasticity and globalization, which focuses on the mutability and flexibility of representations in a global context (452). As Plastic City is a cross-border collaboration from Asia for Asian spectators that engages these global representations, this research investigates how the transnational production process re-represents an exotic Orient in São Paulo. The other dimension of plasticity is based on Walter Benjamin’s theory of reproduced products and their auras (4) with a focus on how the re-representing process presents itself as an attempt to construct historical authenticity. This topic is symbolized through pirated goods and the film’s transnational production process, distribution, and reproducibility of plastic goods. This article also takes a cue from studies of the representation of Asia and Asian characters in Spanish and Latin American cinema, which is an area gaining increasing interest in recent years (Lu, Dávila Gonçalves, Vázquez Vázquez), by calling into question the often ignored or stigmatized population of the films.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126833714","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 examines poems from the books Via Corporis by Mexican poet Pura López-Colomé (1952-) and Harm by U.S. poet Hillary Gravendyk (1979-2014), which offer two different contemporary examples of lyric poetry’s engagement with pain and illness. In each case these poets demonstrate how pain as constructed in the lyric creates its own language, its own poetic corpus or relationship to the body, and distinct approaches to broader cultural contexts. In complementary ways these two poets use their imaginative voices to embody or give form to and create empathy for experiences of illness that, while to some degree universal, may often be side- stepped or considered unrepresentable. These poets’ work illustrates how poetic language can communicate beyond narrative, opening other avenues to express and understand pain. Gravendyk and Lopez Colomé extract what happens in the physical realm and through the use of image, sound, perspective, word play, and figurative language, to construct enigmatic poems that surprise and perhaps challenge existing representations of illness and pain.
{"title":"Imaginative Medicine: Thinking Creatively about Poetry, Illness, and Pain","authors":"Jill S Kuhnheim","doi":"10.26824/lalr.249","DOIUrl":"https://doi.org/10.26824/lalr.249","url":null,"abstract":"This essay examines poems from the books Via Corporis by Mexican poet Pura López-Colomé (1952-) and Harm by U.S. poet Hillary Gravendyk (1979-2014), which offer two different contemporary examples of lyric poetry’s engagement with pain and illness. In each case these poets demonstrate how pain as constructed in the lyric creates its own language, its own poetic corpus or relationship to the body, and distinct approaches to broader cultural contexts. In complementary ways these two poets use their imaginative voices to embody or give form to and create empathy for experiences of illness that, while to some degree universal, may often be side- stepped or considered unrepresentable. These poets’ work illustrates how poetic language can communicate beyond narrative, opening other avenues to express and understand pain. Gravendyk and Lopez Colomé extract what happens in the physical realm and through the use of image, sound, perspective, word play, and figurative language, to construct enigmatic poems that surprise and perhaps challenge existing representations of illness and pain.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116725658","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 examines the way in which two late twentieth-century Latin American novelists address movement through the city of Paris. Building on existing work by Julie Jones (1998), Jason Weiss (2003), Axel Gasquet (2007) and especially Marcy E. Schwartz (1999), this project moves beyond a genealogy of Latin American writers in Paris towards a conception of the relationship between narrative form and depictions of urban navigation. It proposes that Julio Cortázar in Rayuela (1963) and Luisa Futoransky in De Pe a Pa (1986) enact a mode of movement through the discontinuous and episodic forms of their novels, and that the contrast between their depictions of movement, and particularly their depictions of the relationship between fragmentation and continuity within this movement, can be most clearly understood along the axis of gender. That is, while for Oliveira in Rayuela movement through the city is largely uninterrupted and can preserve at least an illusion of fluidity, for Laura in De Pe a Pa the woman’s movement through Paris is always discontinuous, difficult and even dangerous. Futoransky revises that earlier male writer’s formulation of movement to draw attention to a masculine complacency which organises Rayuela and to propose a new model for female urban navigation.
这篇文章考察了两位二十世纪晚期拉丁美洲小说家通过巴黎城市解决运动的方式。在Julie Jones (1998)， Jason Weiss (2003)， Axel Gasquet(2007)，尤其是Marcy E. Schwartz(1999)现有作品的基础上，该项目超越了巴黎拉丁美洲作家的家谱，转向了叙事形式与城市导航描述之间关系的概念。它提出胡里奥Cortázar在Rayuela(1963)和Luisa Futoransky在De Pe a Pa(1986)中通过他们小说的不连续和情节形式制定了一种运动模式，并且他们对运动的描述之间的对比，特别是他们对运动中碎片和连续性之间关系的描述，可以沿着性别轴最清楚地理解。也就是说，对于《蕾维拉》中的奥利维拉来说，穿过城市的运动基本上是不间断的，至少可以保持一种流动的幻觉，而对于《我的父亲》中的劳拉来说，女人穿过巴黎的运动总是不连续的，困难的，甚至是危险的。Futoransky修改了早期男性作家对运动的表述，将注意力吸引到男性的自满情绪上，这种情绪组织了Rayuela，并提出了一种女性城市导航的新模式。
{"title":"Moving Through Paris: The Discontinuous Forms of Julio Cortázar’s 'Rayuela' (1963) and Luisa Futoransky’s 'De Pe a Pa' (1986)","authors":"Iris Pearson","doi":"10.26824/lalr.234","DOIUrl":"https://doi.org/10.26824/lalr.234","url":null,"abstract":"This essay examines the way in which two late twentieth-century Latin American novelists address movement through the city of Paris. Building on existing work by Julie Jones (1998), Jason Weiss (2003), Axel Gasquet (2007) and especially Marcy E. Schwartz (1999), this project moves beyond a genealogy of Latin American writers in Paris towards a conception of the relationship between narrative form and depictions of urban navigation. It proposes that Julio Cortázar in Rayuela (1963) and Luisa Futoransky in De Pe a Pa (1986) enact a mode of movement through the discontinuous and episodic forms of their novels, and that the contrast between their depictions of movement, and particularly their depictions of the relationship between fragmentation and continuity within this movement, can be most clearly understood along the axis of gender. That is, while for Oliveira in Rayuela movement through the city is largely uninterrupted and can preserve at least an illusion of fluidity, for Laura in De Pe a Pa the woman’s movement through Paris is always discontinuous, difficult and even dangerous. Futoransky revises that earlier male writer’s formulation of movement to draw attention to a masculine complacency which organises Rayuela and to propose a new model for female urban navigation.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121641299","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}
El mal de la taiga (2012) de Cristina Rivera Garza tiene como escenario a una lejana e inmensa región de bosques de coníferas que alberga a seres perturbados por un mal cuyo origen fluctúa entre lo mental y lo espiritual. Sin embargo, Rivera Garza traslada a la taiga un tema socioambiental que atañe a Latinoamérica. La trata de personas vinculada a la explotación de recursos naturales emerge de manera sutil en la en la novela. A través de la presencia de leñadores en los prostíbulos, Rivera Garza sugiere una interrelación entre la trata de personas y los depredadores de los bosques. Tanto los leñadores como las prostitutas (víctimas de trata) representan dos eslabones de una problemática con características distintivas en Latinoamérica. El presente trabajo tiene como objetivo analizar la explotación de recursos naturales y de personas en El mal de la taiga en paralelo con la realidad latinoamericana en esos mismos ámbitos. Basado en artículos, informes, reportajes y testimonios, el análisis concluye que El mal de la taiga es una versión novelada de un mal que, en realidad, aqueja a Latinoamérica. Abstract El mal de la taiga (2012) by Cristina Rivera Garza is set in a vast faraway region of coniferous forests inhabited by human beings perturbed by an illness whose origin could be either mental or spiritual. However, Rivera Garza extrapolates a socio-environmental problem that affects Latin America to the taiga. Human trafficking connected with the exploitation of natural resources emerges subtly in the novel. Through the presence of loggers in brothels, Rivera Garza suggests a relationship between human trafficking and the predators of forests. Loggers as well as prostitutes (victims of human trafficking) represent two links of a problem with distinct features in Latin America. This analysis aims at looking into the exploitation of natural resources and that of persons in El mal de la taiga while comparing the same issues in Latin America. Based on articles, investigative accounts, reports, and testimonies, the analysis concludes that El mal de la taiga is a fictionalized version of a problem that indeed affects Latin America.
克里斯蒂娜·里维拉·加尔萨(Cristina Rivera Garza)的《针叶林的邪恶》(El mal de la taiga, 2012)以一个遥远而广阔的针叶林地区为背景，那里居住着被一种起源在精神和精神之间波动的邪恶所困扰的生物。然而，里维拉·加尔萨将拉丁美洲的社会环境问题转移到了针叶林。与开发自然资源有关的人口贩运在小说中以一种微妙的方式出现。通过妓院里伐木工的存在，里维拉·加尔萨暗示了人口贩卖和森林掠夺者之间的相互关系。在拉丁美洲，伐木工和妓女(人口贩卖的受害者)都是这一问题的两个环节，这一问题具有鲜明的特点。本文的目的是分析针叶林疾病中自然资源和人的开发，并结合拉丁美洲在这些地区的现实。根据文章、报告、报告和证词，分析得出结论，针叶林的邪恶是真正困扰拉丁美洲的邪恶的虚构版本。克里斯蒂娜·里维拉·加尔萨(Cristina Rivera Garza)的《针叶林的邪恶》(the mal de la taiga, 2012)设定在一个遥远的针叶林地区，那里居住着被一种疾病所困扰的人类，这种疾病的起源可能是精神上的或精神上的。然而，里维拉·加尔萨推断出影响拉丁美洲针叶林的社会环境问题。在小说中，与自然资源开发有关的人口贩运微妙地出现了。里韦拉·加尔萨(Rivera Garza)通过在brothels的记录员的存在，表明人口贩运与森林掠夺者之间存在联系。在拉丁美洲，记录者和妓女(人口贩运的受害者)代表了一个具有不同特征的问题的两个联系。这一分析着眼于自然资源的开发和针叶林灾民的情况，同时比较拉丁美洲的相同问题。根据文章、调查报告、报告和证词，分析得出结论，针叶林病是一个真实影响拉丁美洲的问题的虚构版本。
{"title":"El mal de la taiga: una versión de la explotación de personas y recursos naturales en Latinoamérica","authors":"Allen Juan Zegarra Acevedo","doi":"10.26824/lalr.195","DOIUrl":"https://doi.org/10.26824/lalr.195","url":null,"abstract":"El mal de la taiga (2012) de Cristina Rivera Garza tiene como escenario a una lejana e inmensa región de bosques de coníferas que alberga a seres perturbados por un mal cuyo origen fluctúa entre lo mental y lo espiritual. Sin embargo, Rivera Garza traslada a la taiga un tema socioambiental que atañe a Latinoamérica. La trata de personas vinculada a la explotación de recursos naturales emerge de manera sutil en la en la novela. A través de la presencia de leñadores en los prostíbulos, Rivera Garza sugiere una interrelación entre la trata de personas y los depredadores de los bosques. Tanto los leñadores como las prostitutas (víctimas de trata) representan dos eslabones de una problemática con características distintivas en Latinoamérica. El presente trabajo tiene como objetivo analizar la explotación de recursos naturales y de personas en El mal de la taiga en paralelo con la realidad latinoamericana en esos mismos ámbitos. Basado en artículos, informes, reportajes y testimonios, el análisis concluye que El mal de la taiga es una versión novelada de un mal que, en realidad, aqueja a Latinoamérica. Abstract El mal de la taiga (2012) by Cristina Rivera Garza is set in a vast faraway region of coniferous forests inhabited by human beings perturbed by an illness whose origin could be either mental or spiritual. However, Rivera Garza extrapolates a socio-environmental problem that affects Latin America to the taiga. Human trafficking connected with the exploitation of natural resources emerges subtly in the novel. Through the presence of loggers in brothels, Rivera Garza suggests a relationship between human trafficking and the predators of forests. Loggers as well as prostitutes (victims of human trafficking) represent two links of a problem with distinct features in Latin America. This analysis aims at looking into the exploitation of natural resources and that of persons in El mal de la taiga while comparing the same issues in Latin America. Based on articles, investigative accounts, reports, and testimonies, the analysis concludes that El mal de la taiga is a fictionalized version of a problem that indeed affects Latin America.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127857853","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":"Fértil provincia y señalada: Raúl Ruiz y el campo del cine chileno. Edited by Verónica Cortínez. Santiago de Chile: Editorial Cuarto Propio, 2018. 265 pages.","authors":"Verónica Garibotto","doi":"10.26824/lalr.289","DOIUrl":"https://doi.org/10.26824/lalr.289","url":null,"abstract":"This is a review of an anthology","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122635056","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}
La Vorágine, único texto ficcional publicado por el autor colombiano José Eustasio Rivera en 1924, tiene un foco denunciatorio y desvela un escándalo neocolonialista. Empleando varios recursos estilísticos, la obra literaria presenta la selva colombiana como inhumana y devoradora, territorio que se niega a la explotación antropocéntrica bajo el ideal del Progreso. La novela hace referencia a la codificación de la selva como región y espacio fronterizo en el que se manifiestan los límites entre la civilización y lo salvaje o entre naturaleza y cultura nacional. Por tratar de la naturaleza y sobre todo de la selva, La Vorágine se presta excelentemente para un análisis ecocrítico. La perspectiva ecocrítica aplicada para el análisis de la novela de la selva asume en todo momento que la naturaleza es el verdadero protagonista del texto, ya que a través de su representación se critica el sistema capitalista y neocolonialista creado por el hombre. Además, la novela intenta destacar las consecuencias negativas que el comportamiento humano tiene sobre el medio ambiente y al mismo tiempo trata de estimular a los lectores contemporáneos a reflexionar sobre la acelerada destrucción ecológica.
{"title":"Una Selva Inhumana y Devoradora: Análisis Ecocrítico de la Novela La Vorágine (1924)","authors":"Claudia Monica Isabel Hachenberger","doi":"10.26824/lalr.175","DOIUrl":"https://doi.org/10.26824/lalr.175","url":null,"abstract":"La Vorágine, único texto ficcional publicado por el autor colombiano José Eustasio Rivera en 1924, tiene un foco denunciatorio y desvela un escándalo neocolonialista. Empleando varios recursos estilísticos, la obra literaria presenta la selva colombiana como inhumana y devoradora, territorio que se niega a la explotación antropocéntrica bajo el ideal del Progreso. La novela hace referencia a la codificación de la selva como región y espacio fronterizo en el que se manifiestan los límites entre la civilización y lo salvaje o entre naturaleza y cultura nacional. Por tratar de la naturaleza y sobre todo de la selva, La Vorágine se presta excelentemente para un análisis ecocrítico. La perspectiva ecocrítica aplicada para el análisis de la novela de la selva asume en todo momento que la naturaleza es el verdadero protagonista del texto, ya que a través de su representación se critica el sistema capitalista y neocolonialista creado por el hombre. Además, la novela intenta destacar las consecuencias negativas que el comportamiento humano tiene sobre el medio ambiente y al mismo tiempo trata de estimular a los lectores contemporáneos a reflexionar sobre la acelerada destrucción ecológica.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134419731","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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