Una tematica creciente en la literatura colombiana de las ultimas decadas ha sido aquella que tiene que ver directamente con la realidad violenta y convulsionada del pais. Han sido muchos los autores que desde diferentes perspectivas han tratado de abordar esta problematica a traves de la ficcion. Este estudio analiza la representacion literaria de un tipo de hecho violento, que es habitual dentro de la violencia cronica que se vive en Colombia: el acto sicarial. El relato “El jugador de billar” de Jeronimo Garcia Riano es una apuesta a retratar no al sicario como personaje individual que tantas veces se ha ficcionalizado y estudiado, sino a la reconstruccion de su accionar y la escenografia del hecho delictivo. Aqui, la narrativa de Garcia Riano juega a ser un testimonio que detalla particularidades inmediatas de un antes, un durante y un despues de un homicidio. During recent decades a growing theme in Colombian literature has been its violent and convoluted reality, the causes and their consequences. Many authors have tried to approach this problem from different perspectives. This study analyzes the literary representation of a type of violence common in the chronic criminal activity in Colombia: contract killing. The story “El jugador de billar” (“The Billiard Player”) by Jeronimo Garcia Riano is an effort to portray the hitman not only as a stereotypical character that has been fictionalized and studied so many times but rather to reconstruct his actions and the locale of the criminal act. Here, Garcia Riano's narrative is a testimony to the particular characteristics of the specific situation, the act itself, and the aftermath of a killing.
{"title":"¿Al filo de la ficción o de la realidad? Evocación de un acto sicarial en un relato de la literatura colombiana contemporánea","authors":"Á. A. Bernal","doi":"10.23870/marlas.348","DOIUrl":"https://doi.org/10.23870/marlas.348","url":null,"abstract":"Una tematica creciente en la literatura colombiana de las ultimas decadas ha sido aquella que tiene que ver directamente con la realidad violenta y convulsionada del pais. Han sido muchos los autores que desde diferentes perspectivas han tratado de abordar esta problematica a traves de la ficcion. Este estudio analiza la representacion literaria de un tipo de hecho violento, que es habitual dentro de la violencia cronica que se vive en Colombia: el acto sicarial. El relato “El jugador de billar” de Jeronimo Garcia Riano es una apuesta a retratar no al sicario como personaje individual que tantas veces se ha ficcionalizado y estudiado, sino a la reconstruccion de su accionar y la escenografia del hecho delictivo. Aqui, la narrativa de Garcia Riano juega a ser un testimonio que detalla particularidades inmediatas de un antes, un durante y un despues de un homicidio. During recent decades a growing theme in Colombian literature has been its violent and convoluted reality, the causes and their consequences. Many authors have tried to approach this problem from different perspectives. This study analyzes the literary representation of a type of violence common in the chronic criminal activity in Colombia: contract killing. The story “El jugador de billar” (“The Billiard Player”) by Jeronimo Garcia Riano is an effort to portray the hitman not only as a stereotypical character that has been fictionalized and studied so many times but rather to reconstruct his actions and the locale of the criminal act. Here, Garcia Riano's narrative is a testimony to the particular characteristics of the specific situation, the act itself, and the aftermath of a killing.","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45188023","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}
Bruna da Penha de Mendonça Coelho, Ana Beatriz Bueno de Jesus, Maria de Lourdes da Silva
O objetivo do presente artigo consiste em compreender os contornos da repercussao dos movimentos grevistas dos entregadores por plataformas digitais durante a pandemia da Covid-19, com foco para as greves internacionais no âmbito da America Latina e para as paralisacoes realizadas no Brasil. A escolha do tema justifica-se por sua atualidade e relevância, uma vez que lida com questoes sociais pulsantes. Quanto aos metodos de pesquisa, conjugam-se a revisao bibliografica e a pesquisa empirica documental (a partir das bases materiais atinentes a convocacao dos movimentos por parte dos trabalhadores e a propagacao desses atos por veiculos de informacao). Na introducao, sao expostas as delimitacoes metodologicas da analise, bem como o enfoque critico que se pretende conferir: isto e, busca-se situar os movimentos grevistas no contexto de explicitacao das contradicoes do modo de producao capitalista (com foco para o conflito capital-trabalho). Por sua vez, o desenvolvimento do texto e dividido em tres eixos de analise: o primeiro destina-se ao mapeamento das tres primeiras greves internacionais na America Latina; o segundo sobre os movimentos realizados no Brasil; e o terceiro diz respeito a uma abordagem critica acerca do fenomeno da uberizacao. Na conclusao, retoma-se a hipotese de pesquisa, que consiste na apreensao de que se encontra em curso uma tendencia de internacionalizacao da articulacao coletiva dos entregadores por plataformas digitais. The objective of the article is to understand the repercussions of delivery workers’ strikes during the Covid-19 pandemic, with a focus on international strikes in Latin America and on the stoppages in Brazil. The justification for the theme relies on its topicality and relevance in dealing with such emergent social issues. As for research methods, bibliographical review and empirical documentary research are combined (based on the material related to the summoning of movements by workers and the propagation of these acts by means of information). In the introduction, the methodological delimitations of the analysis are defined, as well as the critical approach that is intended to understand the strikes in the context deepening contradictions of the capitalist mode of production (with a focus on the capital-labor conflict). In turn, the presentation is divided into three axes of analysis: the first axis maps the first three international strikes in Latin America; the second focuses on the movements carried out in Brazil; and the third concerns a critical approach regarding uberization. In the conclusion, the research hypothesis is validated by the confirmation that a trend towards internationalization of the collective articulation of deliverers by digital platforms is underway.
{"title":"A luta coletiva dos entregadores latino-americanos contra a pandemia do capitalismo - movimentos grevistas em tempos de Covid-19","authors":"Bruna da Penha de Mendonça Coelho, Ana Beatriz Bueno de Jesus, Maria de Lourdes da Silva","doi":"10.23870/MARLAS.331","DOIUrl":"https://doi.org/10.23870/MARLAS.331","url":null,"abstract":"O objetivo do presente artigo consiste em compreender os contornos da repercussao dos movimentos grevistas dos entregadores por plataformas digitais durante a pandemia da Covid-19, com foco para as greves internacionais no âmbito da America Latina e para as paralisacoes realizadas no Brasil. A escolha do tema justifica-se por sua atualidade e relevância, uma vez que lida com questoes sociais pulsantes. Quanto aos metodos de pesquisa, conjugam-se a revisao bibliografica e a pesquisa empirica documental (a partir das bases materiais atinentes a convocacao dos movimentos por parte dos trabalhadores e a propagacao desses atos por veiculos de informacao). Na introducao, sao expostas as delimitacoes metodologicas da analise, bem como o enfoque critico que se pretende conferir: isto e, busca-se situar os movimentos grevistas no contexto de explicitacao das contradicoes do modo de producao capitalista (com foco para o conflito capital-trabalho). Por sua vez, o desenvolvimento do texto e dividido em tres eixos de analise: o primeiro destina-se ao mapeamento das tres primeiras greves internacionais na America Latina; o segundo sobre os movimentos realizados no Brasil; e o terceiro diz respeito a uma abordagem critica acerca do fenomeno da uberizacao. Na conclusao, retoma-se a hipotese de pesquisa, que consiste na apreensao de que se encontra em curso uma tendencia de internacionalizacao da articulacao coletiva dos entregadores por plataformas digitais. The objective of the article is to understand the repercussions of delivery workers’ strikes during the Covid-19 pandemic, with a focus on international strikes in Latin America and on the stoppages in Brazil. The justification for the theme relies on its topicality and relevance in dealing with such emergent social issues. As for research methods, bibliographical review and empirical documentary research are combined (based on the material related to the summoning of movements by workers and the propagation of these acts by means of information). In the introduction, the methodological delimitations of the analysis are defined, as well as the critical approach that is intended to understand the strikes in the context deepening contradictions of the capitalist mode of production (with a focus on the capital-labor conflict). In turn, the presentation is divided into three axes of analysis: the first axis maps the first three international strikes in Latin America; the second focuses on the movements carried out in Brazil; and the third concerns a critical approach regarding uberization. In the conclusion, the research hypothesis is validated by the confirmation that a trend towards internationalization of the collective articulation of deliverers by digital platforms is underway.","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45779995","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 how Chilean government officials and politicians rhetorically rely on expertise and assign blame for the handling of the COVID-19 pandemic. We specifically focus on rhetoric surrounding decisions to implement and lift quarantines in Santiago from March through August 2020, which reveals significant discrepancies in how political ideology mediates rationalizations of individual and state responsibilities in times of a pandemic. While the Sebastian Pinera administration and other right-wing politicians emphasize individual responsibility and the government’s reactions to or policing of that responsibility, left-wing politicians and the medical community call for the state to more assertively direct a collective response based on specific metrics and expertise. This contention over the politics of blame and expertise reveals critical tensions in governing visions looming over Chile’s constitutional convention process. Este articulo analiza como los discursos de los funcionarios y politicos del gobierno chileno demuestran confianza en los expertos y asignan culpas por el manejo de la pandemia del COVID-19. Nos enfocamos especificamente en la retorica que rodea las decisiones de implementar y levantar cuarentenas en Santiago entre marzo y agosto de 2020, las que revelan discrepancias significativas en la forma en que las ideologias politicas median las responsabilidades individuales y estatales en tiempos de pandemia. Mientras que la administracion de Sebastian Pinera y otros politicos de derecha se centran en la responsabilidad individual y la vigilancia de esa responsabilidad o las reacciones del gobierno ante ella, los politicos de izquierda y la comunidad medica piden que el Estado dirija una respuesta colectiva basada en datos y consejos de los expertos. Esta disputa entre la politica de culpas y la opinion de los expertos revela tensiones en las visiones reinantes que amenazan el proceso de la convencion constitucional de Chile.
{"title":"Politics of Expertise and Blame during COVID-19 Quarantine in Chile","authors":"K. Bauer, C. Villalobos","doi":"10.23870/MARLAS.329","DOIUrl":"https://doi.org/10.23870/MARLAS.329","url":null,"abstract":"This article analyzes how Chilean government officials and politicians rhetorically rely on expertise and assign blame for the handling of the COVID-19 pandemic. We specifically focus on rhetoric surrounding decisions to implement and lift quarantines in Santiago from March through August 2020, which reveals significant discrepancies in how political ideology mediates rationalizations of individual and state responsibilities in times of a pandemic. While the Sebastian Pinera administration and other right-wing politicians emphasize individual responsibility and the government’s reactions to or policing of that responsibility, left-wing politicians and the medical community call for the state to more assertively direct a collective response based on specific metrics and expertise. This contention over the politics of blame and expertise reveals critical tensions in governing visions looming over Chile’s constitutional convention process. Este articulo analiza como los discursos de los funcionarios y politicos del gobierno chileno demuestran confianza en los expertos y asignan culpas por el manejo de la pandemia del COVID-19. Nos enfocamos especificamente en la retorica que rodea las decisiones de implementar y levantar cuarentenas en Santiago entre marzo y agosto de 2020, las que revelan discrepancias significativas en la forma en que las ideologias politicas median las responsabilidades individuales y estatales en tiempos de pandemia. Mientras que la administracion de Sebastian Pinera y otros politicos de derecha se centran en la responsabilidad individual y la vigilancia de esa responsabilidad o las reacciones del gobierno ante ella, los politicos de izquierda y la comunidad medica piden que el Estado dirija una respuesta colectiva basada en datos y consejos de los expertos. Esta disputa entre la politica de culpas y la opinion de los expertos revela tensiones en las visiones reinantes que amenazan el proceso de la convencion constitucional de Chile.","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49474705","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 explores recent Brazilian legislative developments on migration as a continuous struggle between opposing views: one emphasizing migration as a matter of national security and another considering migration a human right and the laws related to this right as instruments for the integration of migrant populations. Between these two opposing views are many intermediate positions, but it is possible to focus on them as driving forces in the legislative debate. This article demonstrates that the most recent Brazilian migration law, perceived by many as modern and based on the human rights concept, is a mere moment in this struggle. We posit that there has recently been a growing hegemony of securitarian forces in the production of policies regarding migration in Brazil. Resumo Este artigo explora os recentes desenvolvimentos legislativos brasileiros sobre a migracao como uma luta continua entre visoes opostas: uma enfatizando a migracao como uma questao de seguranca nacional e outra vendo a migracao como um direito humano e as leis relacionadas a esse direito como instrumentos para a integracao das populacoes migrantes. Entre essas duas visoes opostas estao muitas posicoes intermediarias, mas e possivel focar nessas visoes como forcas motrizes no debate legislativo. Este artigo demonstra que a mais recente lei migratoria brasileira, vista por muitos como moderna e baseada no conceito de direitos humanos, e apenas um momento nessa luta. Indicamos que recentemente vem ocorrendo uma crescente hegemonia das forcas securitarias na producao de politicas relativas a migracao no Brasil.
{"title":"Securitization (Re)Turn: Analysis of the New Brazilian Migration Laws (2016-2019)","authors":"I. Machado","doi":"10.23870/marlas.318","DOIUrl":"https://doi.org/10.23870/marlas.318","url":null,"abstract":"This article explores recent Brazilian legislative developments on migration as a continuous struggle between opposing views: one emphasizing migration as a matter of national security and another considering migration a human right and the laws related to this right as instruments for the integration of migrant populations. Between these two opposing views are many intermediate positions, but it is possible to focus on them as driving forces in the legislative debate. This article demonstrates that the most recent Brazilian migration law, perceived by many as modern and based on the human rights concept, is a mere moment in this struggle. We posit that there has recently been a growing hegemony of securitarian forces in the production of policies regarding migration in Brazil. Resumo Este artigo explora os recentes desenvolvimentos legislativos brasileiros sobre a migracao como uma luta continua entre visoes opostas: uma enfatizando a migracao como uma questao de seguranca nacional e outra vendo a migracao como um direito humano e as leis relacionadas a esse direito como instrumentos para a integracao das populacoes migrantes. Entre essas duas visoes opostas estao muitas posicoes intermediarias, mas e possivel focar nessas visoes como forcas motrizes no debate legislativo. Este artigo demonstra que a mais recente lei migratoria brasileira, vista por muitos como moderna e baseada no conceito de direitos humanos, e apenas um momento nessa luta. Indicamos que recentemente vem ocorrendo uma crescente hegemonia das forcas securitarias na producao de politicas relativas a migracao no Brasil.","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42600560","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 paper proposes that a multivaried Indo-Trinidadian aesthetic contribution drawn from ritual, domestic, and imaginary space continues to remain historically and culturally submerged in both the definition of artistic practice and in the national consciousness of Trinidad society. The art works and artists analyzed here were selected from an exhibition held at the National Museum and Gallery in Port of Spain on the occasion of Indian Arrival Day 2017, which is celebrated as a public holiday annually. While there are reasons for the continuously delayed entry of Indo-Caribbean motifs and symbols into the nationalist aesthetic imagination, by the second decade of the twentieth century, there is no excuse of claiming fear of imposing on religious rituals. The intersection between the secular and the religious have been fundamentally important to innovations in other art movements in Europe and elsewhere. Nor can we assume an exclusivity or separateness on the part of Indian art and cultural practitioners, as there is sufficient evidence from the works of a desire to enter the public marketplace of ideas on visual culture. Leaving the space still open to interpretations this essay raises the important question that must be considered: beyond the acceptance of arrival and acknowledgement of the presence of Indians in Trinidad and in the Caribbean in general, what cross fertilizations of imagination and creativity have taken place that lead to aesthetic and artistic creativity and advancement for art and artistic practice in this region? Resumen Este ensayo propone que una contribucion estetica indotrinitaria multivariada extraida del espacio ritual, domestico e imaginario sigue historica y culturalmente sumergida tanto en la definicion de la practica artistica como en la conciencia nacional de la sociedad de Trinidad. Las obras de arte y los artistas analizados aqui fueron seleccionados de una exposicion celebrada en el Museo Nacional y Galeria de Puerto Espana con motivo del Dia de Llegada de la India 2017, aniversario que se celebra anualmente como festivo. Si bien hay razones para la entrada repetidamente pospuesta de los motivos y simbolos indocaribenos en la imaginacion estetica nacionalista, en la segunda decada del siglo veinte, ya no hay excusa para alegar miedo a imponer rituales religiosos. La interseccion entre lo secular y lo religioso ha sido fundamentalmente importante para las innovaciones en otros movimientos artisticos en Europa y en disitntos lugares. Tampoco podemos asumir una exclusividad o separacion por parte de los profesionales del arte y la cultura indios, ya que suficiente evidencia existe en las obras de un deseo de entrar en el mercado publico de las ideas sobre la cultura visual. Dejando el espacio todavia abierto a las interpretaciones, este ensayo plantea la importante cuestion que debe ser considerada: mas alla de la aceptacion de la llegada y el reconocimiento de la presencia de los indios en Trinidad y en el Caribe
本文提出，来自仪式、家庭和想象空间的多种多样的印度-特立尼达审美贡献，在艺术实践的定义和特立尼达社会的民族意识中，继续在历史和文化上被淹没。这里分析的艺术作品和艺术家是从2017年印度抵达日在西班牙港国家博物馆和画廊举行的展览中挑选出来的，该展览是每年作为公共假日庆祝的。虽然印度-加勒比的主题和符号不断推迟进入民族主义审美想象是有原因的，但到了20世纪的第二个十年，没有理由声称害怕强加于宗教仪式。世俗和宗教之间的交集对欧洲和其他地方的其他艺术运动的创新至关重要。我们也不能假设印度艺术和文化从业者的排他性或独立性，因为从作品中有足够的证据表明，他们渴望进入视觉文化思想的公共市场。这篇文章提出了一个必须考虑的重要问题:除了接受和承认印度人在特立尼达和加勒比海地区的存在之外，想象力和创造力的交叉滋养发生了什么，导致了该地区的审美和艺术创造力以及艺术和艺术实践的进步?Resumen Este enayo propone que una贡献estetica indotrinitaria多品种，extraida del空间，仪式，国内，想象，标志历史，文化，sumergida tantanen定义，实践，艺术，como en nacional de la sociedad de特立尼达。2017年，西班牙港口国家博物馆和西班牙港口画廊举办了一场盛大的展览，庆祝了西班牙艺术家的艺术分析和选择，庆祝了印度的文化活动。“我认为我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我有理由相信我的宗教仪式。”这是世俗与宗教的交汇中心，这是一个重要的基础领域，包括创新、运动、艺术家和欧洲的艺术家。Tampoco podemos asumir领导una exclusividad o separacion运动组成部分洛杉矶从事del y艺术文化殖民地土著,丫,suficiente evidencia存在en de联合国deseo de las obra为entrar en el publico报做的梅尔卡多de las的想法,他文化视觉。Dejando el espacio他还开着一个拉斯维加斯interpretaciones,埃斯特ensayo plantea la重要cuestion,应considerada: mas真主安拉de la aceptacion de la llegada y el reconocimiento de la presencia de los殖民地土著在特立尼达y en el水虎鱼一般,? intercambios la imaginacion y之间拉creatividad心脏卢格,conducen像creatividad estetica artistica y el皇冠对位el y洛杉矶艺术practica artistica en esta区域?
{"title":"Considering the Impact of Indians in Trinidad on Visual Culture","authors":"P. Mohammed","doi":"10.23870/marlas.323","DOIUrl":"https://doi.org/10.23870/marlas.323","url":null,"abstract":"This paper proposes that a multivaried Indo-Trinidadian aesthetic contribution drawn from ritual, domestic, and imaginary space continues to remain historically and culturally submerged in both the definition of artistic practice and in the national consciousness of Trinidad society. The art works and artists analyzed here were selected from an exhibition held at the National Museum and Gallery in Port of Spain on the occasion of Indian Arrival Day 2017, which is celebrated as a public holiday annually. While there are reasons for the continuously delayed entry of Indo-Caribbean motifs and symbols into the nationalist aesthetic imagination, by the second decade of the twentieth century, there is no excuse of claiming fear of imposing on religious rituals. The intersection between the secular and the religious have been fundamentally important to innovations in other art movements in Europe and elsewhere. Nor can we assume an exclusivity or separateness on the part of Indian art and cultural practitioners, as there is sufficient evidence from the works of a desire to enter the public marketplace of ideas on visual culture. Leaving the space still open to interpretations this essay raises the important question that must be considered: beyond the acceptance of arrival and acknowledgement of the presence of Indians in Trinidad and in the Caribbean in general, what cross fertilizations of imagination and creativity have taken place that lead to aesthetic and artistic creativity and advancement for art and artistic practice in this region? Resumen Este ensayo propone que una contribucion estetica indotrinitaria multivariada extraida del espacio ritual, domestico e imaginario sigue historica y culturalmente sumergida tanto en la definicion de la practica artistica como en la conciencia nacional de la sociedad de Trinidad. Las obras de arte y los artistas analizados aqui fueron seleccionados de una exposicion celebrada en el Museo Nacional y Galeria de Puerto Espana con motivo del Dia de Llegada de la India 2017, aniversario que se celebra anualmente como festivo. Si bien hay razones para la entrada repetidamente pospuesta de los motivos y simbolos indocaribenos en la imaginacion estetica nacionalista, en la segunda decada del siglo veinte, ya no hay excusa para alegar miedo a imponer rituales religiosos. La interseccion entre lo secular y lo religioso ha sido fundamentalmente importante para las innovaciones en otros movimientos artisticos en Europa y en disitntos lugares. Tampoco podemos asumir una exclusividad o separacion por parte de los profesionales del arte y la cultura indios, ya que suficiente evidencia existe en las obras de un deseo de entrar en el mercado publico de las ideas sobre la cultura visual. Dejando el espacio todavia abierto a las interpretaciones, este ensayo plantea la importante cuestion que debe ser considerada: mas alla de la aceptacion de la llegada y el reconocimiento de la presencia de los indios en Trinidad y en el Caribe","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48168276","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}
As a space, pop culture is an epicenter for queerness; music, especially, has a history of giving LGBTQ subjects representation, visibility, and an opening to be subversive. Music is no different in the Caribbean region, as it plays an essential role in offering political commentary, reflecting the region’s changing values and culture, and speaking to the integration and barriers facing different ethnic groups. Significantly, music is a space in which people in the Caribbean region unite, regardless of their differences. This article focuses on soca and chutney-soca as genres that engage in the complicated politics of queerness and queer desires. We analyze how Destra’s “Rum and Soca” and Princess Anisa’s “Tek Sunita” unmask complicated historical and contemporary tensions associated with race, gender, class, and sexual desire. This essay proposes an affectual queer tactile framework to examine and postulate queerness in the region as apparent through touch and texture modalities. In doing so, we demonstrate that while queerness is part of the region’s colonial social hierarchies, it simultaneously allows for their reimagining. Como espacio, la cultura pop es un epicentro de lo queer; la musica, especialmente, tiene la historia de brindarles a los sujetos LGBTQ representacion, visibilidad y una apertura para ser subversivos. La musica no es distinta en la region del Caribe, ya que desempena un papel esencial al ofrecer comentarios politicos, reflejar los valores cambiantes y la cultura de la region y al hablar de la integracion y las barreras que enfrentan los diferentes grupos etnicos. De modo significativo la musica es un espacio en el que las personas del Caribe se unen, haciendo caso omiso de sus diferencias. Este articulo se centra en la musica soca y chutney-soca como generos que se involucran en la complicada politica de lo queer y los deseos queer. Analizamos como “Rum and Soca” de Destra y “Tek Sunita” de Princesa Anisa desenmascaran las complicadas tensiones historicas y contemporaneas asociadas con la raza, el genero, la clase y el deseo sexual. Este ensayo propone un marco tactil queer afectuoso para examinar y postular que lo queer en la region queda patente a traves de las modalidades tactiles y texturales. Al hacerlo, demostramos que si bien lo queer es parte de las jerarquias sociales coloniales de la region, a la vez permite su reimaginacion.
{"title":"Queer Tactility: Same-sex Intimacies between Women in Chutney and Soca Music","authors":"K. Ghisyawan, Preity R. Kumar","doi":"10.23870/marlas.292","DOIUrl":"https://doi.org/10.23870/marlas.292","url":null,"abstract":"As a space, pop culture is an epicenter for queerness; music, especially, has a history of giving LGBTQ subjects representation, visibility, and an opening to be subversive. Music is no different in the Caribbean region, as it plays an essential role in offering political commentary, reflecting the region’s changing values and culture, and speaking to the integration and barriers facing different ethnic groups. Significantly, music is a space in which people in the Caribbean region unite, regardless of their differences. This article focuses on soca and chutney-soca as genres that engage in the complicated politics of queerness and queer desires. We analyze how Destra’s “Rum and Soca” and Princess Anisa’s “Tek Sunita” unmask complicated historical and contemporary tensions associated with race, gender, class, and sexual desire. This essay proposes an affectual queer tactile framework to examine and postulate queerness in the region as apparent through touch and texture modalities. In doing so, we demonstrate that while queerness is part of the region’s colonial social hierarchies, it simultaneously allows for their reimagining. Como espacio, la cultura pop es un epicentro de lo queer; la musica, especialmente, tiene la historia de brindarles a los sujetos LGBTQ representacion, visibilidad y una apertura para ser subversivos. La musica no es distinta en la region del Caribe, ya que desempena un papel esencial al ofrecer comentarios politicos, reflejar los valores cambiantes y la cultura de la region y al hablar de la integracion y las barreras que enfrentan los diferentes grupos etnicos. De modo significativo la musica es un espacio en el que las personas del Caribe se unen, haciendo caso omiso de sus diferencias. Este articulo se centra en la musica soca y chutney-soca como generos que se involucran en la complicada politica de lo queer y los deseos queer. Analizamos como “Rum and Soca” de Destra y “Tek Sunita” de Princesa Anisa desenmascaran las complicadas tensiones historicas y contemporaneas asociadas con la raza, el genero, la clase y el deseo sexual. Este ensayo propone un marco tactil queer afectuoso para examinar y postular que lo queer en la region queda patente a traves de las modalidades tactiles y texturales. Al hacerlo, demostramos que si bien lo queer es parte de las jerarquias sociales coloniales de la region, a la vez permite su reimaginacion.","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47249188","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 inter-American system encompasses the institutional and legal framework promoted by the United States of America following the first International Conference of American States in Washington, DC, in 1890 as a means of consolidating US hegemony in the Western Hemisphere. After WW II, it became most identified with the Organization of American States (OAS) and the Inter-American Treaty of Reciprocal Assistance (aka the Rio Treaty). The first significant challenges to US dominance and leadership within the inter-American system appeared in the 1970s and 1980s, although it did not become symptomatic of a wider decline in US hegemony in Latin America until the administration of George W. Bush. In particular, many countries withdrew from the Rio Treaty, refused to participate in the inter-American human rights system, and utilized the OAS to repudiate US foreign policy on Cuba and the “War on Drugs.” Furthermore, new hemispheric organizations appeared such as the Union of South American Nations and the Community of Latin American and Caribbean States that purposefully excluded the United States. During the Obama years, a frustrated US Congress threatened to cut US contributions, while administration officials retreated from taking a proactive role in the OAS. For its part, the Trump government has boycotted hearings of the Inter-American Human Rights Commission and reduced its funding. The article concludes with a discussion of the inter-American system without the domineering presence of the nation which spawned it to promote its own geopolitical priorities, precisely when an effective regional body is crucial for addressing many hemispheric challenges. Resumen El sistema interamericano abarca el marco institucional y legal promovido por los Estados Unidos de America despues de la primera Conferencia Internacional de Estados Americanos en Washington, DC, en 1890 como un medio de consolidar la hegemonia estadounidense en el hemisferio occidental. Despues de la Segunda Guerra Mundial, se identifico mas con la Organizacion de Estados Americanos (OEA) y el Tratado Interamericano de Asistencia Reciproca (tambien conocido como el Tratado de Rio). Los primeros desafios significativos para el dominio y el liderazgo estadounidense dentro del sistema interamericano aparecieron en las decadas de 1970 y 1980, aunque no se convirtio en sintomatico de una disminucion mas extensa de la hegemonia estadounidense en America Latina hasta la administracion de George W. Bush. De hecho, muchos paises se retiraron del Tratado de Rio, se negaron a participar en el sistema interamericano de derechos humanos y utilizaron la OEA para repudiar la politica exterior estadounidense sobre Cuba y la “Guerra contra las drogas”. Ademas, aparecieron nuevas organizaciones hemisfericas como la Union de Naciones Suramericanas y la Comunidad de Estados Latinoamericanos y Caribenos que excluian expresamente a los Estados Unidos. Durante los anos de Obama, un frustrado Congreso de los Es
{"title":"The Inter-American System in an Era of Declining United States Hegemony","authors":"T. O'keefe","doi":"10.23870/marlas.307","DOIUrl":"https://doi.org/10.23870/marlas.307","url":null,"abstract":"The inter-American system encompasses the institutional and legal framework promoted by the United States of America following the first International Conference of American States in Washington, DC, in 1890 as a means of consolidating US hegemony in the Western Hemisphere. After WW II, it became most identified with the Organization of American States (OAS) and the Inter-American Treaty of Reciprocal Assistance (aka the Rio Treaty). The first significant challenges to US dominance and leadership within the inter-American system appeared in the 1970s and 1980s, although it did not become symptomatic of a wider decline in US hegemony in Latin America until the administration of George W. Bush. In particular, many countries withdrew from the Rio Treaty, refused to participate in the inter-American human rights system, and utilized the OAS to repudiate US foreign policy on Cuba and the “War on Drugs.” Furthermore, new hemispheric organizations appeared such as the Union of South American Nations and the Community of Latin American and Caribbean States that purposefully excluded the United States. During the Obama years, a frustrated US Congress threatened to cut US contributions, while administration officials retreated from taking a proactive role in the OAS. For its part, the Trump government has boycotted hearings of the Inter-American Human Rights Commission and reduced its funding. The article concludes with a discussion of the inter-American system without the domineering presence of the nation which spawned it to promote its own geopolitical priorities, precisely when an effective regional body is crucial for addressing many hemispheric challenges. Resumen El sistema interamericano abarca el marco institucional y legal promovido por los Estados Unidos de America despues de la primera Conferencia Internacional de Estados Americanos en Washington, DC, en 1890 como un medio de consolidar la hegemonia estadounidense en el hemisferio occidental. Despues de la Segunda Guerra Mundial, se identifico mas con la Organizacion de Estados Americanos (OEA) y el Tratado Interamericano de Asistencia Reciproca (tambien conocido como el Tratado de Rio). Los primeros desafios significativos para el dominio y el liderazgo estadounidense dentro del sistema interamericano aparecieron en las decadas de 1970 y 1980, aunque no se convirtio en sintomatico de una disminucion mas extensa de la hegemonia estadounidense en America Latina hasta la administracion de George W. Bush. De hecho, muchos paises se retiraron del Tratado de Rio, se negaron a participar en el sistema interamericano de derechos humanos y utilizaron la OEA para repudiar la politica exterior estadounidense sobre Cuba y la “Guerra contra las drogas”. Ademas, aparecieron nuevas organizaciones hemisfericas como la Union de Naciones Suramericanas y la Comunidad de Estados Latinoamericanos y Caribenos que excluian expresamente a los Estados Unidos. Durante los anos de Obama, un frustrado Congreso de los Es","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45807909","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}
Presentacion de poemas sobre el tema de la pandemia del COVID-19 en la America Latina. Presentation of poems on the COVID-19 pandemic in Latin America
介绍关于拉丁美洲新冠疫情主题的诗歌。介绍拉丁美洲关于新冠疫情的诗歌
{"title":"Sacudidas privadas compartidas: poesía de la pandemia","authors":"María Roof","doi":"10.23870/marlas.350","DOIUrl":"https://doi.org/10.23870/marlas.350","url":null,"abstract":"Presentacion de poemas sobre el tema de la pandemia del COVID-19 en la America Latina. Presentation of poems on the COVID-19 pandemic in Latin America","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48063451","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 the Anglophone Caribbean, nationalist discourses of sexual citizenship are inextricably linked to the afterlife of colonialism and its far-reaching and affective legacies, resonances, and continuities as it reinscribes alterity on the bodies of sexual and gendered “others.” Focusing our optics on the Indo-Caribbean, I explore how archives of chutney music offer disruptive methods, strategies, and praxes of transgression that trouble discourses of “normative” Creole (Afro-Caribbean) and heteronormative nationalisms as “authentic” ideologies of Indo-Caribbean gendering—notably, masculinity. Drawing upon historical genealogies of sexual-sacred erotics found within the Hindu, women-exclusive, pre-wedding Indo-Caribbean tradition of matikor, I interrogate how men artists in chutney music spaces perform what I conceptualize as “qoolie subjectivities,” or distinct embodied languages of self that operate through what I argue are long-standing entanglements of Indo-Caribbeanness and queerness that, when excavated via the body, cultivate critical forms of Indo-Caribbean knowing and living. In this essay, I specifically focus on acts of remaking the pejorative term “coolie” from a grammar of harm to one of reclamation, and agentive potential. Such performances choreograph embodiments of erotic self-making, or “qoolieness,” as methods of pursuing transgressive Indo-Caribbean means of doing nonnormative gender and sexuality, offering us important vocalities that speak through genealogies of (post)indentureship chutney feminisms. My analysis of Indo-Guyanese chutney artist Mystic’s viral song and music video entitled “Coolie Bai” (2014) interrogates how such embodied articulations of qoolieness generate alternative forms of Indo-Caribbean citizenships, masculinities and strategies of remaking the self that move us beyond hegemonic ontological paradigms. Resumen En el Caribe anglofono, los discursos nacionalistas de ciudadania sexual estan inextricablemente vinculados a las secuelas del colonialismo y sus legados, resonancias y continuidades afectivas y de largo alcance, ya que reinscribe la alteridad en los cuerpos de los “otros” sexuales y de genero. Centrando nuestra optica en el Indocaribe, exploro como los archivos de la musica chutney ofrecen metodos disruptivos, estrategias y praxis de transgresion que problematizan los discursos del creole (afrocaribeno) “normativo” y nacionalismos heteronormativos como ideologias “autenticas” para asignar generos indocaribenos—en particular, la masculinidad. Basandome en las genealogias historicas de la erotica sexual-sagrada que se encuentra en la tradicion hindu del matikor—exclusivamente de mujeres, prenupcial y ya indocaribena—llego a interrogar como los artistas masculinos en los espacios de musica chutney realizan lo que conceptualizo como “subjetividades qoolie”, o distintos lenguajes encarnados de uno mismo que operan a traves de lo que postulo como entrelazamientos de larga duracion del indocaribenismo y el
在以英语为母语的加勒比地区，民族主义关于性公民身份的话语与殖民主义的来世及其深远而深刻的遗产、共鸣和连续性密不可分，因为它在性和性别“他者”的身体上重新加上了另类。我将目光聚焦在印度-加勒比地区，探索酸辣酱音乐档案如何提供颠覆性的方法、策略和越界的实践，这些方法、策略和实践困扰着“规范的”克里奥尔语(非洲-加勒比)和异性恋规范的民族主义话语，这些话语是印度-加勒比地区性别——尤其是男性气概——的“真实”意识形态。根据印度教、女性专属的婚前印度-加勒比传统matikor中发现的性神圣情色的历史谱系，我询问了酸辣酱音乐空间中的男性艺术家如何表现我概念化的“qoolie主体性”，或者是独特的自我具体化的语言，通过我所认为的印度-加勒比性和酷儿性的长期纠缠来运作，当通过身体挖掘出来时，培养出印度-加勒比认识和生活的关键形式。在这篇文章中，我特别关注将贬义术语“苦力”从一种伤害语法重新定义为一种开垦和代理潜力。这样的表演编排了性爱自我创造的体现，或“qooolieness”，作为追求越界的印度-加勒比方式的方法，做非规范的性别和性行为，为我们提供了重要的声音，通过(后)契约关系的辣酱女权主义的谱系说话。我对印度-圭亚那酸辣酱艺术家Mystic的流行歌曲和音乐视频《苦力白》(2014)的分析，探讨了这种苦力性的具体表达如何产生印度-加勒比公民身份、男子气概和重塑自我的替代形式，从而使我们超越霸权的本体论范式。在《加勒比英语》中，关于民族主义的论述是关于“社会主义”的，不可分割的，关于殖民主义的论述是关于“文化”的，关于殖民主义的论述是关于“文化”的，关于殖民主义的论述是关于“文化”的，关于“文化”的论述是关于“文化”的，关于“文化”的论述是关于“文化”的。Centrando nuestra optica en en indocariinos，探索como - los archivos de la music - chutney经常使用的方法是破坏性的，战略是越界的实践，问题是，como - disdissos del creole(非洲加勒比人)的“规范性”，民族主义，异性规范，como意识形态，“真实的”，特别是男性化。Basandome在拉斯维加斯genealogias historicas de la色情sexual-sagrada类物质在la tradicion印度教del matikor-exclusivamente de女性prenupcial y丫indocaribena-llego interrogar科莫洛杉矶artistas masculinos en洛杉矶espacios因特酸辣酱realizan lo, conceptualizo科莫”subjetividades qoolie”,o distintos lenguajes encarnados de uno mismo), operan traves de lo, postulo科莫entrelazamientos de larga duracion del indocaribenismo y el de ser酷儿,广东是一种树属植物，是一种树属植物，是一种树属植物。在此基础上，我们进一步研究了一种新的方法，即在潜在的活动中，通过对潜在的活动的“潜在的”和“潜在的”活动的“潜在的”活动的“潜在的”活动。故事的解释是关于“性”的，而不是“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“性”的，同样的方法是关于“女性主义”的，同样的方法是关于“家谱”的，同样的方法是关于“历史”的，同样的方法是关于“性”的，同样的方法是关于“性”的。我的分析是，在视频音乐《辣酱艺术家》、《神秘主义者》、《苦力白》(2014)、《两性故事》、《两性故事》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《两性关系》、《范式本体论》、《霸权主义》。
{"title":"“Meh Just Realize I’s Ah Coolie Bai”: Indo-Caribbean Masculinities, Chutney Genealogies, and Qoolie Subjectivities","authors":"Ryan Persadie","doi":"10.23870/marlas.287","DOIUrl":"https://doi.org/10.23870/marlas.287","url":null,"abstract":"In the Anglophone Caribbean, nationalist discourses of sexual citizenship are inextricably linked to the afterlife of colonialism and its far-reaching and affective legacies, resonances, and continuities as it reinscribes alterity on the bodies of sexual and gendered “others.” Focusing our optics on the Indo-Caribbean, I explore how archives of chutney music offer disruptive methods, strategies, and praxes of transgression that trouble discourses of “normative” Creole (Afro-Caribbean) and heteronormative nationalisms as “authentic” ideologies of Indo-Caribbean gendering—notably, masculinity. Drawing upon historical genealogies of sexual-sacred erotics found within the Hindu, women-exclusive, pre-wedding Indo-Caribbean tradition of matikor, I interrogate how men artists in chutney music spaces perform what I conceptualize as “qoolie subjectivities,” or distinct embodied languages of self that operate through what I argue are long-standing entanglements of Indo-Caribbeanness and queerness that, when excavated via the body, cultivate critical forms of Indo-Caribbean knowing and living. In this essay, I specifically focus on acts of remaking the pejorative term “coolie” from a grammar of harm to one of reclamation, and agentive potential. Such performances choreograph embodiments of erotic self-making, or “qoolieness,” as methods of pursuing transgressive Indo-Caribbean means of doing nonnormative gender and sexuality, offering us important vocalities that speak through genealogies of (post)indentureship chutney feminisms. My analysis of Indo-Guyanese chutney artist Mystic’s viral song and music video entitled “Coolie Bai” (2014) interrogates how such embodied articulations of qoolieness generate alternative forms of Indo-Caribbean citizenships, masculinities and strategies of remaking the self that move us beyond hegemonic ontological paradigms. Resumen En el Caribe anglofono, los discursos nacionalistas de ciudadania sexual estan inextricablemente vinculados a las secuelas del colonialismo y sus legados, resonancias y continuidades afectivas y de largo alcance, ya que reinscribe la alteridad en los cuerpos de los “otros” sexuales y de genero. Centrando nuestra optica en el Indocaribe, exploro como los archivos de la musica chutney ofrecen metodos disruptivos, estrategias y praxis de transgresion que problematizan los discursos del creole (afrocaribeno) “normativo” y nacionalismos heteronormativos como ideologias “autenticas” para asignar generos indocaribenos—en particular, la masculinidad. Basandome en las genealogias historicas de la erotica sexual-sagrada que se encuentra en la tradicion hindu del matikor—exclusivamente de mujeres, prenupcial y ya indocaribena—llego a interrogar como los artistas masculinos en los espacios de musica chutney realizan lo que conceptualizo como “subjetividades qoolie”, o distintos lenguajes encarnados de uno mismo que operan a traves de lo que postulo como entrelazamientos de larga duracion del indocaribenismo y el","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42079812","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 explores the ways in which Caribbean artists of Indian heritage memorialize the transformation of Caribbean history, demography, and lifeways through the arrival of their ancestors, and their transformation, in turn, by this new space. Identifying for this purpose an iconic figure that I term “the Indian on the Plantation,” I demonstrate how the influential theories of Caribbean identity-formation that serve as useful starting points for explicating the play of memory and identity that shapes Indo-Caribbean artistic praxis—coolitude (as coined by Mauritian author Khal Torabully) and creolite (as most influentially articulated by the Martinican trio of Jean Barnabe, Patrick Chamoiseau, and Raphael Confiant)—are nevertheless constrained by certain discursive limitations. Unpacking these limitations, I offer instead evidence from curatorial and quotidian realms in Guadeloupe as a lens through which to assess an emergent artistic practice that cuts across Francophone and Anglophone constituencies to occupy the Caribbean Plantation while privileging signifiers of an Indic heritage. Reading these attempts as examples of decreolization that actually suggest an ongoing and unpredictable recreolization of culture, I situate this apparent paradox within a transoceanic heuristic frame that brings the Indian and Atlantic Ocean worlds into dialogue to revivify our understanding of creolization as a theory and process of cultural change. Resumen Este ensayo explora las maneras en las que los artistas caribenos de herencia india guardan la memoria de la transformacion de la historia, la demografia y los modos de vida del Caribe con la llegada de sus antepasados, y su transformacion, a su vez, por este nuevo espacio. Identificando para este proposito una figura iconica que yo llamo “el Indio en la Plantacion”, muestro como las influyentes teorias de la formacion de identidad caribena que sirven como utiles puntos de partida para explicar el juego de la memoria y la identidad que da forma a la praxis artistica indocaribena—la “culitud”, termino acunado por el autor Khal Torabully de Mauricio, y “creolite”, como lo han articulado mejor el trio martinicano de Jean Barnabe, Patrick Chamoiseau y Raphael Confiant—se ven sin embargo restringidas por ciertas limitaciones discursivas. Al revelar estas limitaciones, ofrezco en cambio evidencia del ambito curatorial y cotidiano en Guadalupe como una lente a traves de la cual evaluar una practica artistica emergente que atraviesa las agrupaciones francofonas y anglofonas para ocupar la Plantacion Caribena mientras privilegia a los significantes de una herencia indica. Leyendo estos intentos como ejemplos de descreolizacion que en realidad sugieren una continua e impredecible recreolizacion de la cultura, situo esta aparente paradoja dentro de un marco heuristico transoceanico que pone en dialogo a los mundos del Oceano Indico y del Atlantico para revivificar nuestra comprension de la creolizacion como teoria y pr
这篇文章探讨了印第安血统的加勒比艺术家如何通过他们祖先的到来来纪念加勒比历史、人口和生活方式的转变，以及他们的转变，反过来，通过这个新的空间。为此，我确定了一个我称之为“种植园上的印第安人”的标志性人物，我展示了加勒比身份形成的有影响力的理论——作为解释塑造印度-加勒比艺术实践的记忆和身份的有用起点——coolitude(由毛里求斯作家Khal Torabully创造)和creolite(由Martinican trio Jean Barnabe, Patrick Chamoiseau和Raphael concont最有影响力的阐述)——是如何受到某些话语限制的。为了揭开这些局限，我提供了瓜德罗普岛策展和日常生活领域的证据，作为一个镜头，通过它来评估一种新兴的艺术实践，这种艺术实践跨越了法语和英语选区，占领了加勒比种植园，同时赋予了印度遗产的象征。我把这些尝试看作是法理化的例子，实际上表明了一种正在进行的、不可预测的文化再融合，我把这个明显的悖论置于一个跨洋启发式框架中，这个框架将印度洋和大西洋世界带入对话，以恢复我们对克里奥尔化作为一种文化变革理论和过程的理解。在这里，我们可以看到艺术家们对艺术的探索、对历史的记忆、对历史的变革、对人口的探索、对文化的探索、对社会的变革、对社会的变革、对新空间的探索。Identificando帕埃斯特proposito una figura iconica问你叫“el殖民地土著en la Plantacion muestro科莫las influyentes teorias de la formacion de identidad caribena, sirven科莫util分partida对位explicar el juego de la记忆y la identidad是da形式la实践artistica indocaribena-la“culitud termino奥托Torabully de毛而倒,acunado y“条带碧玉”,科莫lo汉药对el articulado三martinicano de Jean BarnabePatrick Chamoiseau和Raphael conconte - se甚至在禁运中限制了思想的贫乏和话语的限制。在Guadalupe，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到，在这里，我们可以看到。leendo estos intentos como ejemploas de de creolizion que en realidad建议继续进行不可逾越的文化再创造，情境esta明显的悖论denoja dentro de unmarco heuristico跨海洋的对话和los mundos del Oceano Indico del Atlantico para revificar nustra理解de creolizacion comcomoria的过程de cambio文化。
{"title":"Beyond Créolité and Coolitude, the Indian on the Plantation Re-creolization in the Transoceanic Frame","authors":"A. Kabir","doi":"10.23870/marlas.304","DOIUrl":"https://doi.org/10.23870/marlas.304","url":null,"abstract":"This essay explores the ways in which Caribbean artists of Indian heritage memorialize the transformation of Caribbean history, demography, and lifeways through the arrival of their ancestors, and their transformation, in turn, by this new space. Identifying for this purpose an iconic figure that I term “the Indian on the Plantation,” I demonstrate how the influential theories of Caribbean identity-formation that serve as useful starting points for explicating the play of memory and identity that shapes Indo-Caribbean artistic praxis—coolitude (as coined by Mauritian author Khal Torabully) and creolite (as most influentially articulated by the Martinican trio of Jean Barnabe, Patrick Chamoiseau, and Raphael Confiant)—are nevertheless constrained by certain discursive limitations. Unpacking these limitations, I offer instead evidence from curatorial and quotidian realms in Guadeloupe as a lens through which to assess an emergent artistic practice that cuts across Francophone and Anglophone constituencies to occupy the Caribbean Plantation while privileging signifiers of an Indic heritage. Reading these attempts as examples of decreolization that actually suggest an ongoing and unpredictable recreolization of culture, I situate this apparent paradox within a transoceanic heuristic frame that brings the Indian and Atlantic Ocean worlds into dialogue to revivify our understanding of creolization as a theory and process of cultural change. Resumen Este ensayo explora las maneras en las que los artistas caribenos de herencia india guardan la memoria de la transformacion de la historia, la demografia y los modos de vida del Caribe con la llegada de sus antepasados, y su transformacion, a su vez, por este nuevo espacio. Identificando para este proposito una figura iconica que yo llamo “el Indio en la Plantacion”, muestro como las influyentes teorias de la formacion de identidad caribena que sirven como utiles puntos de partida para explicar el juego de la memoria y la identidad que da forma a la praxis artistica indocaribena—la “culitud”, termino acunado por el autor Khal Torabully de Mauricio, y “creolite”, como lo han articulado mejor el trio martinicano de Jean Barnabe, Patrick Chamoiseau y Raphael Confiant—se ven sin embargo restringidas por ciertas limitaciones discursivas. Al revelar estas limitaciones, ofrezco en cambio evidencia del ambito curatorial y cotidiano en Guadalupe como una lente a traves de la cual evaluar una practica artistica emergente que atraviesa las agrupaciones francofonas y anglofonas para ocupar la Plantacion Caribena mientras privilegia a los significantes de una herencia indica. Leyendo estos intentos como ejemplos de descreolizacion que en realidad sugieren una continua e impredecible recreolizacion de la cultura, situo esta aparente paradoja dentro de un marco heuristico transoceanico que pone en dialogo a los mundos del Oceano Indico y del Atlantico para revivificar nuestra comprension de la creolizacion como teoria y pr","PeriodicalId":36126,"journal":{"name":"Middle Atlantic Review of Latin American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43140721","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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