In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explores these photographs through the lens of the “event of photography,” a term emphasizing the temporal moment when a photographer, photographed subject, and camera encounter one another. With this interpretation, photographs are positioned as historical documents and the practice of photography as a civil and political matter, thus inviting new possibilities to read political life through its visual dimension, as well as to trace different forms of power relations made evident during the ‘event.’ This paper uses phenomenological reflection to explore the meshwork manifestation of these power relations, and articulate how they provide insights about one’s place and responsibility within that ‘event’ in a range of relational contexts.
2016年夏天，作者前往哈瓦那，开始一个跨学科视觉人种学项目的初步工作。虽然主要是徒步探险，但他拍摄了数百张高分辨率的照片，并随机采访了几个地方的人们，了解他们的日常生活，他们的邻居，以及他们对与美国关系正常化后的期望。这项工作最重要的是对每一张照片和采访的发生地给予了特别的关注。本文通过“摄影事件”(event of photography)的视角来探讨这些照片，这个术语强调的是摄影师、被摄主体和相机相遇时的短暂时刻。通过这种解释，照片被定位为历史文献，摄影实践被定位为公民和政治问题，从而为通过其视觉维度解读政治生活提供了新的可能性，并追踪在“事件”中显而易见的不同形式的权力关系。本文使用现象学反思来探索这些权力关系的网络表现，并阐明它们如何在一系列关系背景下提供关于个人在该“事件”中的位置和责任的见解。
{"title":"Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context","authors":"J. Battin","doi":"10.31261/rias.14868","DOIUrl":"https://doi.org/10.31261/rias.14868","url":null,"abstract":"In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explores these photographs through the lens of the “event of photography,” a term emphasizing the temporal moment when a photographer, photographed subject, and camera encounter one another. With this interpretation, photographs are positioned as historical documents and the practice of photography as a civil and political matter, thus inviting new possibilities to read political life through its visual dimension, as well as to trace different forms of power relations made evident during the ‘event.’ This paper uses phenomenological reflection to explore the meshwork manifestation of these power relations, and articulate how they provide insights about one’s place and responsibility within that ‘event’ in a range of relational contexts.","PeriodicalId":37268,"journal":{"name":"Review of International American Studies","volume":"62 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79349765","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, through a comparative approach, a frontier narrative, John Filson’s “The Adventures of Col. Daniel Boon” (1784), in relation to selected medieval chivalric romances from an ecocritical perspective, exploring the way in which medieval patterns have been employed in the American mythopoeic process, especially in relation to the frontier and the wilderness myths. In fact, medievalist narratives have been often employed to justify an anthropocentric, expansionist, and imperialistic agenda with grievous consequences on the way in which Americans engage with nature and with nonhuman species. At the same time, this tendency is often accompanied by an androcentric and ethnocentric rhetoric, contributing to the marginalization from dominant national discourses of significant sections of the population due to their race and gender. For this reason, attention will be also given to how attitudes toward the nonhuman can reflect and bear an impact on those toward other humans. By investigating how narratives develop, evolve, and circulate across time and space, it becomes possible to reveal the harmful logic they carry, and stress the importance of shifting the narrative in the direction of more sustainable intra- and inter-species relations.
{"title":"From From Knight Errant to Exploring Pioneer: The Influence of Medieval Romances on the Depiction of Human and Non-Human Others in John Filson’s “The Adventures of Col. Daniel Boon”","authors":"Giulia Magro","doi":"10.31261/rias.13429","DOIUrl":"https://doi.org/10.31261/rias.13429","url":null,"abstract":"This article analyzes, through a comparative approach, a frontier narrative, John Filson’s “The Adventures of Col. Daniel Boon” (1784), in relation to selected medieval chivalric romances from an ecocritical perspective, exploring the way in which medieval patterns have been employed in the American mythopoeic process, especially in relation to the frontier and the wilderness myths. In fact, medievalist narratives have been often employed to justify an anthropocentric, expansionist, and imperialistic agenda with grievous consequences on the way in which Americans engage with nature and with nonhuman species. At the same time, this tendency is often accompanied by an androcentric and ethnocentric rhetoric, contributing to the marginalization from dominant national discourses of significant sections of the population due to their race and gender. For this reason, attention will be also given to how attitudes toward the nonhuman can reflect and bear an impact on those toward other humans. By investigating how narratives develop, evolve, and circulate across time and space, it becomes possible to reveal the harmful logic they carry, and stress the importance of shifting the narrative in the direction of more sustainable intra- and inter-species relations.","PeriodicalId":37268,"journal":{"name":"Review of International American Studies","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81264479","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}
Español Los conservadores están preparados para tratar diferentes tipos de objetos; sin embargo, se necesita un grado de especialización particular para trabajar con determinados artefactos. Las películas cinematográficas requieren determinados conocimientos, herramientas y equipo para su manipulación. A diferencia de otros objetos del patrimonio cultural, su aprehensión no se da únicamente mirando el objeto fílmico, sino viendo la película proyectada y viviendo la experiencia cinematográfica. El propósito de este proyecto fue dictaminar el estado de conservación de una película aplicando la metodología utilizada en la conservación de objetos del patrimonio cultural "tradicional" como: documentos gráficos, fotografías, pinturas, esculturas, etc. El objeto cinematográfico se titula Cine Revista Salvadoreña y pertenece al acervo de la Filmoteca de la Universidad Nacional Autónoma de México. English Conservators deal with different kind of objects; nevertheless, a particular degree of specialization is needed to work with certain artifacts. Motion picture film requires determined expertise, tools, and equipment for its manipulation. Unlike other objects of cultural heritage, apprehension does not occur only by looking at the film object, but also by seeing the projected film and living the cinematographic experience. The purpose of this project was to assess the state of conservation of a film by applying the methodology used in the conservation of objects of "traditional" cultural heritage, such as graphic documents, photographs, paintings, and sculptures. The film object is titled Cine Revista Salvadoreña and belongs to the collection of the Filmoteca of the Universidad Nacional Autónoma de México.
管理员准备处理不同类型的物体;然而，使用特定的工件需要一定程度的专业知识。电影胶片的处理需要一定的知识、工具和设备。与其他文化遗产不同，它的理解不仅仅是通过观看电影对象，而是通过观看放映的电影和生活在电影体验中。这个项目的目的是通过应用在“传统”文化遗产(如图形文件、照片、绘画、雕塑等)的保护中使用的方法来判断电影的保护状态。电影对象被命名为Cine Revista salvadorena，属于墨西哥国立自治大学电影图书馆的收藏。英语保管人处理不同种类的物品;然而，在某些情况下，需要一种特殊程度的专门化。电影电影的处理需要一定的专业知识、工具和设备。与其他文化遗产物品不同，apprehension不仅通过观看电影物品来占据，还通过观看放映的电影和体验电影。这个项目的目的是通过应用“传统”文化遗产物品(如图形文件、照片、绘画和雕塑)的保存方法来评估电影的保存状况。电影对象的标题是Cine Revista salvadorena，属于墨西哥国立自治大学电影图书馆的收藏。
{"title":"Conservación de patrimonio cultural: mueble vs. conservación fílmica","authors":"Beatriz Torres Insúa","doi":"10.31261/rias.14741","DOIUrl":"https://doi.org/10.31261/rias.14741","url":null,"abstract":"Español \u0000Los conservadores están preparados para tratar diferentes tipos de objetos; sin embargo, se necesita un grado de especialización particular para trabajar con determinados artefactos. Las películas cinematográficas requieren determinados conocimientos, herramientas y equipo para su manipulación. A diferencia de otros objetos del patrimonio cultural, su aprehensión no se da únicamente mirando el objeto fílmico, sino viendo la película proyectada y viviendo la experiencia cinematográfica. El propósito de este proyecto fue dictaminar el estado de conservación de una película aplicando la metodología utilizada en la conservación de objetos del patrimonio cultural \"tradicional\" como: documentos gráficos, fotografías, pinturas, esculturas, etc. El objeto cinematográfico se titula Cine Revista Salvadoreña y pertenece al acervo de la Filmoteca de la Universidad Nacional Autónoma de México. \u0000English \u0000Conservators deal with different kind of objects; nevertheless, a particular degree of specialization is needed to work with certain artifacts. Motion picture film requires determined expertise, tools, and equipment for its manipulation. Unlike other objects of cultural heritage, apprehension does not occur only by looking at the film object, but also by seeing the projected film and living the cinematographic experience. The purpose of this project was to assess the state of conservation of a film by applying the methodology used in the conservation of objects of \"traditional\" cultural heritage, such as graphic documents, photographs, paintings, and sculptures. The film object is titled Cine Revista Salvadoreña and belongs to the collection of the Filmoteca of the Universidad Nacional Autónoma de México.","PeriodicalId":37268,"journal":{"name":"Review of International American Studies","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89370303","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}
Daniel Rees's review of Narrative Change Management in American Studies by Silke Schmidt.
丹尼尔·里斯对西尔克·施密特《美国研究中的叙事变化管理》的评论。
{"title":"Narrative Change Management in American Studies: A Pragmatic Reading by Silke Schmidt (A Book Review)","authors":"D. Rees","doi":"10.31261/rias.14732","DOIUrl":"https://doi.org/10.31261/rias.14732","url":null,"abstract":"Daniel Rees's review of Narrative Change Management in American Studies by Silke Schmidt.","PeriodicalId":37268,"journal":{"name":"Review of International American Studies","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78320699","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}
Departures is the introductory volume to the interdisciplinary field of Critical Refugee Studies, written by the Critical Refugee Studies Collective and published by the University of California Press. The book works on many levels and can be read in as many ways. Partly a guide, partly a manifesto, the book dutifully performs its pre-set task of introducing the general reader to the field of Critical Refugee Studies, all the while engaging with larger issues and challenges. Its manifold nature is made explicit by the title itself, intended both as an allusion to the action of leaving and to that of deviating from a regular path. Highly readable and sharp-edged, tailor-made for an audience that includes (and transcends) colleges and universities, this text will likely find its way into many class syllabi and reading lists. Located at the crossroads of theory and resistance, advocacy and academia, Departures oozes rage, energy, and optimism, and is unapologetically political. The field of Critical Refugee Studies, the authors state in the “Introduction,” is “a way to seize control of image and narrative, by and for refugees, centered in refugee epistemologies and experiences." As a community-engaged critical field, it postulates the necessity of moving past pre-existing humanitarian narratives and frameworks, exposing the underlying threads that tie militarism and migration, power and memory, empire and race. Channeling Somali British and Palestinian poetry, Syrian visual art, and Vietnamese American independent cinematography, the seven contributors call for new methodologies and approaches, as well as for new stories that go beyond the simple “formula of … escape, despair, and rescue” embedded in mainstream refugee narratives. The book's aim is to break that mold, underscoring the “invisible relations of power that broker how we see and consume the refugee subject”; that is to say, to radically twist the ways in which the latter is defined by the law, by the arts, and by the collective conscious. Bold and provocative, Departures will not fail to spark conversations in the coming years.
{"title":"Departures: An Introduction to Critical Refugee Studies by the Critical Refugee Studies Collective (A Book Review)","authors":"Giacomo Traina","doi":"10.31261/rias.14773","DOIUrl":"https://doi.org/10.31261/rias.14773","url":null,"abstract":"Departures is the introductory volume to the interdisciplinary field of Critical Refugee Studies, written by the Critical Refugee Studies Collective and published by the University of California Press. The book works on many levels and can be read in as many ways. Partly a guide, partly a manifesto, the book dutifully performs its pre-set task of introducing the general reader to the field of Critical Refugee Studies, all the while engaging with larger issues and challenges. Its manifold nature is made explicit by the title itself, intended both as an allusion to the action of leaving and to that of deviating from a regular path. Highly readable and sharp-edged, tailor-made for an audience that includes (and transcends) colleges and universities, this text will likely find its way into many class syllabi and reading lists. Located at the crossroads of theory and resistance, advocacy and academia, Departures oozes rage, energy, and optimism, and is unapologetically political. \u0000The field of Critical Refugee Studies, the authors state in the “Introduction,” is “a way to seize control of image and narrative, by and for refugees, centered in refugee epistemologies and experiences.\" As a community-engaged critical field, it postulates the necessity of moving past pre-existing humanitarian narratives and frameworks, exposing the underlying threads that tie militarism and migration, power and memory, empire and race. Channeling Somali British and Palestinian poetry, Syrian visual art, and Vietnamese American independent cinematography, the seven contributors call for new methodologies and approaches, as well as for new stories that go beyond the simple “formula of … escape, despair, and rescue” embedded in mainstream refugee narratives. The book's aim is to break that mold, underscoring the “invisible relations of power that broker how we see and consume the refugee subject”; that is to say, to radically twist the ways in which the latter is defined by the law, by the arts, and by the collective conscious. Bold and provocative, Departures will not fail to spark conversations in the coming years.","PeriodicalId":37268,"journal":{"name":"Review of International American Studies","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87835509","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}
Events that are violent and traumatic in nature entail the breakdown of language and, with it, the conceptual frameworks that construct our social worlds. The inability of reason to articulate this rupture and to conventionally construct meaning implies that the reality of misery and violence can only be suggested (or formulated) through acts of narration that formally and affectively articulate memory into an imaginary. This dislocation of the event from its representation can then only be mapped through the generation and stimulation of affect – which has come to substitute reason as tool for remembering, narrating and, consequently, of mediating our reality. In the present article, the author studies the role of elements that evoke memory and generate the affective dynamics of a traumatic event. Specifically, the author explores the interactions of memory and affect in the process of narrating violence by analyzing objects of memory (such as photographs) that Paula, the protagonist of Matar a Jesús (Killing Jesus (2017) by Laura Mora), utilizes in order to articulate the story of her father’s murder. Further, she claims that the incorporation of filmmaker Laura Mora’s own personal experience as victim of violence points to the fact that the incessant necessity of reformulating trauma and stylizing misery widens the gap between reality and its representation, thus rendering violence unimaginable.
暴力和创伤性质的事件导致语言的崩溃，以及构建我们社会世界的概念框架的崩溃。理性无法表达这种断裂，也无法按照惯例构建意义，这意味着痛苦和暴力的现实只能通过叙事行为来暗示(或表述)，这种叙事行为正式而有效地将记忆表达为一种想象。事件与其表象之间的这种错位只能通过情感的产生和刺激来描绘——情感已经取代了理性，成为记忆、叙述和调解我们现实的工具。在本文中，作者研究了唤起记忆和产生创伤性事件情感动态的因素的作用。具体来说，作者通过分析劳拉·莫拉(Laura Mora)的《Matar a Jesús》(《杀死耶稣》(2017))的主人公保拉(Paula)为了阐明她父亲被谋杀的故事而利用的记忆对象(如照片)，探讨了记忆和情感在叙述暴力过程中的相互作用。此外，她还声称，电影制作人劳拉·莫拉作为暴力受害者的个人经历表明，重新塑造创伤和将痛苦程式化的必要性不断扩大了现实与其再现之间的差距，从而使暴力变得不可想象。
{"title":"Remembering Violence in Matar a Jesús (2017)","authors":"Laura Fattori","doi":"10.31261/rias.14719","DOIUrl":"https://doi.org/10.31261/rias.14719","url":null,"abstract":"Events that are violent and traumatic in nature entail the breakdown of language and, with it, the conceptual frameworks that construct our social worlds. The inability of reason to articulate this rupture and to conventionally construct meaning implies that the reality of misery and violence can only be suggested (or formulated) through acts of narration that formally and affectively articulate memory into an imaginary. This dislocation of the event from its representation can then only be mapped through the generation and stimulation of affect – which has come to substitute reason as tool for remembering, narrating and, consequently, of mediating our reality. In the present article, the author studies the role of elements that evoke memory and generate the affective dynamics of a traumatic event. Specifically, the author explores the interactions of memory and affect in the process of narrating violence by analyzing objects of memory (such as photographs) that Paula, the protagonist of Matar a Jesús (Killing Jesus (2017) by Laura Mora), utilizes in order to articulate the story of her father’s murder. Further, she claims that the incorporation of filmmaker Laura Mora’s own personal experience as victim of violence points to the fact that the incessant necessity of reformulating trauma and stylizing misery widens the gap between reality and its representation, thus rendering violence unimaginable.","PeriodicalId":37268,"journal":{"name":"Review of International American Studies","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83471092","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}
International American Studies Association announcement of the Call for Contributions for the 11th World Congress of IASA titled Journeying (the) Americas The Paradoxes of Travel (and) Narratives. This time, the organization of the IASA World Congress has been entrusted to our excellent Colleagues from the Institute of Cultural Studies, University of Silesia in Katowice, Poland. The Congress, organized and hosted both on the University premises and on line, will be held between September 7th and 10th 2023.
{"title":"Journeying (the) Americas: The Paradoxes of Travel (and) Narratives. IASA 11th World Congress 2023 - Call for Contributions (First Circular)","authors":"Rias Editors","doi":"10.31261/rias.15003","DOIUrl":"https://doi.org/10.31261/rias.15003","url":null,"abstract":"International American Studies Association announcement of the Call for Contributions for the 11th World Congress of IASA titled Journeying (the) Americas The Paradoxes of Travel (and) Narratives. This time, the organization of the IASA World Congress has been entrusted to our excellent Colleagues from the Institute of Cultural Studies, University of Silesia in Katowice, Poland. The Congress, organized and hosted both on the University premises and on line, will be held between September 7th and 10th 2023.","PeriodicalId":37268,"journal":{"name":"Review of International American Studies","volume":"227 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76297354","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 Statement of the IASA Executive Council on the Inclusion of Emerging Scholars in the Leadership of the Organization and the support of the Early Career Scholars.
IASA执行理事会关于将新兴学者纳入本组织领导层和支持早期职业学者的声明。
{"title":"IASA Emerging Scholars: The Position of the IASA Executive Council on the Inclusion of Emerging Scholars in the Leadership of the Organization","authors":"Iasa Executive Council","doi":"10.31261/rias.15002","DOIUrl":"https://doi.org/10.31261/rias.15002","url":null,"abstract":"The Statement of the IASA Executive Council on the Inclusion of Emerging Scholars in the Leadership of the Organization and the support of the Early Career Scholars. ","PeriodicalId":37268,"journal":{"name":"Review of International American Studies","volume":"26 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77385243","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}
Español La ilustración costumbrista del siglo XIX en Colombia se concentró en la representación de las expresiones culturales nacionales. Desde el análisis iconográfico de dos ilustraciones representativas, realizadas por Ramón Torres Méndez en ese periodo, identificaremos elementos que sirvieron para la construcción de una identidad cultural. Los elementos que conforman dichas expresiones, sin embargo, son el resultado de una mezcla de otras formas de expresión cultural; europeas, americanas y africanas. Este mestizaje, siempre presente, se extiende hasta nuestros días y se puede apreciar en manifestaciones más contemporáneas como el pop, en particular, el movimiento del rock en español en la década de 1990. English The costumbrista illustration of the 19th century in Colombia, after independence, focused on the representation of national cultural expressions. From the iconographic analysis of two representative illustrations, made by Ramón Torres Méndez in that period of time, it is possible to identify elements that contribute to the construction of a cultural identity. The elements that make up these expressions, however, are the result of a mixture of other forms of cultural expression, namely European, American, and African. This miscegenation, always present, extends even today and can be seen in more contemporary manifestations such as pop, in particular, of which is the key focus of this article.
19世纪哥伦比亚的服装插画侧重于民族文化表达的表现。通过对ramon Torres mendez在那个时期创作的两幅代表性插图的肖像分析，我们确定了有助于构建文化身份的元素。然而，构成这些表达的元素是其他文化表达形式混合的结果;欧洲，美国和非洲。这种混合一直存在，一直延续到今天，可以在更当代的表现中看到，如流行音乐，特别是20世纪90年代的西班牙摇滚运动。English The costumbrista illustration哥伦比亚of The 19th century in after独立性、聚焦representation of national expressions文化。从ramon Torres mendez在那个时期制作的两幅代表性插图的图像分析中，可以确定有助于构建文化身份的元素。然而,The elements that make up这些expressions are The由于of a mixture of other forms of expression,欧洲、美国和非洲文化。这种混合，总是存在的，甚至延伸到今天，可以在更多的当代表现中看到，如流行，特别是，这是本文的重点。
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Matters of Life: Human Scapes and Scopes - Call for Contributions to the 10th World Congress 2022 of the International American Studies Association organized in the Guru Gobind Singh Indraprastha University, India, 22nd to 24th November, 2022, and post-conference workshop Matters of Life: Human Shades and Scapes to be held between 25th and 27th November, 2022 in Udaipur, Rajasthan.
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