This essay explores the complex relationship between race and class in the formation of a very specific and enduring notion of Dominican televisual stardom stemming from the late 1970s. My point of analysis centers on Charytín Goyco (known affectionately as “the blonde bombshell of America”), whose career as a singer, actress, and television personality commenced in the Dominican Republic in the early 1970s and then continued in Puerto Rico and, subsequently, in Miami. Throughout this essay I explicate how Goyco’s rise to fame was, to some degree, made possible by the political and social media framework set in the Dominican Republic under the presidential administrations of Joaquín Balaguer, who served three terms during the years of 1960–1962, 1966–1987, and 1986–1996. Paying particular attention to Goyco’s evolution as a televisual persona, I argue that her television personality is a site of contradictory interpretations if we are to understand the specific places of power, race, and class that have been afforded her.
{"title":"Charytín Goyco, la rubia de América: A Case Study of Television Stardom in the Dominican Republic in the 1970s","authors":"Danny Méndez","doi":"10.7560/SLAPC3303","DOIUrl":"https://doi.org/10.7560/SLAPC3303","url":null,"abstract":"This essay explores the complex relationship between race and class in the formation of a very specific and enduring notion of Dominican televisual stardom stemming from the late 1970s. My point of analysis centers on Charytín Goyco (known affectionately as “the blonde bombshell of America”), whose career as a singer, actress, and television personality commenced in the Dominican Republic in the early 1970s and then continued in Puerto Rico and, subsequently, in Miami. Throughout this essay I explicate how Goyco’s rise to fame was, to some degree, made possible by the political and social media framework set in the Dominican Republic under the presidential administrations of Joaquín Balaguer, who served three terms during the years of 1960–1962, 1966–1987, and 1986–1996. Paying particular attention to Goyco’s evolution as a televisual persona, I argue that her television personality is a site of contradictory interpretations if we are to understand the specific places of power, race, and class that have been afforded her.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"33 1","pages":"27 - 40"},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3303","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the mid-1960s to mid-1970s, North America and Western Europe became cemented as modern liberal democracies, increasingly emphasizing civil liberties, individualism, egalitarianism, and diversity. In the Southern Cone those same modernizing tendencies faced strong opposition from the landed elite and the military, who targeted the counterculture’s young people and staged numerous coups in an attempt to turn back the clock. The propaganda of Argentina’s brutal and humorless Proceso dictatorship attempted to recreate an imaginary past, a caricature of classic ideals such as el ángel del hogar and the Latin Honor Code. But its repressive machinery was countered by another “machine,” a rock band headed by Charly García called La Máquina de Hacer Pájaros, who combined music, film, comics, and pop culture icons in a witty discourse that subtly contradicted that of the military government, at a time when any dissent was extremely dangerous. La Máquina, which cartoonist and García contemporary “Crist” described as “un pájaro progresivo,” deconstructed the regime’s authoritarian discourse, reconstructing in its place a lyrical depiction of liberal democratic ideals.
在20世纪60年代中期到70年代中期，北美和西欧成为现代自由民主国家，越来越强调公民自由、个人主义、平等主义和多样性。在南锥体，同样的现代化趋势遭到了地主精英和军方的强烈反对，他们以反主流文化的年轻人为目标，发动了无数次政变，试图让时光倒流。对阿根廷残酷无情的独裁统治进程的宣传，试图重现一个虚构的过去，一种对el ángel del hogar和拉丁荣誉法典等经典理想的讽刺。但它的镇压机器遭到了另一个“机器”的反击，这是一个由查理García领导的名为La Máquina de Hacer Pájaros的摇滚乐队，他们将音乐、电影、漫画和流行文化偶像结合在一起，以一种诙谐的话语巧妙地与军政府的话语相矛盾，当时任何异议都是极其危险的。La Máquina，被漫画家和García当代“克里斯特”描述为“un pájaro progressivo”，它解构了政权的专制话语，重建了自由民主理想的抒情描述。
{"title":"Un pájaro progresivo: Pop Music, Propaganda, and the Struggle for Modernity in Argentina","authors":"Timothy H. Wilson","doi":"10.7560/SLAPC3307","DOIUrl":"https://doi.org/10.7560/SLAPC3307","url":null,"abstract":"In the mid-1960s to mid-1970s, North America and Western Europe became cemented as modern liberal democracies, increasingly emphasizing civil liberties, individualism, egalitarianism, and diversity. In the Southern Cone those same modernizing tendencies faced strong opposition from the landed elite and the military, who targeted the counterculture’s young people and staged numerous coups in an attempt to turn back the clock. The propaganda of Argentina’s brutal and humorless Proceso dictatorship attempted to recreate an imaginary past, a caricature of classic ideals such as el ángel del hogar and the Latin Honor Code. But its repressive machinery was countered by another “machine,” a rock band headed by Charly García called La Máquina de Hacer Pájaros, who combined music, film, comics, and pop culture icons in a witty discourse that subtly contradicted that of the military government, at a time when any dissent was extremely dangerous. La Máquina, which cartoonist and García contemporary “Crist” described as “un pájaro progresivo,” deconstructed the regime’s authoritarian discourse, reconstructing in its place a lyrical depiction of liberal democratic ideals.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"33 1","pages":"107 - 89"},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3307","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the midto late 1970s, Cullen reports, Ferrer’s installations “included various elements: faces, maps, kayaks, and sculptural constructions, as well as iconic neon or painted words, and often a tarp or painted tent-like form” (73). His work increasingly included references to the Caribbean, in what some characterized as a “tropicalist” style (75). Ferrer continued to make major paintings during this period, though critics often characterize this work as a digression from his more important conceptualist and performative pieces. His latest works are highly playful, often taking the form of words on small blackboards and installations using words. Although Cullen carefully chronicles the life of Ferrer, this book falls short of offering any detailed analysis of the works of art. Instead, Cullen has produced a meticulous biography of Rafael Ferrer—a service that will doubtless be invaluable for any future analysis of this monumental figure. Throughout the text, Cullen does obliquely refer to the institutional prejudices that befell the Caribbean artist in both Puerto Rico and the United States, but these mentions never develop into an analysis of any depth. This is particularly lamentable because the book explains neither why Ferrer has been excluded from canons nor how the artist influenced peer participants in the process and conceptual movements, as well as later neo-expressionists. One area given short shrift is the artist’s recent body of works from the 2000s, in which Ferrer executed small-scale gouache paintings involving text. Like Ferrer’s own turn to neo-expressionism (there is little mention of postmodern painting or pastiche in this book), this set of paintings shows a prescient awareness of the so-called linguistic turn. This work would have provided a magnificent opportunity to interpret a Ferrer as a deconstructionist—indeed, deconstruction is a vital poststructural discourse rarely extended to artists from Latin American countries. Nevertheless, Cullen does a major job putting together the biography of a highly neglected yet outstanding talent. This book, with excellent illustrations, will prove an important resource for future generations of scholars, and aside from exhibition catalogs, it presently serves as the most authoritative text on Ferrer.
{"title":"Art and Social Movements: Cultural Politics in Mexico and Aztlán by Edward J. McCaughan (review)","authors":"Eduardo Santa Cruz","doi":"10.5860/choice.50-1788","DOIUrl":"https://doi.org/10.5860/choice.50-1788","url":null,"abstract":"In the midto late 1970s, Cullen reports, Ferrer’s installations “included various elements: faces, maps, kayaks, and sculptural constructions, as well as iconic neon or painted words, and often a tarp or painted tent-like form” (73). His work increasingly included references to the Caribbean, in what some characterized as a “tropicalist” style (75). Ferrer continued to make major paintings during this period, though critics often characterize this work as a digression from his more important conceptualist and performative pieces. His latest works are highly playful, often taking the form of words on small blackboards and installations using words. Although Cullen carefully chronicles the life of Ferrer, this book falls short of offering any detailed analysis of the works of art. Instead, Cullen has produced a meticulous biography of Rafael Ferrer—a service that will doubtless be invaluable for any future analysis of this monumental figure. Throughout the text, Cullen does obliquely refer to the institutional prejudices that befell the Caribbean artist in both Puerto Rico and the United States, but these mentions never develop into an analysis of any depth. This is particularly lamentable because the book explains neither why Ferrer has been excluded from canons nor how the artist influenced peer participants in the process and conceptual movements, as well as later neo-expressionists. One area given short shrift is the artist’s recent body of works from the 2000s, in which Ferrer executed small-scale gouache paintings involving text. Like Ferrer’s own turn to neo-expressionism (there is little mention of postmodern painting or pastiche in this book), this set of paintings shows a prescient awareness of the so-called linguistic turn. This work would have provided a magnificent opportunity to interpret a Ferrer as a deconstructionist—indeed, deconstruction is a vital poststructural discourse rarely extended to artists from Latin American countries. Nevertheless, Cullen does a major job putting together the biography of a highly neglected yet outstanding talent. This book, with excellent illustrations, will prove an important resource for future generations of scholars, and aside from exhibition catalogs, it presently serves as the most authoritative text on Ferrer.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"32 1","pages":"164 - 166"},"PeriodicalIF":0.1,"publicationDate":"2014-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71139964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pese a su más de medio siglo de existencia, la música tropical uruguaya ha sido objeto de casi ningún estudio académico, y su conocimiento es escaso e impreciso. Como regla, no se la incluye cuando se habla de la música popular uruguaya o de la cultura popular en general, y aun menos de la cultura nacional. En parte, ello se debe al concepto de cultura y de lo popular imperantes, a la noción del apagón cultural—que coincide con el auge de la música tropical—y al rechazo de la clase intelectual hacia una expresión cultural sobre la que se proyectan todos los vicios. Debajo de ese desinterés y menosprecio operan prejuicios elitistas y eurocéntricos que hunden sus raíces en paradigmas decimonónicos, y aun previos, que hizo suyos la dictadura y perduran en post-dictadura, que históricamente han dado la espalda a las expresiones nativas y afro-latinoamericanas que apuntan en dirección de otra idea de América. A su modo, la música tropical contrarió y aún perturba el modelo civilizatorio actual. Aquí propongo hacer un aporte al conocimiento de la música tropical en tanto práctica social, explorando su historia, sus tensiones y las perspectivas que abre de la sociedad y la cultura uruguayas.
{"title":"El apagón cultural y la música tropical uruguaya: Pailas, güiros y trompetas en el cuarto de atrás de la Atenas del Plata","authors":"Gustavo A. Remedi","doi":"10.7560/SLAPC3202","DOIUrl":"https://doi.org/10.7560/SLAPC3202","url":null,"abstract":"Pese a su más de medio siglo de existencia, la música tropical uruguaya ha sido objeto de casi ningún estudio académico, y su conocimiento es escaso e impreciso. Como regla, no se la incluye cuando se habla de la música popular uruguaya o de la cultura popular en general, y aun menos de la cultura nacional. En parte, ello se debe al concepto de cultura y de lo popular imperantes, a la noción del apagón cultural—que coincide con el auge de la música tropical—y al rechazo de la clase intelectual hacia una expresión cultural sobre la que se proyectan todos los vicios. Debajo de ese desinterés y menosprecio operan prejuicios elitistas y eurocéntricos que hunden sus raíces en paradigmas decimonónicos, y aun previos, que hizo suyos la dictadura y perduran en post-dictadura, que históricamente han dado la espalda a las expresiones nativas y afro-latinoamericanas que apuntan en dirección de otra idea de América. A su modo, la música tropical contrarió y aún perturba el modelo civilizatorio actual. Aquí propongo hacer un aporte al conocimiento de la música tropical en tanto práctica social, explorando su historia, sus tensiones y las perspectivas que abre de la sociedad y la cultura uruguayas.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"32 1","pages":"3 - 30"},"PeriodicalIF":0.1,"publicationDate":"2014-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3202","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este artículo interpreta el uso de la figura del entrenador profesional en tres ficciones latinoamericanas de fútbol. Las obras del argentino Juan Sasturain, del brasileño Sérgio Sant’Anna y del mexicano Juan Villoro trascienden tiempos y lugares específicos al articular las tensiones psicológicas y emocionales que pueden aparecer durante las inexorable transición hacia papeles menos activos en la vida. Los tres cuentos evocan los binomios de triunfoderrota y orgullo-vergüenza que yacen en la profundidad subterránea de la cultura deportiva al retratar las complicadas relaciones entre el ego y el deporte en momentos de crisis y de transición. Estas ejemplares parábolas futbolísticas desmitifican la simulada versión del entrenador profesional (fabricada para la televisión) y advierten contra los peligros del desarrollo de identidades que estén desproporcionadamente arraigadas en el deporte.
这篇文章解释了职业教练在三部拉丁美洲足球小说中的使用。阿根廷的Juan Sasturain、巴西的sergio Sant 'Anna和墨西哥的Juan Villoro的作品超越了特定的时间和地点，阐明了在生活中不可避免地向不那么活跃的角色过渡期间可能出现的心理和情感紧张。这三个故事通过描绘在危机和过渡时期自我和体育之间的复杂关系，唤起了隐藏在体育文化深处的胜利-失败和骄傲-羞耻的二元关系。这些典型的足球寓言揭开了职业教练(为电视制作)的模拟版本的神秘面纱，并警告人们不要过度扎根于体育中的身份发展的危险。
{"title":"Movimientos defensivos: La figura del entrenador en las parábolas futbolísticas de Juan Sasturain, Sérgio Sant’Anna y Juan Villoro","authors":"Shawn Stein","doi":"10.7560/SLAPC3204","DOIUrl":"https://doi.org/10.7560/SLAPC3204","url":null,"abstract":"Este artículo interpreta el uso de la figura del entrenador profesional en tres ficciones latinoamericanas de fútbol. Las obras del argentino Juan Sasturain, del brasileño Sérgio Sant’Anna y del mexicano Juan Villoro trascienden tiempos y lugares específicos al articular las tensiones psicológicas y emocionales que pueden aparecer durante las inexorable transición hacia papeles menos activos en la vida. Los tres cuentos evocan los binomios de triunfoderrota y orgullo-vergüenza que yacen en la profundidad subterránea de la cultura deportiva al retratar las complicadas relaciones entre el ego y el deporte en momentos de crisis y de transición. Estas ejemplares parábolas futbolísticas desmitifican la simulada versión del entrenador profesional (fabricada para la televisión) y advierten contra los peligros del desarrollo de identidades que estén desproporcionadamente arraigadas en el deporte.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"32 1","pages":"51 - 71"},"PeriodicalIF":0.1,"publicationDate":"2014-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3204","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este trabalho apresenta uma análise do toré dos índios Tapeba—habitantes do município de Caucaia, Ceará, Brasil—na Festa da Carnaúba de 2010. O toré é uma dança ritualizada presente nas culturas de muitos dos povos indígenas do região Nordeste brasileiro, como é o caso dos aqui estudados. Em diferentes ocasiões, costuma ser utilizado como instrumento de afirmação étnica, demarcando fronteiras entre índios e não índios. Fronteiras que se apresentam como bastante tênues, uma vez que boa parte dos indígenas dessa região é do tipo “integrado”, ou seja, índios que, tendo passado por um forte e longo processo de mestiçagem, perderam a língua nativa e, nos dias atuais, em praticamente nada se diferenciam da sociedade nacional. Entende-se assim que o toré dos Tapeba é gerado em um contexto cultural híbrido e que, por exercer diversas funções dentro daquela comunidade, para ser bem entendido, necessita ser observado sob os seguintes focos de abordagem: as relações de poder, a construção social da realidade, a invenção das tradições, a performance ritual e o próprio corpo tapebano como produto e produtor da comunicação e da cultura.
{"title":"O toré dos índios Tapeba de Caucaia (Ceará, Brasil): Performance, comunicação e visibilidade política","authors":"S. Pinheiro, Carmen Luisa Chaves Cavalcante","doi":"10.7560/SLAPC3207","DOIUrl":"https://doi.org/10.7560/SLAPC3207","url":null,"abstract":"Este trabalho apresenta uma análise do toré dos índios Tapeba—habitantes do município de Caucaia, Ceará, Brasil—na Festa da Carnaúba de 2010. O toré é uma dança ritualizada presente nas culturas de muitos dos povos indígenas do região Nordeste brasileiro, como é o caso dos aqui estudados. Em diferentes ocasiões, costuma ser utilizado como instrumento de afirmação étnica, demarcando fronteiras entre índios e não índios. Fronteiras que se apresentam como bastante tênues, uma vez que boa parte dos indígenas dessa região é do tipo “integrado”, ou seja, índios que, tendo passado por um forte e longo processo de mestiçagem, perderam a língua nativa e, nos dias atuais, em praticamente nada se diferenciam da sociedade nacional. Entende-se assim que o toré dos Tapeba é gerado em um contexto cultural híbrido e que, por exercer diversas funções dentro daquela comunidade, para ser bem entendido, necessita ser observado sob os seguintes focos de abordagem: as relações de poder, a construção social da realidade, a invenção das tradições, a performance ritual e o próprio corpo tapebano como produto e produtor da comunicação e da cultura.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"32 1","pages":"120 - 136"},"PeriodicalIF":0.1,"publicationDate":"2014-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article addresses and deconstructs some of the most widely held beliefs on Latin America in the United States, and it is based on an analysis of publications (in print and electronic), with emphasis on the past forty years, coupled with statistics and personal observations. Specifically, the article examines the differences and similarities among Latin Americans in eight areas of the Latin American social world—urban-rural subcultures, work, ethnicity, social class, religion, militarism, politics, and family and gender relations—and it questions the widespread idea of a monolithic group as reflected in US popular culture and in the US media.
{"title":"Latin American Culture: A Deconstruction of Stereotypes","authors":"A. Alarcón","doi":"10.7560/SLAPC3205","DOIUrl":"https://doi.org/10.7560/SLAPC3205","url":null,"abstract":"This article addresses and deconstructs some of the most widely held beliefs on Latin America in the United States, and it is based on an analysis of publications (in print and electronic), with emphasis on the past forty years, coupled with statistics and personal observations. Specifically, the article examines the differences and similarities among Latin Americans in eight areas of the Latin American social world—urban-rural subcultures, work, ethnicity, social class, religion, militarism, politics, and family and gender relations—and it questions the widespread idea of a monolithic group as reflected in US popular culture and in the US media.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"32 1","pages":"72 - 96"},"PeriodicalIF":0.1,"publicationDate":"2014-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3205","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Partiendo del eclecticismo de El último malón (1916) película dirigida Alcides Greca, el siguiente artículo sostiene que la repetición y las convenciones del cine de atracciones influyen sobre las presuntas características etnográficas de la cinta. A fin de demostrar dicha premisa, este artículo contextualiza la noción de los pueblos originarios en el imaginario argentino a través de un repaso panorámico de las continuadas políticas genocidas, reforzadas por la violencia epistémica y simbólica resultantes de la borradura de los aportes de los pueblos originarios a través de la reproducción ideológica, particularmente mediante el sistema educativo. La cuestión de la representación, anclada en las convenciones de las películas etnográficas y de los documentales, se apoya en fotografías de la época y fotogramas de la película.
{"title":"El último malón de Alcides Greca: Repetición y cine de atracciones","authors":"Cynthia M. Tompkins","doi":"10.7560/SLAPC3206","DOIUrl":"https://doi.org/10.7560/SLAPC3206","url":null,"abstract":"Partiendo del eclecticismo de El último malón (1916) película dirigida Alcides Greca, el siguiente artículo sostiene que la repetición y las convenciones del cine de atracciones influyen sobre las presuntas características etnográficas de la cinta. A fin de demostrar dicha premisa, este artículo contextualiza la noción de los pueblos originarios en el imaginario argentino a través de un repaso panorámico de las continuadas políticas genocidas, reforzadas por la violencia epistémica y simbólica resultantes de la borradura de los aportes de los pueblos originarios a través de la reproducción ideológica, particularmente mediante el sistema educativo. La cuestión de la representación, anclada en las convenciones de las películas etnográficas y de los documentales, se apoya en fotografías de la época y fotogramas de la película.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"32 1","pages":"119 - 97"},"PeriodicalIF":0.1,"publicationDate":"2014-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3206","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents a brief overview of the instances in which American professional sports teams have worn Spanish-language jerseys. It examines in detail the one case in which the Spanish-language jerseys became a point of controversy—when the Phoenix Suns wore a “Los Suns” jersey in the 2010 playoffs. The article discusses what the use of these jerseys says about relations between recent Latino immigrants, the established Latino population, and the Anglo-American population in the United States, and it provides insights into why this practice might be a smart move by professional sports leagues and teams.
{"title":"¿Muy valiente, o loco?: How “Los Suns” Created a Political Controversy That Transcends Basketball","authors":"R. W. Jensen","doi":"10.7560/SLAPC3208","DOIUrl":"https://doi.org/10.7560/SLAPC3208","url":null,"abstract":"This article presents a brief overview of the instances in which American professional sports teams have worn Spanish-language jerseys. It examines in detail the one case in which the Spanish-language jerseys became a point of controversy—when the Phoenix Suns wore a “Los Suns” jersey in the 2010 playoffs. The article discusses what the use of these jerseys says about relations between recent Latino immigrants, the established Latino population, and the Anglo-American population in the United States, and it provides insights into why this practice might be a smart move by professional sports leagues and teams.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"32 1","pages":"137 - 153"},"PeriodicalIF":0.1,"publicationDate":"2014-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3208","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La obra literaria de Roberto Bolaño ha sido abordada desde múltiples ópticas, es así que en el presente trabajo contribuimos a seguir abriendo esos análisis sobre una narrativa que es síntoma y señal de nuestro tiempo: la fragmentación. La expresión crítica del discurso estético y ético que hace Bolaño es la base de una voz que juega con la forma para criticar el canon y el poder. En este lugar, la literatura se vuelve una expresión política, y la posición de Bolaño es la anarquía.
{"title":"Bolaño y la anarquía estructural: La fragmentación discursiva de Los detectives salvajes","authors":"Eliseo Lara Ordenes","doi":"10.7560/SLAPC3209","DOIUrl":"https://doi.org/10.7560/SLAPC3209","url":null,"abstract":"La obra literaria de Roberto Bolaño ha sido abordada desde múltiples ópticas, es así que en el presente trabajo contribuimos a seguir abriendo esos análisis sobre una narrativa que es síntoma y señal de nuestro tiempo: la fragmentación. La expresión crítica del discurso estético y ético que hace Bolaño es la base de una voz que juega con la forma para criticar el canon y el poder. En este lugar, la literatura se vuelve una expresión política, y la posición de Bolaño es la anarquía.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"32 1","pages":"154 - 162"},"PeriodicalIF":0.1,"publicationDate":"2014-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3209","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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