Abstract:This article explores contemporary literary saraus in São Paulo, Brazil. Although saraus can be traced back to the nineteenth century with the arrival of the Portuguese court to Brazil, today they often occupy botecos (bars) in peripheral neighborhoods and create completely new relationships between author, audience, living space, and literary creation. During these open-mic nights on the margins, the embodied word offers a visceral way of knowing and interpreting literature. This article explores performance in the space of Brazilian saraus as a component of the literary text offering visual, auditory, and kinesthetic knowledge. Conflict, emotion, and corporeal manifestation are the foundations of sarau literature, and individual and cultural knowledge housed in the body as memories in the senses becomes civic consciousness when writing moves from the page, the tablet, or the cell phone to the body of the author.
{"title":"Body as Text: Challenging Marginalized Identities through Literary Performance in Contemporary Brazilian Saraus","authors":"A. Gibson","doi":"10.7560/slapc4003","DOIUrl":"https://doi.org/10.7560/slapc4003","url":null,"abstract":"Abstract:This article explores contemporary literary saraus in São Paulo, Brazil. Although saraus can be traced back to the nineteenth century with the arrival of the Portuguese court to Brazil, today they often occupy botecos (bars) in peripheral neighborhoods and create completely new relationships between author, audience, living space, and literary creation. During these open-mic nights on the margins, the embodied word offers a visceral way of knowing and interpreting literature. This article explores performance in the space of Brazilian saraus as a component of the literary text offering visual, auditory, and kinesthetic knowledge. Conflict, emotion, and corporeal manifestation are the foundations of sarau literature, and individual and cultural knowledge housed in the body as memories in the senses becomes civic consciousness when writing moves from the page, the tablet, or the cell phone to the body of the author.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44822475","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}
Abstract:Compelled to grow politically through cultural and educational activities, Argentine socialists faced a difficult challenge in regard to mass culture in the beginnings of the twentieth century, since the new shows and media seemed to distract the people from more "enlightened" activities that were considered crucial tools for social transformation. However, despite common representations in the leftist culture literature, socialists engaged in different features of mass culture in their intent to grow in Argentine politics. This article analyzes the political positions and innovations in broadcasting regarding socialists in Argentina in the interwar period. By embracing the new dynamics of mass politics, socialists revealed themselves as pioneers in the use of radio broadcasting for political purposes. In this sense, the socialist interventions in radio provide a great opportunity for addressing the growing links between mass culture and mass politics in early twentieth-century Argentina.
{"title":"\"Times of Extreme Broadcasting\": Argentine Socialism and Mass Culture during the Rise of Commercial Radio (1920–1945)","authors":"Javier Guiamet","doi":"10.7560/slapc4001","DOIUrl":"https://doi.org/10.7560/slapc4001","url":null,"abstract":"Abstract:Compelled to grow politically through cultural and educational activities, Argentine socialists faced a difficult challenge in regard to mass culture in the beginnings of the twentieth century, since the new shows and media seemed to distract the people from more \"enlightened\" activities that were considered crucial tools for social transformation. However, despite common representations in the leftist culture literature, socialists engaged in different features of mass culture in their intent to grow in Argentine politics. This article analyzes the political positions and innovations in broadcasting regarding socialists in Argentina in the interwar period. By embracing the new dynamics of mass politics, socialists revealed themselves as pioneers in the use of radio broadcasting for political purposes. In this sense, the socialist interventions in radio provide a great opportunity for addressing the growing links between mass culture and mass politics in early twentieth-century Argentina.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46969546","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}
Abstract:The films Even the Rain, directed by Icíar Bollaín (Spain) in 2010, and Altiplano (2009), directed by Peter Brosens (Belgium) and Jessica Woodworth (United States), fuse past and present in the context of the Europe-America encounter. While the first film is framed by the Water War in Cochabamba, Bolivia (1999–2000), the second has as referent the ecological catastrophe that took place in Choropampa, Peru (2000). Patterns of neocolonial exploitation bring to the foreground the collective memory of communities haunted by traumatic events that shaped their historical destiny. Perpetrators and victims must question and reevaluate their respective legacies within a transgenerational and transcultural context in order to work through those shared experiences together and explore new approaches to heal their devastating past. Metafictional elements, intertwined and fragmented stories, flashbacks, and ritual play a structural role in generating haunting cultural narratives that lead disempowered communities to recover their own historical agency.
{"title":"También la lluvia y Altiplano: Trauma transgeneracional y renegociación histórica en un contexto transcultural","authors":"Lucía Garavito","doi":"10.7560/slapc4005","DOIUrl":"https://doi.org/10.7560/slapc4005","url":null,"abstract":"Abstract:The films Even the Rain, directed by Icíar Bollaín (Spain) in 2010, and Altiplano (2009), directed by Peter Brosens (Belgium) and Jessica Woodworth (United States), fuse past and present in the context of the Europe-America encounter. While the first film is framed by the Water War in Cochabamba, Bolivia (1999–2000), the second has as referent the ecological catastrophe that took place in Choropampa, Peru (2000). Patterns of neocolonial exploitation bring to the foreground the collective memory of communities haunted by traumatic events that shaped their historical destiny. Perpetrators and victims must question and reevaluate their respective legacies within a transgenerational and transcultural context in order to work through those shared experiences together and explore new approaches to heal their devastating past. Metafictional elements, intertwined and fragmented stories, flashbacks, and ritual play a structural role in generating haunting cultural narratives that lead disempowered communities to recover their own historical agency.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46481778","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}
Abstract:This article explores how El juego de la vida, a 165-episode telenovela broadcast by Televisa from November 12, 2001, to June 28, 2002, contributes to expand existing soccer narratives in Mexico by reorganizing the conventions of the genre to incorporate an atypical theme: women's soccer. Despite the fact that this telenovela breaks the gender hegemony that male-centered Mexican soccer enjoyed until the beginning of the twenty-first century, El juego de la vida falls short of being a feminist project. The article concludes that Televisa did not launch El juego de la vida for political reasons but as a marketing strategy to target the untapped market of young women and draw them into the passionate realm of futbol.
摘要:本文探讨了墨西哥Televisa电视台在2001年11月12日至2002年6月28日播出的165集电视剧《生命之日》(El juego de la vida)如何通过重组该题材的传统，融入一个非典型的主题——女子足球，来扩展墨西哥现有的足球叙事。尽管这部电视剧打破了以男性为中心的墨西哥足球在21世纪初之前一直享有的性别霸权，但El juego de la vida并不是一个女权主义项目。文章的结论是，Televisa推出El juego de la vida并非出于政治原因，而是作为一种营销策略，瞄准未开发的年轻女性市场，吸引她们进入充满激情的足球领域。
{"title":"El juego de la vida, o cómo Televisa imaginó la pasión femenina por el futbol mexicano","authors":"Alejandro González Landeros","doi":"10.7560/slapc4009","DOIUrl":"https://doi.org/10.7560/slapc4009","url":null,"abstract":"Abstract:This article explores how El juego de la vida, a 165-episode telenovela broadcast by Televisa from November 12, 2001, to June 28, 2002, contributes to expand existing soccer narratives in Mexico by reorganizing the conventions of the genre to incorporate an atypical theme: women's soccer. Despite the fact that this telenovela breaks the gender hegemony that male-centered Mexican soccer enjoyed until the beginning of the twenty-first century, El juego de la vida falls short of being a feminist project. The article concludes that Televisa did not launch El juego de la vida for political reasons but as a marketing strategy to target the untapped market of young women and draw them into the passionate realm of futbol.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45099323","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}
Abstract:Drawing from archival footage housed at the Centro de Conservación y Documentación Audiovisual de la Universidad de Córdoba, Argentina, this article focuses on the deployment of suspense in the portrayal of the guerrilla within the global context of the Cold War, as it analyzes newscasts broadcast by Canal 10, a television station owned by the Universidad Nacional de Córdoba, during the tumultuous political period ranging from 1970 to 1977. The interdisciplinary theoretical approach includes a socio-historical grounding, discourse analysis, and film and television theory given that the newscast was filmed from 1962 to 1980.
{"title":"Suspenso en el noticiero: Representación de la guerrilla en Canal 10, Córdoba, Argentina, 1970–1977","authors":"Cynthia M. Tompkins","doi":"10.7560/slapc4006","DOIUrl":"https://doi.org/10.7560/slapc4006","url":null,"abstract":"Abstract:Drawing from archival footage housed at the Centro de Conservación y Documentación Audiovisual de la Universidad de Córdoba, Argentina, this article focuses on the deployment of suspense in the portrayal of the guerrilla within the global context of the Cold War, as it analyzes newscasts broadcast by Canal 10, a television station owned by the Universidad Nacional de Córdoba, during the tumultuous political period ranging from 1970 to 1977. The interdisciplinary theoretical approach includes a socio-historical grounding, discourse analysis, and film and television theory given that the newscast was filmed from 1962 to 1980.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41625903","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}
Abstract:Motherhood is an identity category that carries considerable weight in Mexican society and cultural expressions. The cult of motherhood means that a woman and her worth are often measured by her relationship to maternity. The closer that she comes to meeting the standards of Marianism (modeled by the figure of the Virgin of Guadalupe), the more likely she is to be seen as a good woman. This trope is a standard feature in telenovelas, where the good woman (la buena) is or longs to be a mother, whereas the bad woman (la mala) rejects maternity. There is another female character, however, who eludes these categories—the tyrannical mother. She is a woman whose controlling, manipulative, and often criminal behavior lands her squarely in the category of la mala. Yet she is not subject to the same terrible fate that befalls the childless mala, often in the form of death, disfigurement, or imprisonment. Here I argue that it is maternity that provides the tyrannical mother protection from the more extreme punishments experienced by childless malas. The examples that I point to are Cuna de lobos (1986, 2019), Soy tu dueña (2010) and Abismo de pasión (2012).
摘要：母亲身份是一个在墨西哥社会和文化表达中具有相当分量的身份类别。对母性的崇拜意味着，一个女人和她的价值往往是通过她与母性的关系来衡量的。她越接近Marianism（以瓜达卢佩圣母的形象为原型）的标准，就越有可能被视为一个好女人。这种比喻是电视小说的标准特征，好女人（la buena）是或渴望成为母亲，而坏女人（la mala）拒绝生育。然而，还有另一个女性角色却避开了这些类别——暴虐的母亲。她是一个控制欲强、操纵欲强、经常犯罪的女人，她的行为完全属于la mala。然而，她并没有像没有孩子的马拉那样遭遇可怕的命运，通常是死亡、毁容或监禁。在这里，我认为正是母性为暴虐的母亲提供了保护，使其免受无子疟疾带来的更极端的惩罚。我指出的例子是Cuna de lobos（1986年、2019年）、Soy tu dueña（2010年）和Abismo de pasión（2012年）。
{"title":"The Tyrannical Mother in Mexican Telenovelas","authors":"J. Tate","doi":"10.7560/slapc4008","DOIUrl":"https://doi.org/10.7560/slapc4008","url":null,"abstract":"Abstract:Motherhood is an identity category that carries considerable weight in Mexican society and cultural expressions. The cult of motherhood means that a woman and her worth are often measured by her relationship to maternity. The closer that she comes to meeting the standards of Marianism (modeled by the figure of the Virgin of Guadalupe), the more likely she is to be seen as a good woman. This trope is a standard feature in telenovelas, where the good woman (la buena) is or longs to be a mother, whereas the bad woman (la mala) rejects maternity. There is another female character, however, who eludes these categories—the tyrannical mother. She is a woman whose controlling, manipulative, and often criminal behavior lands her squarely in the category of la mala. Yet she is not subject to the same terrible fate that befalls the childless mala, often in the form of death, disfigurement, or imprisonment. Here I argue that it is maternity that provides the tyrannical mother protection from the more extreme punishments experienced by childless malas. The examples that I point to are Cuna de lobos (1986, 2019), Soy tu dueña (2010) and Abismo de pasión (2012).","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45676951","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}
Pub Date : 2021-05-27DOI: 10.1353/cub.2023.a899817
Matthew Carey Greenhalgh
{"title":"Hollywood in Havana: US Cinema and Revolutionary Nationalism in Cuba before 1959 by Megan Feeney (review)","authors":"Matthew Carey Greenhalgh","doi":"10.1353/cub.2023.a899817","DOIUrl":"https://doi.org/10.1353/cub.2023.a899817","url":null,"abstract":"","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44985069","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}
Abstract:Between 2017 and 2018, amid the centenary of the birth of Violeta Parra, a collective and interdisciplinary creation project had been carried out with three productions (scenic, videographic, and performative) around the life and work of the Chilean artist involving the combination of body, memory, and empathy. In this article we address the methodology of the different parts of the creative process: (1) the scenic one, Color Violeta at the Albéitar theater (Universidad de León, España); (2) the videographic one, with the short Color Violeta: Pliegues de la memoria released in the II International Festival of Expanded Corporality (Buenos Aires, Argentina); and (3) the performative one, Memoria(s) Color Violeta, a gathering of collective improvisation that was formulated as a body approaching the singer-songwriter’s creative imaginary. The processes of body, memory, and empathy that sustain the aesthetics of Violeta Parra energize and expand Chilean popular culture, and this is connected with our own experience. The corporal approach to the memory of the other is revealed to us, in this research, as a possibility for building our own identity.
{"title":"Cuerpo, memoria y empatía: Procesos de creación colectiva en torno a la figura de Violeta Parra","authors":"M. Vicente","doi":"10.7560/SLAPC3903","DOIUrl":"https://doi.org/10.7560/SLAPC3903","url":null,"abstract":"Abstract:Between 2017 and 2018, amid the centenary of the birth of Violeta Parra, a collective and interdisciplinary creation project had been carried out with three productions (scenic, videographic, and performative) around the life and work of the Chilean artist involving the combination of body, memory, and empathy. In this article we address the methodology of the different parts of the creative process: (1) the scenic one, Color Violeta at the Albéitar theater (Universidad de León, España); (2) the videographic one, with the short Color Violeta: Pliegues de la memoria released in the II International Festival of Expanded Corporality (Buenos Aires, Argentina); and (3) the performative one, Memoria(s) Color Violeta, a gathering of collective improvisation that was formulated as a body approaching the singer-songwriter’s creative imaginary. The processes of body, memory, and empathy that sustain the aesthetics of Violeta Parra energize and expand Chilean popular culture, and this is connected with our own experience. The corporal approach to the memory of the other is revealed to us, in this research, as a possibility for building our own identity.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49651795","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}
Abstract:Brazilian Popular Music has long energized public debate on a variety of issues in Brazilian society. From Geraldo Vandré’s “Pra não dizer que não falei das flores” (1968) to Anitta’s “Vai, malandra” (2017), Brazilian Popular Music has sparked conversations and reflections about democracy, gender and race relations, poverty, migration, and much more. In this article, I analyze how recent Brazilian Popular Music was used as an instrument of mobilization around the defense of democracy in the context of the political turmoil the country has experienced since the beginning of President Dilma Rousseff’s second term. I contend that the songs in question—songs of protest—illustrate how Brazilian Popular Music as a discourse continues to have the constitutive proprieties that characterized it in the second half of the twentieth century. In other words, these songs serve as a compass for ways of living and behaving in current Brazilian society.
摘要：巴西流行音乐长期以来激发了公众对巴西社会各种问题的辩论。从Geraldo Vandré的《Pra não dizer que não-falei das flores》（1968年）到Anitta的《Vai，malandra》（2017年），巴西流行音乐引发了关于民主、性别和种族关系、贫困、移民等问题的对话和思考。在这篇文章中，我分析了自迪尔玛·罗塞夫总统第二任期开始以来，巴西经历了政治动荡，最近的巴西流行音乐是如何被用作围绕捍卫民主的动员工具的。我认为，这些有问题的歌曲——抗议歌曲——说明了巴西流行音乐作为一种话语，如何继续具有20世纪下半叶特有的固有礼仪。换句话说，这些歌曲是当前巴西社会生活和行为方式的指南针。
{"title":"“Golpe, não!”: Twenty-First-Century Brazilian Songs of Protest","authors":"Ligia Bezerra","doi":"10.7560/SLAPC3902","DOIUrl":"https://doi.org/10.7560/SLAPC3902","url":null,"abstract":"Abstract:Brazilian Popular Music has long energized public debate on a variety of issues in Brazilian society. From Geraldo Vandré’s “Pra não dizer que não falei das flores” (1968) to Anitta’s “Vai, malandra” (2017), Brazilian Popular Music has sparked conversations and reflections about democracy, gender and race relations, poverty, migration, and much more. In this article, I analyze how recent Brazilian Popular Music was used as an instrument of mobilization around the defense of democracy in the context of the political turmoil the country has experienced since the beginning of President Dilma Rousseff’s second term. I contend that the songs in question—songs of protest—illustrate how Brazilian Popular Music as a discourse continues to have the constitutive proprieties that characterized it in the second half of the twentieth century. In other words, these songs serve as a compass for ways of living and behaving in current Brazilian society.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42965791","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}
Abstract:In his 2015 book Fariña, Nacho Carretero utilizes a sarcastic tone when detailing the criminal landscape that reigned in Galicia, Spain, for decades. This particular satirical wit is also seen in La virgen de los sicarios (1993), by Fernando Vallejo, which explores the cycle of violence and death in Colombia during drug-related violence. The narrator and main protagonist, Fernando, gives an account of the crime and injustice he witnesses with much sarcasm and irony, which leaves the reader perplexed. In this article, I examine the juxtaposition of comedy and tragedy, reality and fiction, represented in Spanish and Colombian narrative. The article questions whether literature, cinema, TV, and more recently, streaming services, are to be blamed for trivializing the crime and the violence that surrounds drug trafficking in all its various shapes and forms, or whether these cultural agents act as social agents promoting positive change by raising awareness of the undeniable and unavoidable deep connection between drug trafficking and violence.
摘要：纳乔·卡雷特罗在2015年出版的《法里尼亚》一书中，用讽刺的口吻详细描述了西班牙加利西亚几十年来的犯罪形势。Fernando Vallejo的《La virgen de los sicarios》（1993）也体现了这种特殊的讽刺智慧，该书探讨了哥伦比亚在毒品相关暴力中的暴力和死亡循环。叙述者兼主人公费尔南多用大量的讽刺和讽刺讲述了他所目睹的犯罪和不公正，这让读者感到困惑。在这篇文章中，我考察了西班牙和哥伦比亚叙事中喜剧与悲剧、现实与小说的并置。这篇文章质疑文学、电影、电视，以及最近的流媒体服务，是否应该因为轻视了围绕各种形式和形式的毒品贩运的犯罪和暴力而受到指责，或者这些文化代理人是否通过提高人们对贩毒与暴力之间不可否认和不可避免的深刻联系的认识，作为促进积极变革的社会代理人。
{"title":"Contigo en la distancia: Colombia, Galicia y el negocio narco entre la realidad y la ficción; entre el humor y el dramatismo","authors":"Sabrina S. Laroussi","doi":"10.7560/SLAPC3907","DOIUrl":"https://doi.org/10.7560/SLAPC3907","url":null,"abstract":"Abstract:In his 2015 book Fariña, Nacho Carretero utilizes a sarcastic tone when detailing the criminal landscape that reigned in Galicia, Spain, for decades. This particular satirical wit is also seen in La virgen de los sicarios (1993), by Fernando Vallejo, which explores the cycle of violence and death in Colombia during drug-related violence. The narrator and main protagonist, Fernando, gives an account of the crime and injustice he witnesses with much sarcasm and irony, which leaves the reader perplexed. In this article, I examine the juxtaposition of comedy and tragedy, reality and fiction, represented in Spanish and Colombian narrative. The article questions whether literature, cinema, TV, and more recently, streaming services, are to be blamed for trivializing the crime and the violence that surrounds drug trafficking in all its various shapes and forms, or whether these cultural agents act as social agents promoting positive change by raising awareness of the undeniable and unavoidable deep connection between drug trafficking and violence.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44429220","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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