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":"39 1","pages":"120 - 133"},"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}
Abstract:The Argentine artist José Muñoz and writer Carlos Sampayo began publishing their Alack Sinner detective comic in the Italian magazine Alterlinus in 1974, after which its stories appeared in French, Spanish, Argentinian, and US publications. Beginning in 2015, the complete Alack Sinner was republished in several languages, winning over a new generation of readers and critics. In the fourth tale, “Vietblues” (1975), Muñoz and Sampayo liberated their storytelling from the limitations of pastiche and formula to challenge the genre conventions of the “private detective” crime narrative. The comic, set in New York City, foregrounds a white protagonist who refuses to partner with a group of Black nationalists intent on tearing down racist power structures. This article shows how the comic explores two definitions of history and political action: an idealistic, subjective, and individualistic one, and a more historical vision predicated on connections between oppressed groups. Muñoz and Sampayo argue for the possibility of interethnic solidarity while documenting their protagonist’s inability to successfully act on that promise. Key to the analysis are Muñoz and Sampayo’s treatment of race and the ways their white protagonist depoliticizes the African American experience by projecting it into himself as a dream state.
{"title":"White Subjectivity and Black Nationalism in José Muñoz and Carlos Sampayo’s Alack Sinner Comic “Vietblues” (1975)","authors":"Christopher Conway","doi":"10.7560/SLAPC3909","DOIUrl":"https://doi.org/10.7560/SLAPC3909","url":null,"abstract":"Abstract:The Argentine artist José Muñoz and writer Carlos Sampayo began publishing their Alack Sinner detective comic in the Italian magazine Alterlinus in 1974, after which its stories appeared in French, Spanish, Argentinian, and US publications. Beginning in 2015, the complete Alack Sinner was republished in several languages, winning over a new generation of readers and critics. In the fourth tale, “Vietblues” (1975), Muñoz and Sampayo liberated their storytelling from the limitations of pastiche and formula to challenge the genre conventions of the “private detective” crime narrative. The comic, set in New York City, foregrounds a white protagonist who refuses to partner with a group of Black nationalists intent on tearing down racist power structures. This article shows how the comic explores two definitions of history and political action: an idealistic, subjective, and individualistic one, and a more historical vision predicated on connections between oppressed groups. Muñoz and Sampayo argue for the possibility of interethnic solidarity while documenting their protagonist’s inability to successfully act on that promise. Key to the analysis are Muñoz and Sampayo’s treatment of race and the ways their white protagonist depoliticizes the African American experience by projecting it into himself as a dream state.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"39 1","pages":"151 - 163"},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47503785","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 Ex-votos are the representation of a struggle and also a spiritual practice. Historically, pictorial ex-votos depict an alleged miracle in an iconic manner. When the struggle is migration,...
{"title":"Ex-voto: Folk, Outsider, Transnational—Debating Definitions","authors":"Lorella Di Gregorio","doi":"10.7560/SLAPC3904","DOIUrl":"https://doi.org/10.7560/SLAPC3904","url":null,"abstract":"Abstract Ex-votos are the representation of a struggle and also a spiritual practice. Historically, pictorial ex-votos depict an alleged miracle in an iconic manner. When the struggle is migration,...","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"39 1","pages":"61-83"},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41931923","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:Paradoxically, in Colombia, whose past and present time are marked by the continuous waves of violence, the crime or noir fiction is a marginal sub-genre. In fact, it has never appeared in its orthodox form in Colombian literature. The genre, which for some decades has served as a recurrent instrument to focus on the complicated and violent reality of modern societies, in contemporary Colombian fiction is subject to constant reinvention and perpetual hybridization. One of the authors recognized within this field of artistic production is Mario Mendoza (1964). The article studies his novel Lady Massacre (2013) with the aim of observing how Mendoza manages the traditional ingredients of the crime fiction (the crime, the detective, the investigation, the resolution of the enigma, and the social background) to reinvent the genre in the Colombian context.
{"title":"La realidad que triunfa sobre la forma: La novela negra en Mario Mendoza, Lady Masacre","authors":"A. Jastrzębska","doi":"10.7560/SLAPC3908","DOIUrl":"https://doi.org/10.7560/SLAPC3908","url":null,"abstract":"Abstract:Paradoxically, in Colombia, whose past and present time are marked by the continuous waves of violence, the crime or noir fiction is a marginal sub-genre. In fact, it has never appeared in its orthodox form in Colombian literature. The genre, which for some decades has served as a recurrent instrument to focus on the complicated and violent reality of modern societies, in contemporary Colombian fiction is subject to constant reinvention and perpetual hybridization. One of the authors recognized within this field of artistic production is Mario Mendoza (1964). The article studies his novel Lady Massacre (2013) with the aim of observing how Mendoza manages the traditional ingredients of the crime fiction (the crime, the detective, the investigation, the resolution of the enigma, and the social background) to reinvent the genre in the Colombian context.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"39 1","pages":"134 - 150"},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46180191","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:Set in present-day Buenos Aires, the film Sudor frío (2010, dir. Adrián García Bogliano) features two former agents of the Proceso de Reorganización Nacional who continue to imprison zombified abductees from the Dirty War of the 1970s and 1980s in their decrepit house of horrors, where they also capture and torture newer generations of Argentine youth who are disconnected from the historical violence of the dictatorship and are supposedly disenchanted with politics in general. Stunted in their normative development as young citizens toward traditional benchmarks like employment, home ownership, and procreation, their suspension in time can be read as zombiesque, allowing for the blurring of differences between generations. The distinct ways in which they have become frozen in time hold the potential to engender a kind of temporal critique that calls into question not only the national progress that has been made since the return to democracy, but also the prescriptive timeline that defines individual progress according to the logic of the neoliberal economy left intact since the last dictatorship.
摘要：电影《Sudor frío》（2010年，导演Adrián García Bogliano）以现在的布宜诺斯艾利斯为背景，讲述了国家重组进程的两名前特工，他们继续将20世纪70年代和80年代肮脏战争中被僵尸绑架的人监禁在他们破旧的恐怖之家中，在那里，他们还逮捕并折磨新一代的阿根廷青年，他们与独裁统治的历史暴力脱节，据说对整个政治不再抱有幻想。作为年轻公民，他们对就业、住房所有权和生育等传统基准的规范发展感到震惊，他们在时间上的暂停可以被解读为僵尸式的，从而模糊了几代人之间的差异。它们被时间冻结的不同方式有可能产生一种时间批判，这种批判不仅对回归民主以来取得的国家进步提出质疑，而且对根据上一次独裁以来保持不变的新自由主义经济逻辑定义个人进步的规定时间线提出质疑。
{"title":"Zombies as Temporal Critique: Sudor frío (2010) and Generations of Youth in Postdictatorship Argentina","authors":"Charles St-Georges","doi":"10.7560/SLAPC3901","DOIUrl":"https://doi.org/10.7560/SLAPC3901","url":null,"abstract":"Abstract:Set in present-day Buenos Aires, the film Sudor frío (2010, dir. Adrián García Bogliano) features two former agents of the Proceso de Reorganización Nacional who continue to imprison zombified abductees from the Dirty War of the 1970s and 1980s in their decrepit house of horrors, where they also capture and torture newer generations of Argentine youth who are disconnected from the historical violence of the dictatorship and are supposedly disenchanted with politics in general. Stunted in their normative development as young citizens toward traditional benchmarks like employment, home ownership, and procreation, their suspension in time can be read as zombiesque, allowing for the blurring of differences between generations. The distinct ways in which they have become frozen in time hold the potential to engender a kind of temporal critique that calls into question not only the national progress that has been made since the return to democracy, but also the prescriptive timeline that defines individual progress according to the logic of the neoliberal economy left intact since the last dictatorship.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"39 1","pages":"1 - 23"},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44082017","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 examines how, in Rosaura a las diez (Mario Soffici, 1958)—made as the Argentine studio system production model was in a crisis that would prove terminal—the productive tension between classical conventions of genre and gendered figure lighting is used to visually enact a shift in the representation of the title character from a female object of male gazes to a socially situated migrant who inhabits the social margins of a modern, complex Buenos Aires. The film’s plot employs multiple focalizers who retell the story, resulting in events being narrated several times, each of which expresses through its mise-en-scène the intense emotions and desires of each narrator-focalizer toward Rosaura, generating contradictions that are eventually resolved by a final sequence focalized by the title character. In this way, the film takes part in a wider, though partial, shift in Argentine cinema away from the classical conventions that privileged escapist spectacle, to instead propose an epistemological regrounding after the earlier conflicting subjectivities had undermined the usual credibility of the filmic image, and points toward the concerns with the social margins of the more independently produced cinema to come, known as the nuevo cine.
摘要：本文探讨了如何，在《Rosaura a las diez》（Mario Soffeci，1958）中，阿根廷工作室系统的制作模式正处于一场危机之中，这场危机将被证明是终结的。经典的流派惯例和性别化的人物照明之间的生产性张力被用来在视觉上实现标题人物形象的转变，从男性凝视的女性对象转变为居住在现代复杂的布宜诺斯艾利斯的社会边缘。这部电影的情节采用了多个聚焦者来复述故事，导致事件被讲述了好几次，每一次都通过其主题表达了每个聚焦者对罗苏拉的强烈情感和欲望，产生了矛盾，最终通过主角聚焦的最后一个序列来解决。通过这种方式，这部电影参与了阿根廷电影的一次更广泛的、尽管是局部的转变，从传统的逃避现实的惯例中解脱出来，转而在早期相互冲突的主观主义破坏了电影形象的通常可信度之后，提出了一种认识论的重新定义，并指出了人们对未来更独立制作的新电影的社会边缘的担忧。
{"title":"Gendered Figure Lighting, Artifice, and Realism in Rosaura a las diez","authors":"Matt Losada","doi":"10.7560/SLAPC3905","DOIUrl":"https://doi.org/10.7560/SLAPC3905","url":null,"abstract":"Abstract:This article examines how, in Rosaura a las diez (Mario Soffici, 1958)—made as the Argentine studio system production model was in a crisis that would prove terminal—the productive tension between classical conventions of genre and gendered figure lighting is used to visually enact a shift in the representation of the title character from a female object of male gazes to a socially situated migrant who inhabits the social margins of a modern, complex Buenos Aires. The film’s plot employs multiple focalizers who retell the story, resulting in events being narrated several times, each of which expresses through its mise-en-scène the intense emotions and desires of each narrator-focalizer toward Rosaura, generating contradictions that are eventually resolved by a final sequence focalized by the title character. In this way, the film takes part in a wider, though partial, shift in Argentine cinema away from the classical conventions that privileged escapist spectacle, to instead propose an epistemological regrounding after the earlier conflicting subjectivities had undermined the usual credibility of the filmic image, and points toward the concerns with the social margins of the more independently produced cinema to come, known as the nuevo cine.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"39 1","pages":"103 - 84"},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44375725","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 violence against Colombian women in Víctor Gaviria’s 2016 film La mujer del animal. The plight of women comes into view in cases of domestic abuse, the apathy of an indifferent society, and in popular language that condones gendered aggression. The raw depiction of relentless oppression in La mujer del animal urges reflection on the normalization of mistreatment and societal collaboration. Rather than putting all blame on the tormentor himself, Gaviria’s film condemns the complicit community as the real evil responsible for forging intergenerational patterns of abusive behaviors. Moreover, the article argues that Gaviria’s mode of presentation—a realistic portrayal of violence deemed excessive by some commentators—is dismissed by them in the same way real-life gender violence continues to be ignored by institutions and communities alike.
{"title":"Víctor Gaviria’s Mujer del animal and the Banality of Violence against Women","authors":"Aldona Bialowas Pobutsky","doi":"10.7560/SLAPC3906","DOIUrl":"https://doi.org/10.7560/SLAPC3906","url":null,"abstract":"Abstract:This article explores violence against Colombian women in Víctor Gaviria’s 2016 film La mujer del animal. The plight of women comes into view in cases of domestic abuse, the apathy of an indifferent society, and in popular language that condones gendered aggression. The raw depiction of relentless oppression in La mujer del animal urges reflection on the normalization of mistreatment and societal collaboration. Rather than putting all blame on the tormentor himself, Gaviria’s film condemns the complicit community as the real evil responsible for forging intergenerational patterns of abusive behaviors. Moreover, the article argues that Gaviria’s mode of presentation—a realistic portrayal of violence deemed excessive by some commentators—is dismissed by them in the same way real-life gender violence continues to be ignored by institutions and communities alike.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"39 1","pages":"104 - 119"},"PeriodicalIF":0.1,"publicationDate":"2021-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43878560","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}
{"title":"Kurt Hollander’s Joyous Life and the Architecture of Sex","authors":"H. Campbell","doi":"10.7560/slapc3809","DOIUrl":"https://doi.org/10.7560/slapc3809","url":null,"abstract":"","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"38 1","pages":"175 - 188"},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45566173","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}
{"title":"De héroe a superhéroe: Encantos y desencantos del milagro económico chileno en El reemplazante","authors":"M. Jiménez","doi":"10.7560/slapc3806","DOIUrl":"https://doi.org/10.7560/slapc3806","url":null,"abstract":"","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"38 1","pages":"113-131"},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44369181","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 looks at “Torres gemelas,” a YouTube video by Ecuadorian indigenous musician Delfín Quishpe, which went viral in the late 2000s, reaching millions of views. I argue that this video, and associated phenomena, can be considered a paradigmatic example of how some contemporary indigenous creators are radically redefining their relationship with globalized and localized cultures in a context of unprecedented technological change and time-space compression. By refusing to cleave to expectations about Amerindian media production as political and collective or as an expression of ancestral and traditional indigeneity, these Andean creators are challenging established views regarding how they should participate in modernity and the digital world. At the same time, white audiences’ consumption of Delfín’s video (and similar media products) as kitsch (or “bad taste”) also points toward the deployment of racist discourse in the definition of indigenous cultural production—particularly when there is a deliberate discrepancy with mainstream society’s expectations about Amerindianness. Rather than arguing against the kitsch nature of “Torres gemelas” and comparable media productions, the article proposes to critically appropriate the term in order to address how these new cultural products are subject to symbolic violence, and yet at the same time have the potential to articulate anti-racist strategies.
{"title":"YouTube Kitsch and the Racial Politics of Taste in the Andes: The Case of Delfín Quishpe","authors":"Ignacio Aguiló","doi":"10.7560/slapc3801","DOIUrl":"https://doi.org/10.7560/slapc3801","url":null,"abstract":"Abstract:This article looks at “Torres gemelas,” a YouTube video by Ecuadorian indigenous musician Delfín Quishpe, which went viral in the late 2000s, reaching millions of views. I argue that this video, and associated phenomena, can be considered a paradigmatic example of how some contemporary indigenous creators are radically redefining their relationship with globalized and localized cultures in a context of unprecedented technological change and time-space compression. By refusing to cleave to expectations about Amerindian media production as political and collective or as an expression of ancestral and traditional indigeneity, these Andean creators are challenging established views regarding how they should participate in modernity and the digital world. At the same time, white audiences’ consumption of Delfín’s video (and similar media products) as kitsch (or “bad taste”) also points toward the deployment of racist discourse in the definition of indigenous cultural production—particularly when there is a deliberate discrepancy with mainstream society’s expectations about Amerindianness. Rather than arguing against the kitsch nature of “Torres gemelas” and comparable media productions, the article proposes to critically appropriate the term in order to address how these new cultural products are subject to symbolic violence, and yet at the same time have the potential to articulate anti-racist strategies.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"38 1","pages":"1 - 21"},"PeriodicalIF":0.1,"publicationDate":"2020-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71340148","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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