Abstract:This article intends to show that a search for traces of Iberian influence on popular culture can also be productive in parts of the Americas that have a British, Dutch, French, or Danish colonial past. It does so by analyzing the cultural identity formation among the black population of the Antillean island of Curaçao, with a specific focus on Catholicism and Papiamentu. Few languages have generated more discussion among Creolists than Papiamentu, a language of Iberian parenthood spoken on an island with a Dutch colonial history starting in 1634. Strangely enough, religion and popular culture have received little attention, so far, in the discussion on the genesis of Papiamentu. Using research results from the field of linguistics on the influence of the Portuguese-based Creole of the Cape Verde islands on Papiamentu, this article argues that Afro-Iberian elements influenced the development not only of Curaçao's language but also of its cultural identity, and that Afro-Catholic mutual-aid and burial societies may have facilitated the transmission of that generation's key identity markers, including its language, to later generations.
{"title":"From Papiamentu to Afro-Catholic Brotherhoods: An Interdisciplinary Analysis of Iberian Elements in Curaçaoan Popular Culture","authors":"J. Dewulf","doi":"10.7560/SLAPC3605","DOIUrl":"https://doi.org/10.7560/SLAPC3605","url":null,"abstract":"Abstract:This article intends to show that a search for traces of Iberian influence on popular culture can also be productive in parts of the Americas that have a British, Dutch, French, or Danish colonial past. It does so by analyzing the cultural identity formation among the black population of the Antillean island of Curaçao, with a specific focus on Catholicism and Papiamentu. Few languages have generated more discussion among Creolists than Papiamentu, a language of Iberian parenthood spoken on an island with a Dutch colonial history starting in 1634. Strangely enough, religion and popular culture have received little attention, so far, in the discussion on the genesis of Papiamentu. Using research results from the field of linguistics on the influence of the Portuguese-based Creole of the Cape Verde islands on Papiamentu, this article argues that Afro-Iberian elements influenced the development not only of Curaçao's language but also of its cultural identity, and that Afro-Catholic mutual-aid and burial societies may have facilitated the transmission of that generation's key identity markers, including its language, to later generations.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"36 1","pages":"69 - 94"},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48339684","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 study analyzes the uses of technology—tape recorder, radio, television—by the Chilean folklorist Violeta Parra (1917–1967). Instead of conceiving her work as a preservation of traditional forms, this article proves that Parra assumed a mobile positionality, from which she transformed the cultural status of the Chilean canto popular campesino, and technology played a key role in that process of transformation. In the first section of the article, I define the locus from which Parra works, shaped by mobility and migration. Then, I focus on the uses of the recorder in her compilations, describing the reactions of cantores populares when facing this new technology. Finally, I analyze Parra's involvement with mass media outlets during the 1950s and 1960s. She strategically used media to reach broader audiences, and this process of registration and circulation drastically modified the oral status of Chilean canto popular. Violeta Parra not only preserved a highly valuable corpus of Chilean popular culture but also was an active agent in the transformations of these songs.
{"title":"\"Entre campo y grabación\": Violeta Parra y las tecnologías migrantes","authors":"Gonzalo Montero","doi":"10.7560/SLAPC3608","DOIUrl":"https://doi.org/10.7560/SLAPC3608","url":null,"abstract":"Abstract:This study analyzes the uses of technology—tape recorder, radio, television—by the Chilean folklorist Violeta Parra (1917–1967). Instead of conceiving her work as a preservation of traditional forms, this article proves that Parra assumed a mobile positionality, from which she transformed the cultural status of the Chilean canto popular campesino, and technology played a key role in that process of transformation. In the first section of the article, I define the locus from which Parra works, shaped by mobility and migration. Then, I focus on the uses of the recorder in her compilations, describing the reactions of cantores populares when facing this new technology. Finally, I analyze Parra's involvement with mass media outlets during the 1950s and 1960s. She strategically used media to reach broader audiences, and this process of registration and circulation drastically modified the oral status of Chilean canto popular. Violeta Parra not only preserved a highly valuable corpus of Chilean popular culture but also was an active agent in the transformations of these songs.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"36 1","pages":"128 - 144"},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45915714","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:David Riesman's The Lonely Crowd can be applied to the transformation of Mexican popular culture in regard to the representation of the traditional charro community. Despite the fact that Western countries consider Mexico a developing country, Mexico's social character is undergoing a cultural change. A once primarily rural and agricultural community, rapid urbanization and industrialization have affected rural traditions such as that of the charro. Mexican mass media have demonstrated the charro as an inner-directed man, oriented by a metaphorical gyroscope and unscathed by criticism. The modern charro as portrayed in mass media is demonstrated to have more other-directed characteristics than ever before. These changes in the cultural representations of the charro community indicate that the cultural changes in Mexico's social character are departing from rural cultural productions to a more Western and urban cultural production. Ultimately, the charro image in Mexico's popular culture will be cautiously marginalized and replaced by a more modern image of the Mexican corporate man.
{"title":"Shift in Social Character: Charro Cultural Representations in Mexican Popular Culture","authors":"B. Márquez","doi":"10.7560/SLAPC3603","DOIUrl":"https://doi.org/10.7560/SLAPC3603","url":null,"abstract":"Abstract:David Riesman's The Lonely Crowd can be applied to the transformation of Mexican popular culture in regard to the representation of the traditional charro community. Despite the fact that Western countries consider Mexico a developing country, Mexico's social character is undergoing a cultural change. A once primarily rural and agricultural community, rapid urbanization and industrialization have affected rural traditions such as that of the charro. Mexican mass media have demonstrated the charro as an inner-directed man, oriented by a metaphorical gyroscope and unscathed by criticism. The modern charro as portrayed in mass media is demonstrated to have more other-directed characteristics than ever before. These changes in the cultural representations of the charro community indicate that the cultural changes in Mexico's social character are departing from rural cultural productions to a more Western and urban cultural production. Ultimately, the charro image in Mexico's popular culture will be cautiously marginalized and replaced by a more modern image of the Mexican corporate man.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"36 1","pages":"30 - 46"},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43413903","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:Popular narratives ambiguously recognize the presence of Black women in Mexico. While registering the existence of Afro-descendants on the American Continent, Mexicans simultaneously deny the genetic, cultural, and economic contributions of Black women, subduing their voices. The refusal to incorporate the perspective of African and Afro-Mestiza women into popular and academic narratives has consequently resulted in a distorted view of Afro-Mexican populations and of the elements that compose Mexican national identities. If Francisco Rojas Gonzalez's novel La negra Angustias tells the story of a complex protagonist, countering stereotypes of Black womanhood, most other popular representations cancel the multidimensional subjectivities of women of African descent in Mexico. This article discusses La negra Angustias and other images of women of African descent in twentieth-century Mexican popular culture. Film, music, and literature productions are discussed through the analysis of rumbera films, Gabilondo Soler's lyrics, and Café Tacuba's performance of "Rarotonga," originally a comic character. The study of these images supports the idea that Mexican popular culture has adopted globalized forms of racism and sexism, strengthening an already-exclusive whitened national identity. Although there is no uniform adoption of racist and sexist approximations in Mexico to Black women representations, the persistence of Eurocentric models is potentiated by the rapid and wide coverage of hegemonic ideas through globalization projects.
{"title":"Representations of Black Womanhood in Mexico","authors":"Selfa A. Chew","doi":"10.7560/SLAPC3607","DOIUrl":"https://doi.org/10.7560/SLAPC3607","url":null,"abstract":"Abstract:Popular narratives ambiguously recognize the presence of Black women in Mexico. While registering the existence of Afro-descendants on the American Continent, Mexicans simultaneously deny the genetic, cultural, and economic contributions of Black women, subduing their voices. The refusal to incorporate the perspective of African and Afro-Mestiza women into popular and academic narratives has consequently resulted in a distorted view of Afro-Mexican populations and of the elements that compose Mexican national identities. If Francisco Rojas Gonzalez's novel La negra Angustias tells the story of a complex protagonist, countering stereotypes of Black womanhood, most other popular representations cancel the multidimensional subjectivities of women of African descent in Mexico. This article discusses La negra Angustias and other images of women of African descent in twentieth-century Mexican popular culture. Film, music, and literature productions are discussed through the analysis of rumbera films, Gabilondo Soler's lyrics, and Café Tacuba's performance of \"Rarotonga,\" originally a comic character. The study of these images supports the idea that Mexican popular culture has adopted globalized forms of racism and sexism, strengthening an already-exclusive whitened national identity. Although there is no uniform adoption of racist and sexist approximations in Mexico to Black women representations, the persistence of Eurocentric models is potentiated by the rapid and wide coverage of hegemonic ideas through globalization projects.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"36 1","pages":"108 - 127"},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71340104","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 October 2013 and June 2014, some fifty-two thousand undocumented, unaccompanied Central American adolescents were detained at the US-Mexico border, a phenomenon indexed by the focus of La jaula de oro, a 2013 Mexican-Spanish coproduction. The film's title is important for its pre-viewing suggestivity. In terms of the filmic discourse vis-à-vis the overall migration phenomenon, the film contains "voids," but La jaula de oro's invocation of the migration genre through intermedial relationships with preexisting texts helps fill some gaps. Two apparent discursive "voids" are the lack of specificity of motivation or destination for four adolescents' traversal and the lack of dialogue. Among its compensating "virtues," the film focuses on human relationships and some of the difficulties faced by migrants, and the "bad" is nuanced in different agents of ill doing. Primary among the film's virtues is the privilege granted to the image. It is at these levels of intermediality and discourse focus on human relationships that the award-winning film is to be appreciated.
摘要：2013年10月至2014年6月，约5.2万名无证、无人陪伴的中美洲青少年在美墨边境被拘留，这一现象以2013年墨西哥-西班牙合拍的《La jaula de oro》为焦点。这部电影的片名很重要，因为它在观看前具有暗示性。就整体移民现象的电影话语而言，这部电影包含了“空洞”，但拉尤拉·德奥罗通过与先前存在的文本的中间关系对移民类型的调用有助于填补一些空白。两个明显的话语“空白”是四名青少年穿越的动机或目的地缺乏具体性，以及缺乏对话。在其补偿性的“美德”中，这部电影关注的是人际关系和移民面临的一些困难，而“坏”在不同的不良行为者身上是微妙的。这部电影的主要优点是赋予形象的特权。这部获奖电影正是在这些中间性和话语对人际关系的关注层面上受到赞赏。
{"title":"The Migration Genre in La jaula de oro: Voids and Virtues","authors":"Richard K. Curry","doi":"10.7560/SLAPC3604","DOIUrl":"https://doi.org/10.7560/SLAPC3604","url":null,"abstract":"Abstract:Between October 2013 and June 2014, some fifty-two thousand undocumented, unaccompanied Central American adolescents were detained at the US-Mexico border, a phenomenon indexed by the focus of La jaula de oro, a 2013 Mexican-Spanish coproduction. The film's title is important for its pre-viewing suggestivity. In terms of the filmic discourse vis-à-vis the overall migration phenomenon, the film contains \"voids,\" but La jaula de oro's invocation of the migration genre through intermedial relationships with preexisting texts helps fill some gaps. Two apparent discursive \"voids\" are the lack of specificity of motivation or destination for four adolescents' traversal and the lack of dialogue. Among its compensating \"virtues,\" the film focuses on human relationships and some of the difficulties faced by migrants, and the \"bad\" is nuanced in different agents of ill doing. Primary among the film's virtues is the privilege granted to the image. It is at these levels of intermediality and discourse focus on human relationships that the award-winning film is to be appreciated.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"36 1","pages":"47 - 68"},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44582147","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}
Resumen: Este artículo se propone identificar las estrategias discursivas empleadas en las canciones de Calle 13 para la construcción de la figura de Residente (vocalista del grupo puertorriqueño) como un intelectual que intenta hablar en representación de los sujetos subalternos. Al mismo tiempo, las canciones muestran una imagen idealizada de una armonía cultural latinoamericana. Es más, la población latina en los Estados Unidos también es representada a través de esa misma estrategia de homogeneización. Al analizar las letras de las canciones de Calle 13, sugiero que la unificación de los latinoamericanos es imaginada en contraste con la figura de un enemigo común, los Estados Unidos. Ya que las canciones proponen una invasión latinoamericana silenciosa en los Estados Unidos, considero que la configuración de Residente no es solo la de un intelectual, sino también la de un líder guerrillero. En ese sentido, la representación de Residente relocaliza la posición de Puerto Rico como un espacio latinoamericano que estaría a la vanguardia de la supuesta y masiva invasión. Abstract: This article aims to identify discursive strategies of Calle 13’s songs in its construction of the figure of Residente (the group’s Puerto Rican singer) as an intellectual who attempts to speak on behalf of subaltern subjects. At the same time, the songs show an idealized image of a culturally harmonious Latin America. Furthermore, the Latino population in the United States is also represented adopting the same strategy of homogenization. By analyzing the lyrics of Calle 13’s songs, I suggest that the unification of Latin Americans is imagined in contrast to the figure of a common enemy, the United States. Because the songs encourage a Latin American silent invasion of the United States, I consider the configuration of Residente not only as an intellectual but also as a guerrilla leader. In this way, the representation of Residente relocates the position of Puerto Rico as a Latin American space that is becoming the vanguard of the supposed massive invasion.
{"title":"Entren los que quieran: Calle 13 y la construcción de lo latino(americano)","authors":"Jack D. Martínez Arias","doi":"10.7560/SLAPC3511","DOIUrl":"https://doi.org/10.7560/SLAPC3511","url":null,"abstract":"Resumen: Este artículo se propone identificar las estrategias discursivas empleadas en las canciones de Calle 13 para la construcción de la figura de Residente (vocalista del grupo puertorriqueño) como un intelectual que intenta hablar en representación de los sujetos subalternos. Al mismo tiempo, las canciones muestran una imagen idealizada de una armonía cultural latinoamericana. Es más, la población latina en los Estados Unidos también es representada a través de esa misma estrategia de homogeneización. Al analizar las letras de las canciones de Calle 13, sugiero que la unificación de los latinoamericanos es imaginada en contraste con la figura de un enemigo común, los Estados Unidos. Ya que las canciones proponen una invasión latinoamericana silenciosa en los Estados Unidos, considero que la configuración de Residente no es solo la de un intelectual, sino también la de un líder guerrillero. En ese sentido, la representación de Residente relocaliza la posición de Puerto Rico como un espacio latinoamericano que estaría a la vanguardia de la supuesta y masiva invasión. Abstract: This article aims to identify discursive strategies of Calle 13’s songs in its construction of the figure of Residente (the group’s Puerto Rican singer) as an intellectual who attempts to speak on behalf of subaltern subjects. At the same time, the songs show an idealized image of a culturally harmonious Latin America. Furthermore, the Latino population in the United States is also represented adopting the same strategy of homogenization. By analyzing the lyrics of Calle 13’s songs, I suggest that the unification of Latin Americans is imagined in contrast to the figure of a common enemy, the United States. Because the songs encourage a Latin American silent invasion of the United States, I consider the configuration of Residente not only as an intellectual but also as a guerrilla leader. In this way, the representation of Residente relocates the position of Puerto Rico as a Latin American space that is becoming the vanguard of the supposed massive invasion.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"35 1","pages":"195 - 209"},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49229796","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}
Resumen: Las narco-narrativas mexicanas han logrado representar el complejo mundo del narcotráfico desde diferentes modalidades y técnicas literarias. Juan Justino Judicial de Gerardo Cornejo utiliza la estructura del corrido, que históricamente ha servido como plataforma ideológica de seres contestatarios, para aproximarnos a la realidad cambiante del tráfico de drogas. Con la historia de un serrano que cuenta su transformación de judicial en narcotraficante, Cornejo logra dotar a la narco-narrativa Mexicana de una hibridez formal e ideológica que responde desde el norte al centro cultural del país. Con la inclusión de la estructura del corrido, el texto de Cornejo ilustra magistralmente la tensión que existe entre oralidad y escritura, entre quién controla la voz y la significación en la narco-narrativa norteña.
{"title":"La voz de los protagonistas: Juan Justino Judicial (1996) de Gerardo Cornejo y la novela-corrido","authors":"A. Fonseca","doi":"10.7560/SLAPC3512","DOIUrl":"https://doi.org/10.7560/SLAPC3512","url":null,"abstract":"Resumen: Las narco-narrativas mexicanas han logrado representar el complejo mundo del narcotráfico desde diferentes modalidades y técnicas literarias. Juan Justino Judicial de Gerardo Cornejo utiliza la estructura del corrido, que históricamente ha servido como plataforma ideológica de seres contestatarios, para aproximarnos a la realidad cambiante del tráfico de drogas. Con la historia de un serrano que cuenta su transformación de judicial en narcotraficante, Cornejo logra dotar a la narco-narrativa Mexicana de una hibridez formal e ideológica que responde desde el norte al centro cultural del país. Con la inclusión de la estructura del corrido, el texto de Cornejo ilustra magistralmente la tensión que existe entre oralidad y escritura, entre quién controla la voz y la significación en la narco-narrativa norteña.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"35 1","pages":"210 - 227"},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45449161","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}
Resumo: Este artículo examina las maneras en las cuales el cómic mexicano Águila Solitaria, publicado en la segunda mitad de la década de los 1970 y durante los años 80, incorpora temáticas relacionadas con el discurso nacionalista mexicano de la época posrevolucionaria (especialmente como se expone en las obras de José Vasconcelos y Manuel Gamio) para evitar la censura potencial relacionada con la representación de sexo y violencia en la obra y, al mismo tiempo, asegurar el éxito económico de la serie. Esto se hace principalmente a través de una alegoría que relaciona al héroe (un indígena norteamericano que da título al cómic) con la historia prehispánica de México y lo establece como representante de su país tanto en su oposición al imperialismo estadounidense como en su encarnación de las políticas mexicanas de mestizaje. Se discuten la apropiación e hibridación de paisajes panamericanos y de los géneros estadounidenses del wéstern y el cómic de superhéroes en relación con la “expresión autoetnográfica” de Mary Louis Pratt. Tanto los elementos nacionalistas como los híbridos del cómic habrían contribuido a las ventas del mismo y sus posibilidades de esquivar la censura. Aunque el cómic puede considerarse anti-imperialista y anti-capitalista de acuerdo con la teoría de Pratt, también se distance de la misma puesto que los elementos mencionados se incluyen sobre todo por fines prácticos y económicos. This article examines how the Mexican comic Águila Solitaria, published in the second half of the 1970s and throughout the 1980s, incorporates themes related to the Mexican postrevolutionary nationalist discourse (especially as presented in the works of José Vasconcelos and Manuel Gamio) to avoid censorship related to the representation of sex and violence and, at the same time, to achieve economic success. This is done first and foremost through an allegory that links the hero (an indigenous North American who gives the comic its name) to Mexico’s pre-Hispanic past and establishes him as the representative of the country both in his opposition to US imperialism and his embodiment of Mexico’s policies of mestizaje. The appropriation and hybridization of pan-American settings and the United States western and superhero genres are discussed in relation to Mary Louise Pratt’s “auto ethnographic expression.” Both nationalist and hybrid elements of the comic may have contributed to the comic’s sales and ability to avoid censorship. Although the comic can be considered anti-imperialist and anticapitalist, in line with Pratt’s theory, it also departs from Pratt since the previously mentioned elements are largely present for practical and economic ends.
Resumo:本文讨论如何在墨西哥其中漫画鹰孤独,下半年出版1970年代和80年代期间,配备了相关主题演讲墨西哥民族主义时代的原因之一(特别是作为所述jose Manuel Gamio Vasconcelos和工程),以避免审查性和暴力的潜力与代表性作品,同时确保该系列的经济成功。这主要通过了一个寓言关联(一个美国印第安人拿下联赛冠军英雄漫画)与墨西哥的历史和设置为代表他的国家反对美国帝国主义的政策化身墨西哥其貌不扬。本研究的目的是探讨美国西部和超级英雄漫画流派对泛美风景的挪用和杂交与玛丽·路易斯·普拉特的“自传体民族志表达”的关系。漫画的民族主义元素和混合元素都有助于漫画的销量和规避审查的机会。虽然根据普拉特的理论，这部漫画可以被认为是反帝国主义和反资本主义的，但它也与之不同，因为上述元素主要是出于实际和经济目的。检查这条孤独,how the Mexican漫画鹰published in the second half of the复课和解聘the 1980s, incorporates组件related to the Mexican postrevolutionary nationalist discourse(特别是as in the works of jose Vasconcelos介绍和Manuel Gamio)并避免审查related to the representation of性与暴力和at the same time,哪些经济成功。This is火力first and foremost through an allegory that the hero连结(an北美土著世界卫生组织补救漫画its name) to Mexico’s pre-Hispanic过去and遂宁市establishes as the代表of the country both opposition to US imperialism国内以及他embodiment of Mexico’s政策of其貌不扬。appropriation和hybridization pan-American settings欧美and The United States and superhero genres are的关于玛丽路易丝•普拉特’s“汽车ethnographic言论”。Both nationalist and hybrid elements of the漫画sales and may have contributed to the漫画的能力避免审查。虽然这部漫画可以被认为是反帝国主义和反资本主义的，与普拉特的理论一致，但它也离开了普拉特，因为之前提到的元素在实践和经济目的中广泛存在。
{"title":"El discurso nacionalista mexicano en el cómic Águila Solitaria de Víctor Fox","authors":"Ross Swanson","doi":"10.7560/SLAPC3505","DOIUrl":"https://doi.org/10.7560/SLAPC3505","url":null,"abstract":"Resumo: Este artículo examina las maneras en las cuales el cómic mexicano Águila Solitaria, publicado en la segunda mitad de la década de los 1970 y durante los años 80, incorpora temáticas relacionadas con el discurso nacionalista mexicano de la época posrevolucionaria (especialmente como se expone en las obras de José Vasconcelos y Manuel Gamio) para evitar la censura potencial relacionada con la representación de sexo y violencia en la obra y, al mismo tiempo, asegurar el éxito económico de la serie. Esto se hace principalmente a través de una alegoría que relaciona al héroe (un indígena norteamericano que da título al cómic) con la historia prehispánica de México y lo establece como representante de su país tanto en su oposición al imperialismo estadounidense como en su encarnación de las políticas mexicanas de mestizaje. Se discuten la apropiación e hibridación de paisajes panamericanos y de los géneros estadounidenses del wéstern y el cómic de superhéroes en relación con la “expresión autoetnográfica” de Mary Louis Pratt. Tanto los elementos nacionalistas como los híbridos del cómic habrían contribuido a las ventas del mismo y sus posibilidades de esquivar la censura. Aunque el cómic puede considerarse anti-imperialista y anti-capitalista de acuerdo con la teoría de Pratt, también se distance de la misma puesto que los elementos mencionados se incluyen sobre todo por fines prácticos y económicos. This article examines how the Mexican comic Águila Solitaria, published in the second half of the 1970s and throughout the 1980s, incorporates themes related to the Mexican postrevolutionary nationalist discourse (especially as presented in the works of José Vasconcelos and Manuel Gamio) to avoid censorship related to the representation of sex and violence and, at the same time, to achieve economic success. This is done first and foremost through an allegory that links the hero (an indigenous North American who gives the comic its name) to Mexico’s pre-Hispanic past and establishes him as the representative of the country both in his opposition to US imperialism and his embodiment of Mexico’s policies of mestizaje. The appropriation and hybridization of pan-American settings and the United States western and superhero genres are discussed in relation to Mary Louise Pratt’s “auto ethnographic expression.” Both nationalist and hybrid elements of the comic may have contributed to the comic’s sales and ability to avoid censorship. Although the comic can be considered anti-imperialist and anticapitalist, in line with Pratt’s theory, it also departs from Pratt since the previously mentioned elements are largely present for practical and economic ends.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"35 1","pages":"103 - 79"},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48928031","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 presents a comparative analysis of A escrava Isaura, the Brazilian romance written by Bernardo Guimarães, published in 1875, and the eponymous popular telenovela launched more than one hundred years later in 1976–1977, in the context of abolitionist discourses about slavery in Brazil, the role of gender, and the sexual vulnerability of enslaved women. Moreover, it interrogates the global popularity of the telenovela and explores the complex reasons for the popularity of this antislavery narrative, specifically the story of the “almost white” enslaved woman Isaura. Resumo: Este artigo apresenta uma análise comparativa de A escrava Isaura, o romance brasileiro escrito por Bernardo Guimarães, publicado em 1875, e a epônima telenovela popular lançado mais que cem anos depois nos 1976–77, no contexto dos discursos abolicionistas sobre a escravidão racial no Brasil, o papel do gênero, e a vulnerabilidade sexual das mulheres escravizadas. Além disso, interroga a popularidade global da telenovela e explora as razões complexas pela popularidade desta narrativa antiescravista, especificamente uma historia da escrava “quase branca” Isaura.
{"title":"White Skin, Black Slavery: Bernardo Guimarães’s A escrava Isaura and the Global Telenovela","authors":"Raquel Kennon","doi":"10.7560/SLAPC3508","DOIUrl":"https://doi.org/10.7560/SLAPC3508","url":null,"abstract":"Abstract: This article presents a comparative analysis of A escrava Isaura, the Brazilian romance written by Bernardo Guimarães, published in 1875, and the eponymous popular telenovela launched more than one hundred years later in 1976–1977, in the context of abolitionist discourses about slavery in Brazil, the role of gender, and the sexual vulnerability of enslaved women. Moreover, it interrogates the global popularity of the telenovela and explores the complex reasons for the popularity of this antislavery narrative, specifically the story of the “almost white” enslaved woman Isaura. Resumo: Este artigo apresenta uma análise comparativa de A escrava Isaura, o romance brasileiro escrito por Bernardo Guimarães, publicado em 1875, e a epônima telenovela popular lançado mais que cem anos depois nos 1976–77, no contexto dos discursos abolicionistas sobre a escravidão racial no Brasil, o papel do gênero, e a vulnerabilidade sexual das mulheres escravizadas. Além disso, interroga a popularidade global da telenovela e explora as razões complexas pela popularidade desta narrativa antiescravista, especificamente uma historia da escrava “quase branca” Isaura.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"35 1","pages":"138 - 159"},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43364462","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 analyzes the politics of embodiment in Fernando Pérez’s latest film La pared de las palabras. By observing the use of certain formal elements, it is possible to refer to the film’s corporeal dimension, which plays an important role for both the fictional world and the film’s relationship with the audience. The characters are confronted with their inability to connect with each other because of emotional conflicts and physical limitations, but they later find a way to understand each other through affective and corporeal means. Pérez also displays several cinematographic techniques to make this process perceivable by the audience (appealing to corporeal senses like sight, smell, and touch). Without clear references and through the use of images of Havana ruins, the film extrapolates this familial conflict to broader social framework. Pérez’s films are characterized by their ambivalence regarding political and social conflicts in contemporary Cuban society. I observe the political embodiment of the film through a close reading of some important shots and scenes and a confrontation with criticism regarding Pérez’s filmography. Resumen: Este artículo analiza la política de la corporización (embodiment) en la última película de Fernando Pérez La pared de las palabras. A través de la observación de ciertos elementos formales, es posible referir a la dimensión corporal que el film despliega y que tiene un rol importante tanto para el mundo ficticio dentro de la película como para su relación con la audiencia. Los personajes se confrontan con su inhabilidad para conectarse los unos con los otros debido a conflictos emocionales y limitaciones físicas; pero ellos luego descubren una manera de entenderse a través de medios afectivos y corporales. Pérez hace uso de varias técnicas cinematográficas para hacer este proceso perceptible a los espectadores (apelación a los sentidos corporales como la vista, el olfato y el tacto). Sin referencias directas y a través del uso de imágenes de ruinas de La Habana, el film extrapola el conflicto familiar a un marco social más amplio. Las películas de Pérez se caracterizan por su ambivalencia respecto a conflictos sociales y políticos de la sociedad cubana contemporánea. Observo la corporización política del film a través de una lectura detenida de algunas tomas y escenas importantes y de una confrontación con la crítica respecto a la filmografía de Pérez.
摘要:本文分析了Fernando pamerez最新电影《La pared de las palabras》中的化身政治。通过观察某些形式元素的使用，可以参考电影的物质维度，这对于虚构世界和电影与观众的关系都起着重要的作用。由于情感冲突和身体上的限制，角色们面临着无法相互联系的问题，但他们后来通过情感和肉体的方式找到了相互理解的方法。psamurez还展示了一些电影技术，使观众能够感知到这个过程(吸引视觉、嗅觉和触觉等身体感官)。影片没有明确的参考，通过使用哈瓦那废墟的图像，将这种家庭冲突推断为更广泛的社会框架。pamerez的电影以其对当代古巴社会的政治和社会冲突的矛盾心理为特点。我通过仔细阅读一些重要的镜头和场景，以及与有关pamerez电影记录的批评的对抗，观察了这部电影的政治体现。简历:Este artículo analiza la política de la corporización (embodiment) en la última película de Fernando p兼并雷斯la p兼并雷斯palabras。1 .关于社会要素与社会形式的过渡过渡，可参照《dimensión社会要素与社会形式的过渡过渡》，即《关于社会要素与社会形式的过渡过渡》，即《关于社会要素与社会要素的过渡过渡》，即《关于社会要素与社会要素的过渡过渡》，即《关于película社会要素与社会要素与社会要素的过渡过渡》。Los persones (Los persones)看到了对抗的冲突，例如居住的冲突，或者是联系的冲突，Los persones (Los persones)，或Los persones (Los persones)，或Los persones (Los persones)，或Los persones (Los persones)，或Los persones (Los persones);Pero - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ello - ellopsamez已经使用了de varias tsamicnicas cinematográficas para hacer este procso perceived a los espectadores (apelación a los sentidos corporales como la vista, el olfato y el tacto)。《哈瓦那的毁灭》直接引用了《哈瓦那的毁灭》、《哈瓦那的毁灭》、《冲突》和《熟悉的社会》más。关于社会冲突的问题，请参阅políticos古巴社会网contemporánea películas。Observo la corporizacion politica del电影traves de una lectura detenida de中托马斯escenas之一y de una confrontacion con la critica respecto la filmografia·德·佩雷斯。
{"title":"Through the Wall of Words: The Ruinous Cuban Body in Fernando Pérez’s Film La pared de las palabras (2014)","authors":"G. Severiche","doi":"10.7560/SLAPC3509","DOIUrl":"https://doi.org/10.7560/SLAPC3509","url":null,"abstract":"Abstract: This article analyzes the politics of embodiment in Fernando Pérez’s latest film La pared de las palabras. By observing the use of certain formal elements, it is possible to refer to the film’s corporeal dimension, which plays an important role for both the fictional world and the film’s relationship with the audience. The characters are confronted with their inability to connect with each other because of emotional conflicts and physical limitations, but they later find a way to understand each other through affective and corporeal means. Pérez also displays several cinematographic techniques to make this process perceivable by the audience (appealing to corporeal senses like sight, smell, and touch). Without clear references and through the use of images of Havana ruins, the film extrapolates this familial conflict to broader social framework. Pérez’s films are characterized by their ambivalence regarding political and social conflicts in contemporary Cuban society. I observe the political embodiment of the film through a close reading of some important shots and scenes and a confrontation with criticism regarding Pérez’s filmography. Resumen: Este artículo analiza la política de la corporización (embodiment) en la última película de Fernando Pérez La pared de las palabras. A través de la observación de ciertos elementos formales, es posible referir a la dimensión corporal que el film despliega y que tiene un rol importante tanto para el mundo ficticio dentro de la película como para su relación con la audiencia. Los personajes se confrontan con su inhabilidad para conectarse los unos con los otros debido a conflictos emocionales y limitaciones físicas; pero ellos luego descubren una manera de entenderse a través de medios afectivos y corporales. Pérez hace uso de varias técnicas cinematográficas para hacer este proceso perceptible a los espectadores (apelación a los sentidos corporales como la vista, el olfato y el tacto). Sin referencias directas y a través del uso de imágenes de ruinas de La Habana, el film extrapola el conflicto familiar a un marco social más amplio. Las películas de Pérez se caracterizan por su ambivalencia respecto a conflictos sociales y políticos de la sociedad cubana contemporánea. Observo la corporización política del film a través de una lectura detenida de algunas tomas y escenas importantes y de una confrontación con la crítica respecto a la filmografía de Pérez.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"35 1","pages":"160 - 173"},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47845730","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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