Pub Date : 2020-10-01DOI: 10.1215/15366936-8308465
Kristie Soares
Abstract:This article looks at Rita Indiana’s performance work and latest novel as an example of Dominican futurism. Dominican futurism, like its counterpart Afrofuturism, centers the Dominican body in a technologically enhanced future, positioning it within a speculative world in which Dominicans are the agents of change. This article argues that Indiana’s version of Dominican futurism engages with “negative aesthetics”—defined here as the aesthetics of disorientation, dystopia, and disgust. Negative aesthetics offer a way of staying with the pain and unrest of trauma in speculative texts. The author posits a lineage of negative aesthetics in the Dominican literary tradition, which we can trace back to the work of the Dominican pessimist writers in the late nineteenth and early twentieth centuries. While the writers articulating this outlook were invested in colonial attitudes such as anti-Blackness, however, Indiana puts forth a feminist and queer of color version that continues the aesthetic practice while also offering a radical departure by critiquing colonial and neocolonial categories. This article contends that in her Dominican futurism, Indiana pairs the speculative with negative aesthetics to point toward a future that is hopeful while being attentive to the trauma of the past and present.
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Pub Date : 2020-10-01DOI: 10.1215/15366936-8308454
Lucía M. Suárez
We also invoke Article 2 of People’s Power National Assembly (PPNA), which defines itself as the “supreme organ of state power” and thus “represents and expresses the sovereign will of the entire nation and is the only body with constituent and legislative power in the Republic.” In addition, we address the Permanent Commission on Childhood Affairs, Youth Affairs, and Women’s Equal Rights which, according to
{"title":"Petition for a Comprehensive Law against Gender-Based Violence in Cuba: Havana, November 21, 2019","authors":"Lucía M. Suárez","doi":"10.1215/15366936-8308454","DOIUrl":"https://doi.org/10.1215/15366936-8308454","url":null,"abstract":"We also invoke Article 2 of People’s Power National Assembly (PPNA), which defines itself as the “supreme organ of state power” and thus “represents and expresses the sovereign will of the entire nation and is the only body with constituent and legislative power in the Republic.” In addition, we address the Permanent Commission on Childhood Affairs, Youth Affairs, and Women’s Equal Rights which, according to","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":"19 1","pages":"383 - 400"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46111948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-01DOI: 10.1215/15366936-8117735
Lauren E. Shoemaker
Abstract:Literature by women of the third world is capable of expressing emergent feelings attached to objects and everyday activities, which reveal underlying economic processes. One such activity that inspires diverging feelings, the Caribbean vacation, reveals a continued exploitative colonial economy. Jamaica Kincaid's essays in A Small Place dramatize the competing narratives of vacation as happiness object and misery-causing activities within the framework of the structure of terror. Many critics read differences of race and class developed through figures of the tourist and the native in the early essays as necessarily divisive post-colonial critique, but they read Kincaid's final essay as an attempt to transcend such divisions. Many have lauded Kincaid's call to throw off old categories and focus on shared (biological) humanity, yet this very category of "human" has been constructed through (social) discourses of race, gender, and class. Instead, I argue that Kincaid continues insisting on multiple subject positions, subverting the argument she seems to make on the surface and critiquing colonial epistemologies—in discourse and visual regimes—through application of Sylvia Wynter's interrogation of dominant worldviews of both humanism and an approach to environments.
{"title":"A Structure of Terror in Jamaica Kincaid's A Small Place","authors":"Lauren E. Shoemaker","doi":"10.1215/15366936-8117735","DOIUrl":"https://doi.org/10.1215/15366936-8117735","url":null,"abstract":"Abstract:Literature by women of the third world is capable of expressing emergent feelings attached to objects and everyday activities, which reveal underlying economic processes. One such activity that inspires diverging feelings, the Caribbean vacation, reveals a continued exploitative colonial economy. Jamaica Kincaid's essays in A Small Place dramatize the competing narratives of vacation as happiness object and misery-causing activities within the framework of the structure of terror. Many critics read differences of race and class developed through figures of the tourist and the native in the early essays as necessarily divisive post-colonial critique, but they read Kincaid's final essay as an attempt to transcend such divisions. Many have lauded Kincaid's call to throw off old categories and focus on shared (biological) humanity, yet this very category of \"human\" has been constructed through (social) discourses of race, gender, and class. Instead, I argue that Kincaid continues insisting on multiple subject positions, subverting the argument she seems to make on the surface and critiquing colonial epistemologies—in discourse and visual regimes—through application of Sylvia Wynter's interrogation of dominant worldviews of both humanism and an approach to environments.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":"19 1","pages":"106 - 85"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44934724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.1215/15366936-7775773
Tara Daly
This essay showcases the work of Claudia Coca, a contemporary pop artist from Lima, Peru whose paintings and drawings critique the links between race, gender, and class in a decolonial, transnational frame. First, the essay explores the way Coca celebrates the Peruvian chola by presenting herself as an empowered subject instead of as an insulted object in her paintings. While the term chola has historically been used derogatorily, Coca reappropriates her chola identity and reclaims it as her own, consequently subverting its prejudicial, racist origins. Second, the essay studies the critiques she performs of the “afterlives of colonialism” on the natural and cultural environment in her most recent series of drawings from 2017. She demonstrates that not only human bodies, but other natural materials are tangled up with the project of cultural colonization. Throughout the article, the work of Chela Sandoval is drawn on to argue that Coca practices an oppositional aesthetic that makes sensible the perspectives of subjects whose voices and bodies have been disparaged instead of valued within an uneven global capitalist system.
{"title":"Claudia Coca’s Chola Power","authors":"Tara Daly","doi":"10.1215/15366936-7775773","DOIUrl":"https://doi.org/10.1215/15366936-7775773","url":null,"abstract":"\u0000 This essay showcases the work of Claudia Coca, a contemporary pop artist from Lima, Peru whose paintings and drawings critique the links between race, gender, and class in a decolonial, transnational frame. First, the essay explores the way Coca celebrates the Peruvian chola by presenting herself as an empowered subject instead of as an insulted object in her paintings. While the term chola has historically been used derogatorily, Coca reappropriates her chola identity and reclaims it as her own, consequently subverting its prejudicial, racist origins. Second, the essay studies the critiques she performs of the “afterlives of colonialism” on the natural and cultural environment in her most recent series of drawings from 2017. She demonstrates that not only human bodies, but other natural materials are tangled up with the project of cultural colonization. Throughout the article, the work of Chela Sandoval is drawn on to argue that Coca practices an oppositional aesthetic that makes sensible the perspectives of subjects whose voices and bodies have been disparaged instead of valued within an uneven global capitalist system.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":"20 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83755586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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