Journal of Latin American Cultural Studies最新文献

{"title":"French kissing the icon: Erotic iconoclash and political subversion in Deborah Castillo’s The Emancipatory Kiss (2013)","authors":"Irina R. Troconis","doi":"10.1080/13569325.2023.2261419","DOIUrl":"https://doi.org/10.1080/13569325.2023.2261419","url":null,"abstract":"","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"295 7","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139152594","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":"“Bésame otra vez”: The Use of Obscenity to Denounce Violence in Pedro Lemebel’s\u0000 Incontables\u0000 (1986)","authors":"María Célleri","doi":"10.1080/13569325.2023.2264791","DOIUrl":"https://doi.org/10.1080/13569325.2023.2264791","url":null,"abstract":"","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"43 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139007219","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":"Bending Time and Space for Pan-Americanism: Shots of the “Western Hemisphere” in Wartime Cinema","authors":"Maria G. Gatti","doi":"10.1080/13569325.2023.2255546","DOIUrl":"https://doi.org/10.1080/13569325.2023.2255546","url":null,"abstract":"AbstractAnalysing World War II films, from Allied propaganda to Good Neighbor Policy productions, this work probes the visual construction of the idea of the Western Hemisphere and Latin America’s place in it. It finds how war propaganda carried messages beyond the explicit anti-Axis one. In the films discussed here, the resources of novel aerial photography, cartography, and time-travel plots achieved the contradictory effect of showing the entire continent as one, while North and South were in contrast. During the war, Good Neighbor Policy productions promoting a continental alliance used many of the same visual elements as war propaganda to shore up morale ahead of battles. A focus on Brazil offers a counterpoint to US-based pan-Americanism, considering its nationalist discourse in the Estado Novo. Wartime cinema created a New World where the US was the future of “Western” civilisation as a continuum of Europe, while Latin America was visualised as existing in the past, resulting in a deeply ambivalent Western Hemisphere.Keywords: pan-Americanismfilm historypropagandaWorld War IIBrazil AcknowledgementsI am grateful to the David Rockefeller Center for Latin American Studies at Harvard University for the financial support. I thank Tom Conley (Harvard) whose insight and encouragement inspired this work, as well as Adriano Duarte and Alexandre Valim (Federal University of Santa Catarina) who kindly supported my research on Good Neighbor Policy films in its early days.Disclosure statementNo potential conflict of interest was reported by the author.Notes1 In the Oxford Dictionary, “west” is “in the direction of that part of the horizon where the sun sets; towards the cardinal point which is 90 degrees clockwise from the south point”.2 Since Edward Said (Citation1978), the West has been understood as a highly unstable construction based on antagonisms. These changed over time: Capitalist versus Soviet bloc; fictions of democracy versus terror. After the Cold War, scholarship examined the concept of the “West” in different fields, but mostly in terms of East-to-West rather than how “Western” ideology plays out in North-South relations. See Bavaj (Citation2011), and Browning and Lehti’s (Citation2010) comprehensive review.3 In the Pan-American Yearbook (1945), several advertisements encourage travel and proximity between North and South America. A striking whole-page ad for Pan-American Grace Airways shows a map of the Americas and an airplane, with the logo “Making good neighbors even closer neighbors”. Two novelties brought by aviation worked for pan-American ideology: the uniting view from above, and the increase of velocity and consequent decrease in duration of travel.4 As Tenorio-Trillo notes, the adjective “Latin” in Latin America “has stored a basic array of racial, historical and cultural beliefs”. The concept was “capable of incarnating itself as the geographical and cultural assumption of post-World War II theories of modernization”. The ter","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"46 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134902992","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":"The Allure of Modernity: Afro-Uruguayan Press, Black Internationalism, And Mass Entertainment (1928–1948)","authors":"Rodrigo Viqueira","doi":"10.1080/13569325.2023.2261866","DOIUrl":"https://doi.org/10.1080/13569325.2023.2261866","url":null,"abstract":"AbstractThis article explores the ways in which the Afro-Uruguayan press forged an internationalist agenda between the 1920s and the 1940s, the most active and radical period in the history of the Afro-Uruguayan movement. While previous scholarship has focused on the literary exchanges and political causes that created networks of Black internationalism, this article proposes that the world of mass entertainment played a key role in shaping a sense of belonging to the larger African diaspora. By focusing on La Vanguardia (1928–1929) and Nuestra Raza (1933–1948), the essay examines how Afro-Uruguayan intellectuals negotiated their symbolic relationship with the African diaspora and disputed the meaning of Blackness through their relationship with new forms of urban entertainment that arose during the first half of the century – the performing arts, cinema, illustrated press, and sports. Thus, the article proposes that the Afro-Uruguayan press harnessed the allure of the emergent entertainment culture to situate Blackness at the core of modernity, challenging the historical place that the Uruguayan state offered to its Black population.Keywords: Afro-Latin AmericaAfro-Uruguayinternationalismmass entertainmentdiasporaJosephine BakerPaul Robesoncinemamediasports AcknowledgmentsI would like to thank the two anonymous reviewers for their detailed and insightful suggestions. Also, I am indebted to those who read and commented on earlier drafts of this article: María Alejandra Aguilar Dornelles, María Elena Oliva, Alejandro Gortázar, and Akiko Tsuchiya.Disclosure statementNo potential conflict of interest was reported by the author.Notes1 Afro-Uruguayans represent today around 8% of the Uruguayan population, but it is difficult to know precise data for the decades studied in this essay given that from the 1860s until the end of the twentieth century the State did not include questions on race in its census and official statistics, oriented by an assimilationist paradigm that tended to affirm the supposed racial homogeneity of the population (Frega et al. Citation2008, 51). Between the 1780s and the first decades of the nineteenth century, Montevideo was a key port for the slave trade in the region (Borucki Citation2015), so at the beginning of the nineteenth century the Black population constituted one-third of the total population of Uruguay (Frega et al. Citation2008, 9). According to Alex Borucki (Citation2015), the social life of Africans and their descendants in the River Plate region took place in several overlapping arenas: religious confraternities, militias, and African “nations”. Through these forms of organisation, the Black population was able to create social networks and delineate identities within the limits allowed by the colonial order. After the abolition of slavery (1842), the Black population integrated into the lower classes of the Uruguayan society, and despite legal equality they faced lesser opportunities in their access to jobs a","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"53 s183","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135341539","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":"The Narrative of Simulation in José Asunción Silva's <i>De sobremesa</i>","authors":"Ana María Pozo de la Torre","doi":"10.1080/13569325.2023.2255145","DOIUrl":"https://doi.org/10.1080/13569325.2023.2255145","url":null,"abstract":"AbstractThis article examines the narrative of simulation in De sobremesa [After-Dinner Conversation] (1925) by José Asunción Silva (1865-1896). Since its publication, De sobremesa has been read as an autobiographical novel, leading to an interpretation of the protagonist’s life as Silva’s own. This article expands on such critical approaches and sees the impetus behind the novel as Silva’s desire to obliterate his real-life circumstances. Through an analysis of the central element of simulation as the articulation between life and oeuvre, I interweave the novel’s characteristic narrative of excess and Silva’s life of loss and economic scarcity. By examining the accounts of Silva’s contemporaries and reading his correspondence, I explore the way he disfigures and reconfigures his real condition and financial bankruptcy in De sobremesa to project a world defined by wealth and luxury. In so doing, he rewrites his loss and constructs himself as an artifice, a literary sign, that has its fictitious counterpart in the character of José Fernández. The article proposes a reading of De sobremesa that reveals an intricate relationship between author and character, being and appearing, writing and consuming, and writing and simulating in late nineteenth-century Latin American modernity.Keywords: simulationarticulationnineteenth-century Latin American literatureModernismoJosé Asunción Silvamodernity Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 This essay is part of a wider-ranging research project entitled “Camuflajes cotidianos: la simulación en las narrativas de fines de siglo” [Everyday Camouflages: Simulation in Fin-de-Siècle Narratives].2 Enrique Santos Molano (Citation1997) contends that none of the seven novels Silva lost in the shipwreck was finished but that the manuscripts contained a vast universe of characters and at least seven titles (1024).3 Erving Goffman’s (Citation1959) seminal work, The Presentation of Self in Everyday Life, sees social interaction as a theatrical performance in which the subject, through their behaviours, ways of speaking, and the space they inhabit, “guides” others’ impressions of them. By using the metaphor of theatre to understand social behaviours, Goffman’s work revealed how everyday acts are governed by others’ expectations and how people act to guide those expectations.4 For Pierre Bourdieu, habitus is a subjective structure based on certain internalised structures common to all members of the same group and is “understood as a system of lasting, transposable dispositions which, integrating past experiences, functions at every moment as a matrix of perceptions, appreciations, and actions and makes possible the achievement of infinitely diversified tasks” (in “Structures, habitus and practices”, Bourdieu Citation2013, 82–83). Habitus consists of the set of experiences that determine a conception of the world.5 Slack argues that “Relations are arbitrary in the sense that","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"162 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135732023","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":"Foreign Faces, Trusted Portraits: Carlos Baca-Flor’s Painted Faces between Paris and New York","authors":"Grace Kuipers","doi":"10.1080/13569325.2023.2253165","DOIUrl":"https://doi.org/10.1080/13569325.2023.2253165","url":null,"abstract":"AbstractThis article explores the work of the Peruvian painter Carlos Baca-Flor, who was the best-paid portraitist of his time and who painted over a hundred of New York’s most powerful people in the first few decades of the twentieth century. His most famous work is undoubtedly his portrait of James Pierpont Morgan, a painting whose careful, illusionistic precision was praised for the clarity with which it captured an essential truth about Morgan’s character. This portrait assumes greater complexity, however, when viewed alongside earlier works created by the artist in Paris. There, he navigated the pressures of his Latin American identity and adopted a Post-Impressionist approach to the face which seemed to detach the face from the personhood it represents. With this incongruity in mind, this article considers Baca-Flor’s Morgan portrait as part of a larger exploration of faces and what they can communicate about the racial and national identities of their subjects.Keywords: Peruportraitureimpressionismracefinanceepistemologyfacephysiognomymestizaje Disclosure statementNo potential conflict of interest was reported by the author(s).Acknowledgment of fundingResearch for this article was enabled by a generous gift from the Stronach family to support travel within the U.C. Berkeley History of Art department.AcknowledgmentsEarly versions of this paper were greatly improved by detailed suggestions from Lisa Trever, Lauren Kroiz and Darcy Grimaldo Grigsby. I extend my thanks to them, the anonymous reviewers of the manuscript, and to the editors of this journal, for their thoughtful and encouraging feedback.Notes1 Baca-Flor had arrived at the Accademia San Luca in Rome in 1889 on a scholarship from the Peruvian government. The Peruvian government hoped that the young painter would produce historical representations of Peru on an international stage and cultivate the budding tradition of Peruvian national painting. Baca-Flor’s responsibility to the Peruvian government is detailed most clearly in Kusunoki, Majluf and Wuffarden’s Carlos Baca-Flor: El último académico (2013, 42–69).2 Most recently, the Museo de Arte de Lima has emphasised the “paradoxical heterodoxy” of the artist’s seemingly perverse return to academic, highly finished portraits like Morgan’s that reflect cohesive figuration “in a sense opposed to that of modernity” (Kusunoki, Majluf, Wuffarden Citation2013, 37).3 Cathy Boeckmann (Citation2000), for instance, has historicised the ways in which the fields of physiognomy and phrenology in the USA assisted the notion that “racial character” not only existed, but was visible. Boeckmann shows how scientific discourse between the years of 1892 and 1912 shifted towards an interiorised language of “character” in order to accommodate the failure of the visible in identifying racial passing, thus facilitating a keener differentiation not just between Black and white, but also between, say, Irish and Anglo-Saxon. By making character visible, physio","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"301 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134975314","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":"Between The Long Sixties And The Short Eighties: An Analysis of Jorge Denti’s Film <i>Malvinas, Historia De Traiciones</i>","authors":"Paola Margulis","doi":"10.1080/13569325.2023.2239163","DOIUrl":"https://doi.org/10.1080/13569325.2023.2239163","url":null,"abstract":"AbstractThis article surveys early documentaries about the Malvinas War, through an analysis of Jorge Denti’s Malvinas, historia de traiciones (1983), the first such film about the 1982 war by an Argentine filmmaker. Forty years after this conflict, this article recuperates this frequently overlooked film in order to analyse how its narrative dialogues with different imaginaries and identities of the sixties and eighties – influenced, of course, by the experience of state terrorism in the seventies. Paying special attention to Denti’s political and cinematographic trajectory, this article focuses on the film’s use of testimony and its construction of an epic around the idea of popular organisation that underscores the tensions between different epochal perspectives.Keywords: MalvinaswarcinemadocumentaryArgentinadictatorship AcknowledgementI would like to thank Dr. Mariano Mestman for various discussions that undoubtedly helped to make the issues addressed in this article more complex and profound.Disclosure statementNo potential conflict of interest was reported by the author.Notes1 All quotations from the film and from source texts in Spanish have been translated anew for the purposes of this article.2 Regarding the use of archival material of this conflict in cinema see Caresani (Citation2014).3 For an analysis of space and affect in recent Malvinas documentaries see Depetris Chauvin (Citation2014).4 We refer to those documentaries filmed during the first 15 years after the conflict, which generally attempt to explain and contextualise the war.5 For an analysis of these films see Margulis (Citation2020).6 Hernán Confino (Citation2018, 351) explains that the Montoneros leadership offered their help to the juntas, for it considered the territorial claims fair, independently of their being articulated by their enemies (the collaboration did not take place in the end). Vitullo (Citation2012), in turn, discusses the position of a group of Peronist exiles gathered in the Grupo de Discusión Socialista de México, who supported the war.7 These are unequal ties and many of these documentaries underscore this aspect, by focusing on the nineteenth-century British invasions, the unfairness of the agro-export model, etc.8 For this reason the analysis will privilege specifically these two moments.9 Regarding the different ways in which the war was read and interpreted, see Guber (Citation2012).10 The chant directs the accusation towards Leopoldo Fortunato Galtieri, member of the junta and president of Argentina during the war.11 Regarding the debates around the use of testimonial accounts in Argentina in the post-dictatorship see Garibotto (Citation2019).12 The first mass mobilisation, called by Confederación General del Trabajo (CGT) under the motto of “Paz, pan y trabajo” (“Peace, bread and work”), took place on 30 March 1982, in the midst of a recession and under the implicit quest for a democratic reopening. This demonstration constituted a point of infle","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136152614","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":"Theorising belle Époque rio de janeiro through opium: joão do rio’s “visões d’ópio” as a postcolonial framework","authors":"Fan Fan","doi":"10.1080/13569325.2023.2242798","DOIUrl":"https://doi.org/10.1080/13569325.2023.2242798","url":null,"abstract":"","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135884805","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":"Philosophy, University, and Democracy After the Military Rule: Argentina, 1975-1990","authors":"Lucas Domínguez Rubio, Sofia Mercader","doi":"10.1080/13569325.2023.2206514","DOIUrl":"https://doi.org/10.1080/13569325.2023.2206514","url":null,"abstract":"","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47574416","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":"Foreign Intimacies and Political Pasts in Paula Markovitch’s El actor principal (2019)","authors":"Inela Selimović","doi":"10.1080/13569325.2023.2239171","DOIUrl":"https://doi.org/10.1080/13569325.2023.2239171","url":null,"abstract":"","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42232335","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}