Pub Date : 2021-04-12DOI: 10.1080/13569325.2021.1898353
G. Gerardi
This article examines the ways in which the work of the Argentine artist Antonio Berni (1905–1981) proposes renewed forms of realism engaged both with aesthetics and the socio-political order. Through the examination of Berni’s trajectory and with a special focus on Berni’s monsters made from reclaimed waste, this study draws on Jacques Rancière’s notion of dissensus to argue that art and politics come together in Berni’s monstrous constructions in the way in which they overturn customary modes within the realist representational order and simultaneously engender a transgressive and controversial art. In this, Berni’s work constitutes an original and daring proposal speaking to then-urgent political problems, such as unequal capitalist relationships and poverty, as well as delivering new insights on current ecological calamities.
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Pub Date : 2021-04-12DOI: 10.1080/13569325.2020.1805589
J. Andermann
In this article, I wish to bring Davi Kopenawa's and Bruce Albert's The Falling Sky (first published in French in 2010) into dialogue with the two canonic genres of political memory in Latin America: on the one hand, the witnessing – in survivors’ accounts but also in verbal, visual, and architectural forms of monumentalisation – of the dictatorial state’s clandestine system of abducting, torturing, and killing those suspected of “subversion” and, on the other, the indigenous or peasant testimonios of community suffering and resistance against “structural violence” unleashed by state and para-statal counterinsurgency warfare. How, I ask, can Kopenawa’s memories of extractivism – of mining and agro-induced land grab, massacres, and the wipe-out of entire villages by epidemics but also of the turmoil unleashed within the forest’s fragile equilibrium of embodied as well as spiritual temporalities – be heard in a cultural, political, and juridical field that has been configured, for obvious reasons, around the notion of “human rights” and their violent transgression?
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Pub Date : 2021-04-12DOI: 10.1080/13569325.2021.1884056
Pamela Colombo, Carlos Masotta, C. Salamanca
The Costanera Sur Ecological Reserve is located on the central shore of Buenos Aires city, along the Río de la Plata. The foundations of this site are the product of the accumulated rubble that was deposited there by the city council during Argentina's last dictatorship (1976–1983), mainly with the purpose of settling a terrain for the construction of a new municipal Administrative Centre. However, the Administrative Centre was never built and the rubble was colonised by all sorts of flora and fauna coming down the river. After the dictatorship ended, the zone was designated as the “Parque Nacional y Reserva ecológica.” In this article we explore the Reserva as a visible and public space that evidences the ongoing dialectic of construction and destruction that underlies the projects for refurbishment carried out by the last civilian-military government. Taking this as our point of departure, we examine the ways in which the rubble – as the left-over material of the demolitions carried out by the dictatorship – is (re)connected to the space of the city and its history. We analyse the place that the rubble's illicit origin occupies in the history of the Reserva and how this space is conceived, used, and imagined today. Our argument is structured in three parts. In the first, we focus our investigation on the Reserva's genesis. In the second, we look at how the space of the Reserva is being rewritten by the neoliberal city council, which uses “ecological” discourse while deliberately overlooking the site's unlawful origin. In the third part, we explore uses of the concept of ecology that might foster a more profound understanding of the complexities of this terrain. We conclude with a reflection on the various uses and discourses that criss-cross the space of the Reserva today.
Costanera Sur生态保护区位于布宜诺斯艾利斯市的中央海岸，沿着Río de la Plata。该遗址的地基是阿根廷上一次独裁统治（1976年至1983年）期间市议会在那里堆积的瓦砾的产物，主要目的是为建造新的市政管理中心奠定地形。然而，行政中心从未建成，瓦砾中到处都是沿河而下的各种动植物。独裁统治结束后，该地区被指定为“国家公园和生态保护区”。在这篇文章中，我们将保护区探索为一个可见的公共空间，它证明了上一届文官军事政府进行的翻新项目所依据的建设和破坏的辩证法。以此为出发点，我们研究了瓦砾——独裁政权拆除的遗留材料——与城市空间及其历史的（重新）联系方式。我们分析了瓦砾的非法来源在保护区历史上所占据的位置，以及今天这个空间是如何被构思、使用和想象的。我们的论点分为三部分。在第一章中，我们重点研究了储层的成因。在第二部分中，我们观察了新自由主义的市议会是如何改写保护区的空间的，该市议会使用“生态”话语，同时故意忽视该遗址的非法起源。在第三部分中，我们探讨了生态学概念的使用，这可能会促进对这一地形复杂性的更深刻理解。最后，我们反思了当今Reservea空间中纵横交错的各种用途和话语。
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Pub Date : 2021-04-03DOI: 10.1080/13569325.2021.1955665
Petra Kuivala
The article analyses the histories of Catholic material culture in revolutionary Cuba. It illustrates and discusses how the Cuban Church and individual Catholics have navigated the revolutionary everyday with practices of material religion. Moving from the first years of the Cuban Revolution (1959 onwards) to the late 1970s, the article presents and analyses examples of the ways in which material religion has intersected with the state ideology, politics, and the performance of the Revolution in Cuba. Additionally, the article discusses the meanings given to material representations of religion in the revolutionary reality by Cuban Catholics themselves: how religious material culture has constituted a means for Catholics to navigate the juxtaposition of religious worldviews and the socialist state power.
{"title":"Catholic Material Culture, Socialist Society, and State Power in Cuba, 1959–1978","authors":"Petra Kuivala","doi":"10.1080/13569325.2021.1955665","DOIUrl":"https://doi.org/10.1080/13569325.2021.1955665","url":null,"abstract":"The article analyses the histories of Catholic material culture in revolutionary Cuba. It illustrates and discusses how the Cuban Church and individual Catholics have navigated the revolutionary everyday with practices of material religion. Moving from the first years of the Cuban Revolution (1959 onwards) to the late 1970s, the article presents and analyses examples of the ways in which material religion has intersected with the state ideology, politics, and the performance of the Revolution in Cuba. Additionally, the article discusses the meanings given to material representations of religion in the revolutionary reality by Cuban Catholics themselves: how religious material culture has constituted a means for Catholics to navigate the juxtaposition of religious worldviews and the socialist state power.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"30 1","pages":"197 - 214"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46616680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13569325.2021.1911791
Michael H. Handelsman
This article examines interculturality as a call to unlearn traditional Western colonial modes of thinking so as to relearn and embrace a kind of thinking otherwise which will enable readers of literature to confront their own colonial biases that inevitably lead to an arbitrary hierarchical canon of exclusion. To that end, the article focuses on reading Ecuadorian literature decolonially.
{"title":"Literature and Interculturality. A Proposal for Possible Readings Otherwise","authors":"Michael H. Handelsman","doi":"10.1080/13569325.2021.1911791","DOIUrl":"https://doi.org/10.1080/13569325.2021.1911791","url":null,"abstract":"This article examines interculturality as a call to unlearn traditional Western colonial modes of thinking so as to relearn and embrace a kind of thinking otherwise which will enable readers of literature to confront their own colonial biases that inevitably lead to an arbitrary hierarchical canon of exclusion. To that end, the article focuses on reading Ecuadorian literature decolonially.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"30 1","pages":"75 - 89"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13569325.2021.1911791","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46383654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13569325.2020.1832450
Wendy Muñiz
This article traces the transformation of Dominican colonial ruins into racialised and mediated symbols of “the nation” in consumer culture from the emergence of local nation-building in the 1870s through the country’s first US occupation (1916–1924). It re-examines the work of renowned criollo painter Alejandro Bonilla to show that while the nationalisation of ruins through consumer culture in La Zona (the present-day name for colonial Santo Domingo) fuelled a fin-de-siècle cultural effervescence, this visuality made no effort to conceal the racial difference in the Dominican elite’s fragmented nationalism. Contrasting the elite vision of colonial ruins in La Zona with that of US imperial commodity racism in print culture, the article reveals how after 1916 local intellectuals reframed La Zona’s colonial ruins into an anti-colonial, anti-Black, and Hispanicised state optic for mass consumption. Yet La Zona also allows us to see the histories of Black freedom and resistance inscribed in its colonial ruins, which still stand as records attesting to settler colonialism’s racialised and gendered liminal experiences.
{"title":"Colonial Ruins as Intervened Sites: La Zona, the US Occupation, and Dominican Racialised Sovereignty (1870–1924)","authors":"Wendy Muñiz","doi":"10.1080/13569325.2020.1832450","DOIUrl":"https://doi.org/10.1080/13569325.2020.1832450","url":null,"abstract":"This article traces the transformation of Dominican colonial ruins into racialised and mediated symbols of “the nation” in consumer culture from the emergence of local nation-building in the 1870s through the country’s first US occupation (1916–1924). It re-examines the work of renowned criollo painter Alejandro Bonilla to show that while the nationalisation of ruins through consumer culture in La Zona (the present-day name for colonial Santo Domingo) fuelled a fin-de-siècle cultural effervescence, this visuality made no effort to conceal the racial difference in the Dominican elite’s fragmented nationalism. Contrasting the elite vision of colonial ruins in La Zona with that of US imperial commodity racism in print culture, the article reveals how after 1916 local intellectuals reframed La Zona’s colonial ruins into an anti-colonial, anti-Black, and Hispanicised state optic for mass consumption. Yet La Zona also allows us to see the histories of Black freedom and resistance inscribed in its colonial ruins, which still stand as records attesting to settler colonialism’s racialised and gendered liminal experiences.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"30 1","pages":"1 - 23"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13569325.2020.1832450","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42245650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13569325.2020.1859358
S. Gray
This article analyses filmic representations of the Chilean presidential palace (La Moneda), an emblematic site at which narratives of past violence, national exceptionalism and emancipatory anticipation intersect. I build on a growing corpus of work that uses film analysis to explore the spatiality of dictatorship memories and legacies in the Southern Cone. Unlike more conventional “sites of memory”, La Moneda is simultaneously a functioning government building, a site of violence, and an object of heritage. This complex temporal fabric makes it a powerful space for political interventions, a setting that can sharpen the continuities and symmetries between different historical events and periods. Drawing on theories of inheritance and haunting, I first examine the hegemonic temporalities of progress and heritage that frame the building, moving on to reflect on the alternative temporal imaginaries offered by film. In these texts the palace is haunted by images of its own destruction in 1973, as well as by the figure of Salvador Allende, whose prophesy of future emancipation sits uncomfortably with triumphalist accounts of the Chilean democratic transition. Through my analysis, I explore how site-specific struggles for historical justice are imbricated in resistance to ongoing state repression, and the formulation of alternatives to neoliberal capitalism.
{"title":"Behind the Neoclassical Façade: A Haunted National Monument in Chilean Film","authors":"S. Gray","doi":"10.1080/13569325.2020.1859358","DOIUrl":"https://doi.org/10.1080/13569325.2020.1859358","url":null,"abstract":"This article analyses filmic representations of the Chilean presidential palace (La Moneda), an emblematic site at which narratives of past violence, national exceptionalism and emancipatory anticipation intersect. I build on a growing corpus of work that uses film analysis to explore the spatiality of dictatorship memories and legacies in the Southern Cone. Unlike more conventional “sites of memory”, La Moneda is simultaneously a functioning government building, a site of violence, and an object of heritage. This complex temporal fabric makes it a powerful space for political interventions, a setting that can sharpen the continuities and symmetries between different historical events and periods. Drawing on theories of inheritance and haunting, I first examine the hegemonic temporalities of progress and heritage that frame the building, moving on to reflect on the alternative temporal imaginaries offered by film. In these texts the palace is haunted by images of its own destruction in 1973, as well as by the figure of Salvador Allende, whose prophesy of future emancipation sits uncomfortably with triumphalist accounts of the Chilean democratic transition. Through my analysis, I explore how site-specific struggles for historical justice are imbricated in resistance to ongoing state repression, and the formulation of alternatives to neoliberal capitalism.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"30 1","pages":"123 - 142"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13569325.2020.1859358","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49371182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13569325.2021.1876646
Natalie L. Belisle
This essay explores how the classic narrative of Haitian zombification is refashioned within a postcolonial Haitian-Dominican context as a passing narrative in Pedro Cabiya’s 2011 science fantasy novel Malas hierbas. In its depiction of a nameless zombie scientist who pretends to be a living being and successfully assimilates into the community of the living without detection, Cabiya’s text not only departs from the traditional zombie archetype. It also unfolds as a philosophical exploration of what it means to be alive when one is born into a political ontology that has always already defined and marked some as dead. Interrogating the disjuncture between the vital signs of life codified in Western scientific discourse and the zombie’s simulation of life, the essay argues that Malas hierbas adapts the trope of racial passing to show how the meaning of life moves from ontology of existence to a category of identity, like race, legal personhood, and citizenship. Situating the novel in its Haitian and Dominican contexts, where race constitutes markers of national identity and juridical status, the essay connects the zombie’s passing life to contemporary representations of Haitians as impostors who must play dead, on both sides of Hispaniola, as a means of survival.
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Pub Date : 2021-01-02DOI: 10.1080/13569325.2021.1878117
Paula Salerno
In this article we will analyse a series of speeches commemorating the Malvinas War, delivered by Néstor Kirchner during his presidency. Using the theoretical framework of Speech Analysis, we will observe how a re-foundational spirit and the construction of a collective memory intersect in these speeches in a special way. In contrast with other pronouncements by the Argentine leader, his attempts to commemorate Malvinas do not lean on generational traits identified with the 1970s and militancy; the intention here is to extol a respect for the institutions of the state while mobilising traditional ideas regarding the correspondence between nation and territory. We will show that from these axes Kirchner delineates a collective identity understood in terms of political belonging to the nation, re-signifying the Malvinas question as a matter of social inclusion. We will also see how the notion of “internal exile” links the figure of the Malvinas veteran to a Kirchnerist spirit of national re-foundation. For this analysis we will work with a corpus formed by speeches paying homage to Malvinas war veterans, delivered by Néstor Kirchner every 2 April, during his time in office (2003–2007).
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Pub Date : 2021-01-02DOI: 10.1080/13569325.2020.1844165
K. Whitehead
Roberto Bolaño’s working friendship with Sergio González Rodríguez has been often addressed in recent scholarship, and it is well-known that the former was in correspondence with the latter about the feminicides in Ciudad Juárez in order to write “The Part About the Crimes” in 2666. This study provides a comparative analysis between “The Part About the Crimes” and González Rodríguez’s Huesos en el desierto to show the departure in form between the two authors, suggesting that the formal elements of Bolaño’s fictionalisation of the crimes are indicative of an understanding of collective trauma in Ciudad Juárez.
Roberto Bolaño与Sergio的工作友谊González Rodríguez在最近的学术研究中经常被提及，众所周知，Roberto曾与Sergio就Ciudad的女性杀戮事件(Juárez)进行通信，以便在2666年撰写《关于罪行的部分》。本研究对《关于犯罪的部分》和González Rodríguez的《Huesos en el el》进行了比较分析，以显示两位作者在形式上的差异，表明Bolaño对犯罪的虚构化的形式元素表明了对《城市》Juárez中集体创伤的理解。
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