Pub Date : 2023-08-18DOI: 10.1080/13569325.2023.2239171
Inela Selimović
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Pub Date : 2023-07-03DOI: 10.1080/13569325.2023.2277790
Maite Conde
{"title":"In Memory Of Jean Franco","authors":"Maite Conde","doi":"10.1080/13569325.2023.2277790","DOIUrl":"https://doi.org/10.1080/13569325.2023.2277790","url":null,"abstract":"","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364007","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 : 2023-07-03DOI: 10.1080/13569325.2023.2251906
Liz Moreno-Chuquen
Antepasados: Los afroporteños en la cultura nacional [Ancestors: Afroporteños in National Culture] was one of the most comprehensive museum exhibits to address the cultural heritage of Afro-descendants from Buenos Aires – known as afroporteños. It was open to the public from April to June 2016 at the Museo del Libro y de la Lengua [Museum of Books and Language]. The primary purpose of Antepasados was to recapture afroporteños’ cultural heritage and fill what scholars, curators, and the government saw as a “regrettable absence” in narratives about national identity. This study examines how Antepasados (2016) articulated the logic of whiteness in Argentina and the politics of race representation in museums and public history while recognising the erasure of Afro-descendants in official discourse. This exhibit acknowledges the contribution of afroporteños to national culture and identity, and shows how Argentine society is dealing with its racial reckoning, albeit with certain contradictions. Finally, this study inscribes the case of afroporteños into broader discussions about race in Latin America by reframing national identity and cultural heritage discourses in more inclusive terms within a country where an emphasis on whiteness has been predominant.
Antepasados：祖先：国家文化中的非洲裔人"（Los afroporteños en la cultura nacional）是针对布宜诺斯艾利斯非洲裔人--即非洲裔人--文化遗产的最全面的博物馆展览之一。展览于 2016 年 4 月至 6 月在图书和语言博物馆（Museo del Libro y de la Lengua）向公众开放。Antepasados 的主要目的是重拾非洲裔的文化遗产，填补学者、策展人和政府所认为的民族身份叙事中的 "遗憾缺失"。本研究探讨了 Antepasados（2016 年）如何阐明阿根廷的白人逻辑以及博物馆和公共历史中的种族代表政治，同时认识到官方话语中对非洲裔的抹杀。该展览承认非洲裔对国家文化和身份认同的贡献，并展示了阿根廷社会如何处理其种族问题，尽管其中存在某些矛盾。最后，本研究将非洲裔阿根廷人的案例纳入拉丁美洲关于种族问题的更广泛讨论中，以更具包容性的措辞在一个强调白人占主导地位的国家中重构民族身份和文化遗产的论述。
{"title":"Visualising Afro-Cultural Identities in Contemporary Argentina: The case of Antepasados, Los afroporteños en la cultura nacional","authors":"Liz Moreno-Chuquen","doi":"10.1080/13569325.2023.2251906","DOIUrl":"https://doi.org/10.1080/13569325.2023.2251906","url":null,"abstract":"Antepasados: Los afroporteños en la cultura nacional [Ancestors: Afroporteños in National Culture] was one of the most comprehensive museum exhibits to address the cultural heritage of Afro-descendants from Buenos Aires – known as afroporteños. It was open to the public from April to June 2016 at the Museo del Libro y de la Lengua [Museum of Books and Language]. The primary purpose of Antepasados was to recapture afroporteños’ cultural heritage and fill what scholars, curators, and the government saw as a “regrettable absence” in narratives about national identity. This study examines how Antepasados (2016) articulated the logic of whiteness in Argentina and the politics of race representation in museums and public history while recognising the erasure of Afro-descendants in official discourse. This exhibit acknowledges the contribution of afroporteños to national culture and identity, and shows how Argentine society is dealing with its racial reckoning, albeit with certain contradictions. Finally, this study inscribes the case of afroporteños into broader discussions about race in Latin America by reframing national identity and cultural heritage discourses in more inclusive terms within a country where an emphasis on whiteness has been predominant.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139363984","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 : 2023-04-03DOI: 10.1080/13569325.2023.2210511
Carolina Sá Carvalho
This article examines the role that disease-carrying mosquitoes played in the biopolitics of organisation during the construction of the Madeira-Mamoré Railway. Going beyond an emphasis on how life is managed by human government, it investigates how the politics of capitalist expansion is entangled in human and non-human living bodies. I argue that in the imperial context of early twentieth-century infrastructural developments in the Amazonian region, many carried out by foreign companies, measures for disease control cannot be separated from cultural and political stories – racialised stories – of multi-species contact and contamination, and their impact on processes of globalisation. Via the Brazil Railway Company’s photographic records, medical and engineering reports, and workers’ memoirs and articles, as well as Brazilian medical reports, newspapers, and literature, I approach contagion as a valuable concept for reflecting on coexistence in precarious environments marked by global interactions and colonial histories.
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Pub Date : 2023-04-03DOI: 10.1080/13569325.2023.2211934
A. Smith, Alexandra Macheski
This essay considers how Indigenous Amazonian aesthetics can sense and be sensed when incorporated into film. Drawing on Amazonian ontology, Shipibo aesthetics, and haptic film theory and focusing on the function of the multimodal Shipibo designs known as kené in Icaros: A Vision (2016, directed by Matteo Norzi and Leonor Caraballo), we propose that the full-length feature film format allows for a sensory experience of kené as life forms emanating from the forest. Two Italian artists created Icaros: A Vision in collaboration with Shipibo artists and shamans affiliated with Anaconda Cósmica, the Iquitos, Peru-area ayahuasca retreat centre where the movie takes place, and the film candidly reflects on the commodification of Indigenous healing and aesthetics in which it participates. Our analysis centres kené and its Shipibo makers – especially women – and compares the film’s Shipibo aesthetics with the words, sounds, and images from César Calvo’s The Three Halves of Ino Moxo: Teachings of the Wizard of the Upper Amazon (1981) and Werner Herzog’s Fitzcarraldo, both of which the film explicitly references. We argue that, in contrast to those works, Icaros: A Vision’s multisensorial engagement with Shipibo aesthetics intercepts – however imperfectly – the objectifying gaze inherent in the unrestrained partitioning of the forest into natural resources.
{"title":"Sensing Shipibo Aesthetics Beyond the Peruvian Amazon: Kené Design in Icaros: A Vision (2016)","authors":"A. Smith, Alexandra Macheski","doi":"10.1080/13569325.2023.2211934","DOIUrl":"https://doi.org/10.1080/13569325.2023.2211934","url":null,"abstract":"This essay considers how Indigenous Amazonian aesthetics can sense and be sensed when incorporated into film. Drawing on Amazonian ontology, Shipibo aesthetics, and haptic film theory and focusing on the function of the multimodal Shipibo designs known as kené in Icaros: A Vision (2016, directed by Matteo Norzi and Leonor Caraballo), we propose that the full-length feature film format allows for a sensory experience of kené as life forms emanating from the forest. Two Italian artists created Icaros: A Vision in collaboration with Shipibo artists and shamans affiliated with Anaconda Cósmica, the Iquitos, Peru-area ayahuasca retreat centre where the movie takes place, and the film candidly reflects on the commodification of Indigenous healing and aesthetics in which it participates. Our analysis centres kené and its Shipibo makers – especially women – and compares the film’s Shipibo aesthetics with the words, sounds, and images from César Calvo’s The Three Halves of Ino Moxo: Teachings of the Wizard of the Upper Amazon (1981) and Werner Herzog’s Fitzcarraldo, both of which the film explicitly references. We argue that, in contrast to those works, Icaros: A Vision’s multisensorial engagement with Shipibo aesthetics intercepts – however imperfectly – the objectifying gaze inherent in the unrestrained partitioning of the forest into natural resources.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45380483","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 : 2023-04-03DOI: 10.1080/13569325.2023.2225031
J. Uriarte
Focusing on Colombian engineer Miguel Triana’s 1907 travelogue Por el sur de Colombia, this article discusses the role that labour, broadly understood, plays in the projects of state transformation of the Putumayo region, in the Colombian Amazon. The text analyses the role that physical effort plays in making possible the construction of infrastructural works such as roads in the Amazon space, but also in the concrete forms of land cultivation he observes in Indigenous peoples and in his own process of writing his travelogue. Theories of environmental determinism turn out to be key in Triana’s understanding of labour as a way of transforming nature and bringing progress to the Colombian frontiers. The article makes clear the rhetorical process through which different forms of materiality – roads, bridges, books, cultivation – are seen as parallel forms of embodiment in the discourse of engineering.
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Pub Date : 2023-04-03DOI: 10.1080/13569325.2023.2220657
P. Vieira
In this essay, I read Portuguese writer Ferreira de Castro’s Amazonian “novel of the jungle” A selva (1930) through the lens of the author’s lifelong commitment to anarchist ideals and, in particular, to the thinking of Pëtr Kropotkin. I argue that Kropotkin’s reflections on collaboration in more-than-human forms of existence and on the role mutual aid will play in an anarchist world to come are key to understanding the political evolution of the novel’s protagonist from an elitist believer in monarchy to a proto-anarchist. Working in a rubber collection facility in the final years of the Amazonian rubber boom, A selva’s main character observes the centrality of cooperation and symbiosis both within and across plant and animal species. Mutual aid, in turn, proves decisive for the survival of the destitute migrant rubber tappers that flocked to the Amazon in search of a better life. I contend that, in the novel, the cooperation between more-than-human rainforest beings serves as a blueprint for a more equitable human polity.
{"title":"An Anarchist Rainforest: Cooperation in Ferreira de Castro’s A selva","authors":"P. Vieira","doi":"10.1080/13569325.2023.2220657","DOIUrl":"https://doi.org/10.1080/13569325.2023.2220657","url":null,"abstract":"In this essay, I read Portuguese writer Ferreira de Castro’s Amazonian “novel of the jungle” A selva (1930) through the lens of the author’s lifelong commitment to anarchist ideals and, in particular, to the thinking of Pëtr Kropotkin. I argue that Kropotkin’s reflections on collaboration in more-than-human forms of existence and on the role mutual aid will play in an anarchist world to come are key to understanding the political evolution of the novel’s protagonist from an elitist believer in monarchy to a proto-anarchist. Working in a rubber collection facility in the final years of the Amazonian rubber boom, A selva’s main character observes the centrality of cooperation and symbiosis both within and across plant and animal species. Mutual aid, in turn, proves decisive for the survival of the destitute migrant rubber tappers that flocked to the Amazon in search of a better life. I contend that, in the novel, the cooperation between more-than-human rainforest beings serves as a blueprint for a more equitable human polity.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46761957","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 : 2023-04-03DOI: 10.1080/13569325.2023.2215717
Simon Lobach
The colonial historiography of Suriname has often portrayed the Indigenous and Maroon inhabitants of the Surinamese Amazon in stereotypical ways, according to which the former would be stewards of the rainforest whereas the latter would have a destructive relationship to nature. Such stereotypes have persisted in conservationist discourse and in the Surinamese nationalist literature of the first half of the twentieth century. As such, they were at the basis of the Surinamese national project prior to independence, and justified dispossessing Maroon populations of their ancestral lands. The alleged ecological differences between the two populations can, however, not be sustained within our current understanding of Amazonian history.
{"title":"Ecological Stereotypes: Perceptions of Indigenous and Maroon Communities in Late Colonial Suriname","authors":"Simon Lobach","doi":"10.1080/13569325.2023.2215717","DOIUrl":"https://doi.org/10.1080/13569325.2023.2215717","url":null,"abstract":"The colonial historiography of Suriname has often portrayed the Indigenous and Maroon inhabitants of the Surinamese Amazon in stereotypical ways, according to which the former would be stewards of the rainforest whereas the latter would have a destructive relationship to nature. Such stereotypes have persisted in conservationist discourse and in the Surinamese nationalist literature of the first half of the twentieth century. As such, they were at the basis of the Surinamese national project prior to independence, and justified dispossessing Maroon populations of their ancestral lands. The alleged ecological differences between the two populations can, however, not be sustained within our current understanding of Amazonian history.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45976228","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 : 2023-04-03DOI: 10.1080/13569325.2023.2227595
Tiffany Higgins
The collective letters analyzed in this article are a response to hydroextractivism, which uses hydrological control and extraction to convert cultural rivers into decultured waters, transforming them into a neoextractivist commodity. As dams, mining, agribusiness, and cattle ranching infringe on the Amazon River basin, in territorial defence the Munduruku use resistance strategies including collective letters attacking the epistemic and ontological foundations of neoextractive, government-promoted Amazonian “development”, while presenting a counter-narrative insisting on their own cosmology and historical, cultural occupation of their territory. Using an Environmental Humanities approach, based on Munduruku collective letters authored primarily by Ipereğ Ayũ, I identify 19 repeating rhetorical features, including perspectivist representations of non-humans and ancestral spirits. Instead of underlining biological harms of the Teles Pires and São Manoel dams per a Western ontology, the letters instead emphasise cultural harms, creating narratives that insert cosmological entities from oral traditions into current cosmopolitics and a growing authority of women and shamans. I focus on letters tracing the Munduruku attempt to achieve the return of Itiğ’a (urns) removed during dam construction. I discuss Munduruku authorship-authority, antagonism-persuasion, and translation of the sacred from a perspectivist to non-perspectivist audience. I argue self-published Indigenous letters are part of a literature of territory from peoples confronting deterritorialisation that deserves publication and allyship-scholarship in Literature and other fields.
{"title":"Wakoborun Rescued her Brother’s Head From Enemy Hands: Munduruku Letters’ Amerindian Perspectivism and Cosmopolitical Territory","authors":"Tiffany Higgins","doi":"10.1080/13569325.2023.2227595","DOIUrl":"https://doi.org/10.1080/13569325.2023.2227595","url":null,"abstract":"The collective letters analyzed in this article are a response to hydroextractivism, which uses hydrological control and extraction to convert cultural rivers into decultured waters, transforming them into a neoextractivist commodity. As dams, mining, agribusiness, and cattle ranching infringe on the Amazon River basin, in territorial defence the Munduruku use resistance strategies including collective letters attacking the epistemic and ontological foundations of neoextractive, government-promoted Amazonian “development”, while presenting a counter-narrative insisting on their own cosmology and historical, cultural occupation of their territory. Using an Environmental Humanities approach, based on Munduruku collective letters authored primarily by Ipereğ Ayũ, I identify 19 repeating rhetorical features, including perspectivist representations of non-humans and ancestral spirits. Instead of underlining biological harms of the Teles Pires and São Manoel dams per a Western ontology, the letters instead emphasise cultural harms, creating narratives that insert cosmological entities from oral traditions into current cosmopolitics and a growing authority of women and shamans. I focus on letters tracing the Munduruku attempt to achieve the return of Itiğ’a (urns) removed during dam construction. I discuss Munduruku authorship-authority, antagonism-persuasion, and translation of the sacred from a perspectivist to non-perspectivist audience. I argue self-published Indigenous letters are part of a literature of territory from peoples confronting deterritorialisation that deserves publication and allyship-scholarship in Literature and other fields.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135717263","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 : 2023-04-03DOI: 10.1080/13569325.2023.2214502
Gianfranco Selgas
In the beginning of the twentieth century, after its rapid insertion into the vortex of oil and mineral extraction, Venezuela was forced to re-think its relationship with nature. This process of rethink, characterised by an eagerness for modernisation, resulted in a series of discourses focused on Venezuela’s Amazonia as a repository of possibilities. This paper analyses how these possibilities were channelled through the metaphor of el secreto de la tierra, tracing an early reading of the ideological configuration of Venezuela and its Amazonia as a land of inexhaustible material and poetic richness. This metaphor was voiced by a set of socio-ecological discourses written about the Venezuelan Amazon, including the essay on Venezuelan geography and culture by Enrique Bernardo Núñez Una ojeada al mapa de Venezuela (1939). The paper focuses on the representation of this region as a set of discursive constructions entangled with the naturalisation of the modernising ideal that has fuelled the imaginaries of material growth and rentier capitalism in Venezuela. The concluding remarks will point to how such a reading can help us to understand a discursive and poetic radicalisation embedded in conflicting approaches to the nature-culture confluence in the Venezuelan Amazon.
20世纪初，在迅速卷入石油和矿产开采的漩涡之后，委内瑞拉被迫重新思考它与自然的关系。这一以渴望现代化为特征的反思过程，导致了一系列聚焦于委内瑞拉亚马逊地区作为可能性宝库的论述。本文分析了这些可能性是如何通过“el secreto de la tierra”的隐喻来传达的，并追溯了对委内瑞拉及其亚马逊地区的意识形态形态的早期阅读，这是一片物质取之不尽、诗意丰富的土地。这一隐喻是由一系列关于委内瑞拉亚马逊河流域的社会生态话语所表达的，包括恩里克·贝尔纳多(Enrique Bernardo)关于委内瑞拉地理和文化的文章Núñez Una ojeada al mapa de Venezuela(1939)。本文重点关注该地区作为一组话语结构的表现，这些话语结构与现代化理想的归化纠缠在一起，这些理想助长了委内瑞拉物质增长和食利者资本主义的想象。结束语将指出这样的阅读如何帮助我们理解在委内瑞拉亚马逊地区自然文化融合的冲突方法中嵌入的话语和诗歌激进化。
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