Pub Date : 2022-09-07DOI: 10.1080/13569325.2022.2101094
Juanita Bernal Benavides
Jesús Abad Colorado’s photographic exhibition “El testigo” (2018) portrayed the Colombian conflict through a human rights perspective centred on the victim. The show took place at a time when the recent process of transitional justice was threatened by the election of a government hostile to it. This article argues that, even if the exhibition served as a powerful instance of symbolic reparation, its focus on the revelation of the victim – more than 550 photographs – had the opposite effect, causing what I here term a “limits epidemic”, by which the majority of the images, and therefore the victims, escaped the audience’s attention. The exhibition thus echoed a similar effect to that of other transitional justice processes, which in revealing victims end up concealing them. Three of the photos of the paramilitary horror, victims absent in all of them, nevertheless had a different effect, causing an “oscillation epidemic”. That is: a reciprocal relationship between spectator and image that elicits an exploration of testimony beyond its function as proof and of the vestiges of the paramilitary apparatus as a siege on memory.
{"title":"Jesús Abad Colorado’s Epidemic Photography. Regarding The Paramilitary Siege on Memory","authors":"Juanita Bernal Benavides","doi":"10.1080/13569325.2022.2101094","DOIUrl":"https://doi.org/10.1080/13569325.2022.2101094","url":null,"abstract":"Jesús Abad Colorado’s photographic exhibition “El testigo” (2018) portrayed the Colombian conflict through a human rights perspective centred on the victim. The show took place at a time when the recent process of transitional justice was threatened by the election of a government hostile to it. This article argues that, even if the exhibition served as a powerful instance of symbolic reparation, its focus on the revelation of the victim – more than 550 photographs – had the opposite effect, causing what I here term a “limits epidemic”, by which the majority of the images, and therefore the victims, escaped the audience’s attention. The exhibition thus echoed a similar effect to that of other transitional justice processes, which in revealing victims end up concealing them. Three of the photos of the paramilitary horror, victims absent in all of them, nevertheless had a different effect, causing an “oscillation epidemic”. That is: a reciprocal relationship between spectator and image that elicits an exploration of testimony beyond its function as proof and of the vestiges of the paramilitary apparatus as a siege on memory.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48607544","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 : 2022-08-25DOI: 10.1080/13569325.2022.2103102
P. Levitt, Ezequiel Saferstein
Why do some literary works gain recognition only where they are written while others travel around the globe? We answer these questions through a case study of Argentina where we identify two main pathways to international recognition. The first involves a powerful, well-established route that passes through Spain to get to other parts of Latin America. A second path scales up by de-centring Spain as the capital of Spanish-language publishing and creating alternative, independent trajectories of circulation through partnerships with independent publishers throughout Latin America and beyond. These challenge traditional power brokers but also run a high risk of being recolonised by them, thereby calling into question how long it is possible to remain “independent” for long.
{"title":"Getting from Buenos Aires to Mexico City Without Passing Through Madrid: Latin American Publishing Topographies","authors":"P. Levitt, Ezequiel Saferstein","doi":"10.1080/13569325.2022.2103102","DOIUrl":"https://doi.org/10.1080/13569325.2022.2103102","url":null,"abstract":"Why do some literary works gain recognition only where they are written while others travel around the globe? We answer these questions through a case study of Argentina where we identify two main pathways to international recognition. The first involves a powerful, well-established route that passes through Spain to get to other parts of Latin America. A second path scales up by de-centring Spain as the capital of Spanish-language publishing and creating alternative, independent trajectories of circulation through partnerships with independent publishers throughout Latin America and beyond. These challenge traditional power brokers but also run a high risk of being recolonised by them, thereby calling into question how long it is possible to remain “independent” for long.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48841967","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 : 2022-08-02DOI: 10.1080/13569325.2022.2089977
J. Nichols
This article adds to the critical discourses surrounding Raúl Ruiz (1941–2011) and his films of return after exile, or desexilio, by analysing his portion of A TV Dante (1992). In this Ruizian transmedia experimentation of Dante’s Inferno, there is a radical de- and re-territorialisation of the text: on the one hand, from text to film, and, on the other, spatially and temporally by transposing the text onto images of contemporary Chile. This paper reads the film, then, as a Ruizian re-encounter with Chile after exile during the early years of the period transition to democracy and looks to the implications of these disjunctions and displacements – both in the broader thematic vicissitudes and in more specific contradictions between sound and image – when re-worked in terms of spatial (Santiago de Chile) and temporal (post-dictatorship) conditions. In doing so, it turns to the Brazilian concept of anthropophagy as an analytical framework and tool. As such, this paper argues that approaching the film through the lens of anthropophagy not only helps us to read the discursive strategies deployed in the film, but also highlights how cannibalism works as both a formal structuring feature and as part of the film’s content.
{"title":"Siesta Nightmares And Cannibalistic Daydreams: Desexilio and Raúl Ruiz’s A TV Dante","authors":"J. Nichols","doi":"10.1080/13569325.2022.2089977","DOIUrl":"https://doi.org/10.1080/13569325.2022.2089977","url":null,"abstract":"This article adds to the critical discourses surrounding Raúl Ruiz (1941–2011) and his films of return after exile, or desexilio, by analysing his portion of A TV Dante (1992). In this Ruizian transmedia experimentation of Dante’s Inferno, there is a radical de- and re-territorialisation of the text: on the one hand, from text to film, and, on the other, spatially and temporally by transposing the text onto images of contemporary Chile. This paper reads the film, then, as a Ruizian re-encounter with Chile after exile during the early years of the period transition to democracy and looks to the implications of these disjunctions and displacements – both in the broader thematic vicissitudes and in more specific contradictions between sound and image – when re-worked in terms of spatial (Santiago de Chile) and temporal (post-dictatorship) conditions. In doing so, it turns to the Brazilian concept of anthropophagy as an analytical framework and tool. As such, this paper argues that approaching the film through the lens of anthropophagy not only helps us to read the discursive strategies deployed in the film, but also highlights how cannibalism works as both a formal structuring feature and as part of the film’s content.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42803323","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 : 2022-07-29DOI: 10.1080/13569325.2022.2092084
Anna Corrigan
In two works of photographic assemblage, portraits of those disappeared under the last Argentine and Uruguayan dictatorships appeared on the walls of Montevideo and Buenos Aires. In 1984 Buenos Aires, the collective C.A.Pa.Ta.Co. produced afiches participativos in the months following the country’s return to democracy. For this project, the public was invited to colour in black-and-white photocopied portraits installed around the Plaza de Mayo. In 2008, Juan Angel Urruzola installed enormous portraits of the disappeared throughout the streets of Montevideo in a visual campaign that coincided with a referendum on the Law of Expiry in Uruguay. Both projects represent acts of political and artistic assembling shaped by precariousness, a condition of simultaneous endurance and fragility. This article contributes to contemporary debates surrounding the constitution of public space, community, and communication in post-dictatorial Southern Cone with a focus on the encounter between the image and an emergent public. Bringing together Deleuze and Guattari’s philosophy of assemblage, Judith Butler’s reflections on political assembly, and Claire Bishop’s discussion of antagonism in participatory art, I argue that a precarious quality of assembly enables collective creation, dissent, and exchange within the space of the photographic assemblage.
{"title":"Photographic Assembly in Post-Dictatorial Argentina and Uruguay","authors":"Anna Corrigan","doi":"10.1080/13569325.2022.2092084","DOIUrl":"https://doi.org/10.1080/13569325.2022.2092084","url":null,"abstract":"In two works of photographic assemblage, portraits of those disappeared under the last Argentine and Uruguayan dictatorships appeared on the walls of Montevideo and Buenos Aires. In 1984 Buenos Aires, the collective C.A.Pa.Ta.Co. produced afiches participativos in the months following the country’s return to democracy. For this project, the public was invited to colour in black-and-white photocopied portraits installed around the Plaza de Mayo. In 2008, Juan Angel Urruzola installed enormous portraits of the disappeared throughout the streets of Montevideo in a visual campaign that coincided with a referendum on the Law of Expiry in Uruguay. Both projects represent acts of political and artistic assembling shaped by precariousness, a condition of simultaneous endurance and fragility. This article contributes to contemporary debates surrounding the constitution of public space, community, and communication in post-dictatorial Southern Cone with a focus on the encounter between the image and an emergent public. Bringing together Deleuze and Guattari’s philosophy of assemblage, Judith Butler’s reflections on political assembly, and Claire Bishop’s discussion of antagonism in participatory art, I argue that a precarious quality of assembly enables collective creation, dissent, and exchange within the space of the photographic assemblage.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49449542","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 : 2022-07-26DOI: 10.1080/13569325.2022.2093173
W. R. Benner
The children who grew up during the Pinochet regime have turned to literature, film, and digital media to reckon with the material and immaterial consequences of state-sponsored terror. To date, there is a dearth of critical attention on how digital archiving influences testimonial literature in the Southern Cone. Alejandro Zambra has received international acclaim for his insightful narratives that explore intergenerational memory struggles and allegories of post-dictatorship isolation. This article examines his more recent works as they turn to the computer, the Internet, digital archives, and use them as a generational means to communicate trauma. Together, Zambra and the reader can contemplate the possibilities and limitations that digital archives have and will have for Chile’s memory struggles.
{"title":"Digital Archives and Intergenerational Reckoning with Chile’s Traumatic Past In Mis documentos (2014) and Poeta chileno (2020) by Alejandro Zambra","authors":"W. R. Benner","doi":"10.1080/13569325.2022.2093173","DOIUrl":"https://doi.org/10.1080/13569325.2022.2093173","url":null,"abstract":"The children who grew up during the Pinochet regime have turned to literature, film, and digital media to reckon with the material and immaterial consequences of state-sponsored terror. To date, there is a dearth of critical attention on how digital archiving influences testimonial literature in the Southern Cone. Alejandro Zambra has received international acclaim for his insightful narratives that explore intergenerational memory struggles and allegories of post-dictatorship isolation. This article examines his more recent works as they turn to the computer, the Internet, digital archives, and use them as a generational means to communicate trauma. Together, Zambra and the reader can contemplate the possibilities and limitations that digital archives have and will have for Chile’s memory struggles.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41734104","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 : 2022-07-03DOI: 10.1080/13569325.2022.2136938
Silvana Mandolessi, R. Dhondt, Martín Zícari
This introductory article sets out to review the applicability and productivity of affect as a high-impact concept in the humanities. With a particular focus on a cultural studies perspective, it evaluates the different strands in affect theory and surveys the most recent approaches in the field. The authors argue for adopting a relational approach, focusing on specific formations or “affective arrangements”, which considers affect as a site of convergence of different actors, discourses, media, etc. instead of an isolated process. The second section of the article provides a short overview of the study of violence in Latin Americanist scholarship and underscores the relevance of affective arrangements when studying the multiplicity of violences in cultural expressions from the region.
{"title":"Introduction: Affective Arrangements and Violence in Latin America","authors":"Silvana Mandolessi, R. Dhondt, Martín Zícari","doi":"10.1080/13569325.2022.2136938","DOIUrl":"https://doi.org/10.1080/13569325.2022.2136938","url":null,"abstract":"This introductory article sets out to review the applicability and productivity of affect as a high-impact concept in the humanities. With a particular focus on a cultural studies perspective, it evaluates the different strands in affect theory and surveys the most recent approaches in the field. The authors argue for adopting a relational approach, focusing on specific formations or “affective arrangements”, which considers affect as a site of convergence of different actors, discourses, media, etc. instead of an isolated process. The second section of the article provides a short overview of the study of violence in Latin Americanist scholarship and underscores the relevance of affective arrangements when studying the multiplicity of violences in cultural expressions from the region.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44186077","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 : 2022-07-03DOI: 10.1080/13569325.2022.2132817
Matías Beverinotti
This article analyses Ricardo Talesnik’s play and film (directed by Fernando Ayala) La fiaca [ Idleness ] and its critique of the notion of work. Talesnik denounces how modern disciplinary institutions form the workforce and a way-of-life-to-work. He questions the work-system by critiquing the commodity-form, standardised time represented in the money-form, worker subjectivity as a national citizen, and Schuld (debt/guilt). Talesnik’s critique is developed when the play’s main character performs a “Duchamp-like” strike by refusing to go to work. When analysed with Marx’s and Foucault’s theories of production and power, La fiaca could be read as a play that supports the abolition of work to question modern life under late capitalism. Therefore, what this play effectively critiques is the commodification of everyday life, which leaves no option but to create another way of life by interrupting the process of capitalist production of value and questioning the primacy of labour. Talesnik’s play shows the coercive forces of the capitalist mode of production, but also the institutional framework built to correct anyone who dares to challenge it. This makes La fiaca a crucial intervention that helps us understand current post-work criticism and the present tension between work and social reproduction in the aftermath of the COVID-19 pandemic.
{"title":"From Idleness to the Abolition of Work in Ricardo Talesnik’s La fiaca","authors":"Matías Beverinotti","doi":"10.1080/13569325.2022.2132817","DOIUrl":"https://doi.org/10.1080/13569325.2022.2132817","url":null,"abstract":"This article analyses Ricardo Talesnik’s play and film (directed by Fernando Ayala) La fiaca [ Idleness ] and its critique of the notion of work. Talesnik denounces how modern disciplinary institutions form the workforce and a way-of-life-to-work. He questions the work-system by critiquing the commodity-form, standardised time represented in the money-form, worker subjectivity as a national citizen, and Schuld (debt/guilt). Talesnik’s critique is developed when the play’s main character performs a “Duchamp-like” strike by refusing to go to work. When analysed with Marx’s and Foucault’s theories of production and power, La fiaca could be read as a play that supports the abolition of work to question modern life under late capitalism. Therefore, what this play effectively critiques is the commodification of everyday life, which leaves no option but to create another way of life by interrupting the process of capitalist production of value and questioning the primacy of labour. Talesnik’s play shows the coercive forces of the capitalist mode of production, but also the institutional framework built to correct anyone who dares to challenge it. This makes La fiaca a crucial intervention that helps us understand current post-work criticism and the present tension between work and social reproduction in the aftermath of the COVID-19 pandemic.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46430415","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 : 2022-07-03DOI: 10.1080/13569325.2022.2134973
C. Macón
After a decades-long effort and a feminist movement that grew in size and scope after #NiUnaMenos, Argentina legalised abortion on 30 December 2020. Under the hashtags #QueSeaLey [#MakeItLaw] and, later, #SeráLey [#ItWillBeLaw], the massive and multi-generational campaign launched in 2018 coalesced into a milestone in Latin American politics. This article examines how online and off-line activism constituted a massive and intersectional collective in which contact with the past proved essential to mobilisation. This occurred in three ways: through the intergenerational connections that this activism established, in the challenge it posed to a progressive narrative of the movement, and in its way of linking current feminist activism with the struggles and resistance movements against the State Terrorism of the last Argentine civic-military dictatorship (1976–1983). The second part of the article is devoted to scrutinizing the case of Chilean abortion rights activism also in terms of the link it established with the past. This analysis undertakes an exploration of a key concept, affective agency, as well as its role in the construction of historical inevitability.
{"title":"Past With Present (and Future). Affective Agency in Latin American Abortion Rights Activism","authors":"C. Macón","doi":"10.1080/13569325.2022.2134973","DOIUrl":"https://doi.org/10.1080/13569325.2022.2134973","url":null,"abstract":"After a decades-long effort and a feminist movement that grew in size and scope after #NiUnaMenos, Argentina legalised abortion on 30 December 2020. Under the hashtags #QueSeaLey [#MakeItLaw] and, later, #SeráLey [#ItWillBeLaw], the massive and multi-generational campaign launched in 2018 coalesced into a milestone in Latin American politics. This article examines how online and off-line activism constituted a massive and intersectional collective in which contact with the past proved essential to mobilisation. This occurred in three ways: through the intergenerational connections that this activism established, in the challenge it posed to a progressive narrative of the movement, and in its way of linking current feminist activism with the struggles and resistance movements against the State Terrorism of the last Argentine civic-military dictatorship (1976–1983). The second part of the article is devoted to scrutinizing the case of Chilean abortion rights activism also in terms of the link it established with the past. This analysis undertakes an exploration of a key concept, affective agency, as well as its role in the construction of historical inevitability.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48647576","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 : 2022-07-03DOI: 10.1080/13569325.2022.2144169
Pablo Piedras
There is a renewed momentum in twenty-first-century Argentine film to represent the 1970s in productions that, in one way or another, exhume the alliance between auteur and commercial cinemas, developed during the restoration of democracy in 1983, in order to think “differently” about the ‘70s or to recover the ‘70s of “the common people”. This essay sets out to examine the particular way political violence is expressed in the film Rojo [Red] through mise-en-scène choices associated with the aesthetics of certain popular cinemas of the 1970s and with the central role of romantic ballads during the period depicted. Attention to the use of romantic song allows us to understand the way the work constructs specific affective and cognitive appeals between the figurative diegetic universe and the spectators’ cultural memory, and to suggest that it is precisely in the territory of the family that a type of violence is engendered that would later be replicated in other social structures.
{"title":"The Political Violence of the 1970s in Recent Argentine Cinema: Strategies for the Reaffectivisation of the Past in Rojo (Benjamín Naishtat, 2018)","authors":"Pablo Piedras","doi":"10.1080/13569325.2022.2144169","DOIUrl":"https://doi.org/10.1080/13569325.2022.2144169","url":null,"abstract":"There is a renewed momentum in twenty-first-century Argentine film to represent the 1970s in productions that, in one way or another, exhume the alliance between auteur and commercial cinemas, developed during the restoration of democracy in 1983, in order to think “differently” about the ‘70s or to recover the ‘70s of “the common people”. This essay sets out to examine the particular way political violence is expressed in the film Rojo [Red] through mise-en-scène choices associated with the aesthetics of certain popular cinemas of the 1970s and with the central role of romantic ballads during the period depicted. Attention to the use of romantic song allows us to understand the way the work constructs specific affective and cognitive appeals between the figurative diegetic universe and the spectators’ cultural memory, and to suggest that it is precisely in the territory of the family that a type of violence is engendered that would later be replicated in other social structures.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45769751","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 : 2022-07-03DOI: 10.1080/13569325.2022.2132816
Marloes Mekenkamp
In this article I examine María Rivera’s “Los muertos” (2010), a poem about ongoing violence in Mexico that has been included in the activist repertoire within the context of the state-led “War on Drugs”. I use an interdisciplinary approach to analyse, on the one hand, how the poem has approached this violence in the country and, on the other hand, how the poem has been taken up anew by other artists and/or activists: by the Movimiento por la Paz con Justicia y Dignidad, by Luis Felipe Fabre in “El poema de mi amiga” (2013), and by Violeta Luna in the political performance “Requiem for a lost land” (2016). In particular, I investigate the melodramatic mode as one of the catalysing elements in relation to the unique impact of “Los muertos”. Through a close reading of the poem, in combination with an analysis of its afterlives, I want to cast light on the changing meanings and roles that both the poem and its melodramatic underpinnings have assumed in different contexts: meanings and roles which reveal, in turn, the multiple political potentials of the original text.
{"title":"The Melodramatic Mode in Poetic Activism: An Analysis of María Rivera’s “Los muertos” and its Afterlives","authors":"Marloes Mekenkamp","doi":"10.1080/13569325.2022.2132816","DOIUrl":"https://doi.org/10.1080/13569325.2022.2132816","url":null,"abstract":"In this article I examine María Rivera’s “Los muertos” (2010), a poem about ongoing violence in Mexico that has been included in the activist repertoire within the context of the state-led “War on Drugs”. I use an interdisciplinary approach to analyse, on the one hand, how the poem has approached this violence in the country and, on the other hand, how the poem has been taken up anew by other artists and/or activists: by the Movimiento por la Paz con Justicia y Dignidad, by Luis Felipe Fabre in “El poema de mi amiga” (2013), and by Violeta Luna in the political performance “Requiem for a lost land” (2016). In particular, I investigate the melodramatic mode as one of the catalysing elements in relation to the unique impact of “Los muertos”. Through a close reading of the poem, in combination with an analysis of its afterlives, I want to cast light on the changing meanings and roles that both the poem and its melodramatic underpinnings have assumed in different contexts: meanings and roles which reveal, in turn, the multiple political potentials of the original text.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49290776","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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