Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2057456
A. Ponce de León
In this essay, I discuss the turn to plant and vegetal life that has recently taken place in Latin American cultural studies. I do so by considering three recently published books on this matter: Monica Gagliano, John Ryan, and Patrícia Vieira’s edited volume The Language of Plants: Science, Philosophy, Literature, Theresa Miller’s Plant Kin: A Multispecies Ethnography in Indigenous Brazil, and Lesley Wylie’s The Poetics of Plants in Spanish American Literature. I sketch the contributions and possibilities within the broader botanical turn and expand on how Latin American scholarship offers novel tools to explore the entangled relations between humans and plants. Thinking through Latin American botanical scholarship, I suggest, opens new possibilities to move conversations on the botanical turn into unexpected territories characterised by hybridisations and multiplicities.
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2054785
I. Kenny
This article examines spatiality, exile, and political engagement in the short story “Press Clippings” (“Recortes de prensa”) (1980) by Julio Cortázar. Its aim is to contribute to a new understanding of how spatial metaphors operate in Cortázar’s oeuvre, a dimension often obscured by a critical focus on temporality. While the question of spatiality in his works has received some scholarly attention, an in-depth analysis of the connections between narrative space, exile, and political critique in this story remains to be undertaken. Drawing on Said’s ideas on the spatio-cultural aspects of exile (2000), and Deleuze and Guattari’s theories on smooth and striated space (1987), I argue that the spatial metaphors in the narrative, such as the protagonist’s “nomadic” movement through Paris, examine political engagement through art from a position in exile and illustrate how an exile’s experience of the homeland is predominantly mediated through fragments of cultural texts. The analysis demonstrates how Cortázar uses literary space in the story to critique state terror in Argentina during the “Dirty War”.
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2052030
Irune del Rio Gabiola
Berta Cáceres was brutally murdered for, among other reasons, defending our land: specifically, the Gualcarque river. Given the context of predatory extractivism in Honduras, my intention is to examine the importance of incorporating into the process of mourning and melancholia earth beings and non-human bodies as submerged perspectives, to break the binary cultural hierarchy that has historically undervalued the role of nature. I first analyse the theories of Macarena Gómez-Barris and the studies by Ashlee Cunsolo, Karen Landman, and Glenn Albrecht in Mourning Nature. Then, through the analysis of three documentaries, I trace how the Lenca’s submerged perspectives generate feelings of solastalgia and create an anticipatory mourning and an activist melancholia that present themselves as a proleptic elegy for the Gualcarque river. This serves to make us conscious of the violence perpetrated in Indigenous territories and the catastrophic consequences for the earth and for humanity.
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2061434
Gisela Heffes
The objective of this essay is to map the growing number of works that focus on the environmental humanities and to review two important contributions to the ongoing debates that are defining the direction of Latin American and Caribbean cultural studies. In 2019, Héctor Hoyos published Things with a History: Transcultural Materialism and the Literatures of Extraction in Contemporary Latin America, as Elizabeth DeLoughrey published Allegories of the Anthropocene. While the scope of these two works varies in terms of the regional and/or national geographies they cover, as well as the authors and artists they analyse, both books attempt to contest the nature/culture binary – along with other Modern dichotomies – from very different (perhaps even opposite) positions and angles: while Hoyos calls for a de-allegorisation (namely, a “literalisation”) of several important Latin American works, DeLoughrey, on the other hand, invites us to reconsider allegory as a way of symbolising the “perceived disjunction between humans and the planet, between our ‘species’ and a dynamic external ‘nature’”.
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2084720
Lisa Blackmore, Gisela Heffes
This dossier brings together four essays that show how recent scholarship, art, and design practice are shaping the emergent field of Latin American Environmental Humanities – a rapidly consolidating discipline that cross-fertilises methods and perspectives stemming from the social sciences, arts and humanities, natural sciences, and Indigenous thought, to critically interrogate environmental histories and confront contemporary challenges. Together, these review essays map a critical renewal of cultural studies that is currently unfolding through recent theoretical-analytical publications, ethnographic work, art practice, and site-specific art and design collaborations. We trace routes through a diverse corpus of emerging environmental scholarship, artistic and situated practice research, and public engagement activities, to show how they respond to the urgent challenge “to think in the presence of ongoing facts of destruction”. The books, artworks, and collaborative fieldwork projects reviewed here problematise the culture/nature dichotomy as constitutive of the current ecological and climate crises, rethink the Western metaphysics of ontology and semiotics, and seed sympoetic experiments and alternate ways of knowing that reach across disciplinary divides.
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2089101
J. P. Dias
In this essay, I consider intersections between environmental thinking and Indigenous art-making in recent scholarship and artistic production in Brazil, situating some of their contributions to Latin American Cultural Studies in recent years. I examine Stelio Marras, Joana Cabral de Oliveira, Marta Amoroso et al.’s Vozes vegetais: Diversidade, resistência e histórias da floresta (Plant Voices: Diversity, Resistance and Forest Histories , 2021) and Ailton Krenak’s A vida não é útil (Life is Not Useful , 2020a). I show that both works challenge extractivist paradigms and the hierarchisation of life forms. I then consider works by two Indigenous artists: Glicéria Tupinambá’s powerful reclaiming of the traditional Tupinambá cloak, and Denilson Baniwa’s critical engagements with museums and collectionism. By mapping some of the emerging directions in environmental thinking and Indigenous arts in Brazil, I argue that recent shifts in scholarship and artistic production in the country owe much to Indigenous approaches to interspecies relationality, offering valuable lessons about forms of creativity that resist commodification.
在这篇文章中，我考虑了最近在巴西的学术和艺术生产中环境思维和土著艺术创作之间的交集，以及近年来他们对拉丁美洲文化研究的一些贡献。我研究了Stelio Marras, Joana Cabral de Oliveira, Marta Amoroso等人的Vozes vegetais: Diversidade, resistência e histórias da floresta(植物之声:多样性，抗性和森林历史，2021)和Ailton Krenak的A vida n o útil(生命没有用，2020a)。我表明，这两件作品都挑战了抽取主义范式和生命形式的等级制度。然后，我考虑了两位土著艺术家的作品:格里克萨里亚·图皮纳姆·布对传统图皮纳姆·布斗篷的有力复兴，以及德尼尔森·巴尼瓦与博物馆和收藏主义的批判性合作。通过描绘巴西环境思维和土著艺术的一些新兴方向，我认为，该国最近的学术和艺术生产转变在很大程度上归功于土著对物种间关系的研究方法，为抵制商品化的创造力形式提供了宝贵的经验。
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2057455
Lisa Blackmore
In this article, I consider the contributions of projects in Latin America to the need “to think in the presence of ongoing facts of destruction”, and to imagine and design forms of “ongoingness” amid socioenvironmental challenges and conflicts. I focus on HAWAPI, Ensayos and EnlaceArq, three initiatives that have consolidated a decade of site-specific, practice research that departs from the arts to devise methods that bridge the arts, sciences, and communities to confront socioenvironmental pressures and enduring injustices caused by colonial legacies and continued extractivism. How does site-specific practice research seed and cultivate inter- and transdisciplinary collaborations around pressing socioenvironmental concerns affecting Latin America? How do projects establish critical relationships regarding the circulation of knowledges related to these issues and engage with diverse types of publics? And, insofar as the projects reviewed here often operate on the fringes of academia, what strengths and challenges does this generate for their sustainability over time and their impact on scholarly research, public conversations and the lives of specific communities?
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2064442
Diego A. Fernández Peychaux
This article will examine how Bartolomé de Las Casas and Felipe Guaman Poma de Ayala use the republican lexicon on the colonial frontier. Initially, it explicates how Las Casas extends the concept of republican liberty to include the singular peoples that the American world presented. For this, it highlights the pretensions of truth and validity in the face of the Other, as well as the democratisation of the right to resistance. Then, it introduces how Guaman Poma translates between the republican public good and Andean reciprocity. In the mestizo chronicle’s political imaginary, we find a republican underpinning whose notion of public good presupposes the de-privatisation of the communal.
这篇文章将探讨Bartoloméde Las Casas和Felipe Guaman Poma de Ayala如何在殖民边界上使用共和词汇。最初，它解释了Las Casas如何将共和自由的概念扩展到包括美国世界所呈现的独特民族。为此，它强调了面对他者时真理和有效性的伪装，以及抵抗权的民主化。然后，介绍了Guaman-Poma如何在共和公共利益和安第斯互惠之间进行翻译。在梅斯提佐编年史的政治想象中，我们发现了一个共和党的基础，其公共利益的概念以社区的去私有化为前提。
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2053077
Á. Mercado, Daniela Salgado Cofré
This article traces the aesthetics, fundaments, and poietic practices developed by the members of the School of Architecture and Design of the Catholic University of Valparaíso during the 1960s, which enabled them to elaborate a geo-poetic perspective linked to the land, or “Interior Sea”, of Latin/South America. In order to unpack this perspective, we present how their poetic exploration of ontological and epistemological questions about Latin/South America led to their performance of the Travesía de Amereida (1965), a radical poetic journey oriented around crossing and being crossed by the continental interior lands, and to the subsequent invention of the epic poem Amereida (1967). By examining the different Acts performed during the Travesía and analysing excerpts from the poem, we establish how the School situated actions together with the tropes of the unknown, or not-knowing, and the Interior Sea, as original ways to critically confront and question the coloniality imposed upon and still present in the continent. Concomitantly, we stress how this geo-poetic perspective grounded within the School generated a radical turn and delinking of the academicist episteme in design, which provides stimulating perspectives not only for design studies developed in the region but also for the field of cultural studies.
本文追溯了瓦尔帕莱索天主教大学建筑与设计学院成员在20世纪60年代发展起来的美学、基础和创作实践，这使他们能够阐述与拉丁美洲/南美洲的陆地或“内海”相关的地缘诗意视角。为了打开这一视角，我们展示了他们对拉丁美洲/南美洲本体论和认识论问题的诗意探索如何导致他们表演了《阿梅瑞达之旅》（Travesía de Amereida，1965年），这是一场围绕穿越和被大陆内陆所穿越的激进诗歌之旅，以及随后史诗《阿梅丽达》（Amereida）的发明（1967年）。通过研究特拉维亚时期的不同行为，并分析诗歌节选，我们确定了学派如何将行动与未知或未知以及内海的比喻放在一起，作为批判性地面对和质疑强加在非洲大陆上并仍然存在的殖民主义的原始方式。同时，我们强调了这一基于学派的地缘诗意视角是如何在设计中引发学院派认识论的彻底转变和脱钩的，这不仅为该地区发展的设计研究，也为文化研究领域提供了激励性的视角。
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Pub Date : 2022-01-02DOI: 10.1080/13569325.2022.2043261
Thomas Matusiak
Originally elaborated within the discipline of performance studies, reenactment has recently been adopted by filmmakers as a documentary and aesthetic strategy for tracing genealogies of conflict. Suspending documentary’s commitment to the indexical image, reenactments introduce a performative element by re-staging past events for the camera. By abandoning the document in favour of embodied memory, reenactments engage the relation between performance and history. This article addresses a series of theoretical and historiographic questions posed by the increasing popularity of reenactment: just what are reenactments? When and why do filmmakers draw on performance rather than archival documents or indexical images, what might account for the resurgence of reenactment in recent years, and how has it affected the tensions between documentary subjectivity and collectivity that have marked Latin American documentary in the twenty-first century?
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