Modern Latin American Research Articles

НОВАЦИИ СОВРЕМЕННОГО ЛАТИНОАМЕРИКАНСКОГО КОНСТИТУЦИОНАЛИЗМА: (ФЕНОМЕН ИНДИХЕНИЗМА)

The study of the complex processes taking place in Latin American constitutionalism over the past three decades makes it possible to more objectively from the point of view of general legal theory and more accurately methodologically approach the definition of the basic characteristics, constituent elements and content of a new phenomenon called "Latin American neo-constitutionalism" or "new constitutionalism". On the example of innovations in the constitutions of Latin American countries, adopted in the late XX - early XXI centuries, the most typical thing that distinguishes modern Latin American neo-constitutionalism from European and North American constitutionalism is revealed

The basics of modern Spanish and Latin American public diplomacy

At the present stage, there is an increase in scientific attention to the phenomenon of public diplomacy and an increase in practical interest in its applied application. This trend is explained both by the development of new communication technologies and by the desire of various states to diversify the formats of cross-border communications, intensify activities to increase the attractiveness of their foreign policy in the eyes of the foreign public, and improve their international image. Another trend can be observed related to the application of the resources of public diplomacy in a comprehensive strategy for the implementation of "hard-power" scenarios in the narrow national interests of individual states. This trend raises the question of the potential role of public diplomacy as an avant-garde instrument of "hard power". Note that the socio-cultural, religious, political and ideological (historical) relationship between Spain and the states of Latin America is a necessary subject of research in the field of interdisciplinary academic discourse. The purpose of this article is to determine the meaning of public diplomacy in the relationship between modern Spain and the states of Latin America, using a synthetic, comparative and general scientific political science approach.

Una historia comparada del cine latinoamericano by Paul A. Schroeder Rodríguez

Reviewed by: Una historia comparada del cine latinoamericano by Paul A. Schroeder Rodríguez Dennis West Schroeder Rodríguez, Paul A. Una historia comparada del cine latinoamericano. Traducción de Juana Suárez. Iberoamericano-Vervuert, 2020, pp. 481. ISBN 978-8-49192-093-9. Paul A. Schroeder Rodríguez’s Una historia comparada del cine latinoamericano is a translation of his Latin American Cinema: A Comparative History published in 2016 by the University of California Press. This latter work was the first comparative history of Latin American cinemas to be published in any language. Its competent translation to Spanish, by Juana Suárez, represents a laudable effort to make this author’s in-depth, wide-ranging, and up-to-date research known to Spanish-speaking scholars who do not read English. Schroeder Rodríguez’s methodological framework is a manifestation of the recent comparative tendency in the field of Latin American film studies. As he acknowledges, this trend has been prominently exemplified by film historian Paulo Antonio Paranaguá in his influential collection of essays entitled Tradición y modernidad en el cine de América Latina (2003). Una historia comparada constitutes an ambitious and unusual work of synthesis since this researcher writes as a film historian, as a theoretician of comparative modernity studies, and as a film critic. Most histories of individual Latin American national cinemas have focused on fiction features; and Schroeder Rodríguez the film historian follows this precedent as he unfurls a chronological and comparative narrative account of the medium’s socioeconomic, technological, and esthetic evolution from its beginnings to the present. The writer concentrates on the production of the three major movie-producing countries of the region: Mexico, Brazil, and Argentina. All the major historical periods are examined according to the following periodization: the silent era, studio cinema, neorealism and art cinema, New Latin American Cinema, and contemporary cinema. The author’s comparative perspective situates the region’s national cinemas within the context of the century-old “triangular flow” of moving images amongst Latin America, Europe, and “Hollywood.” Prospective readers should be advised that Schroeder Rodríguez does not propose to sketch a more-or-less comprehensive historical survey in the manner of the standard texts Magical Reels: A History of Cinema in Latin America (1990) and Historia del cine latinoamericano (1987) by John King and Peter B. Schumann respectively. Rather, Schroeder Rodríguez tends to concentrate on selected cineastes who have succeeded in creating unique cinematic worlds, such as the contemporary Argentine director Lucrecia Martel, or the Brazilian auteur Glauber Rocha. This approach tends to downplay certain important historical movements, such as Brazilian Udigrudi, and certain popular culture genres, such as the Mexican wrestling movies exemplified by the popular El Santo franchise. Cult figures, such as Alejandro Jodorowsky and José Mojica Marins (Zé do Caixão), also receive short shrift. Documentary production is not examined apart from a few notable exceptions, such as Fernando Solanas and Octavio Getino’s celebrated La hora de los hornos. Schroeder Rodríguez excels as a theoretician of the interdisciplinary field of comparative modernity studies. The scholarly question of Latin America’s modernity remains an unsettled issue; and here he parts ways with Paranaguá in that the latter conceives of a single Latin American modernity while the former postulates multiple forms or discourses of modernity for the region, to wit: liberalism, socialism, corporatism, and the baroque/neobaroque. As Schroeder Rodríguez clarifies, the baroque/neobaroque version of Latin American modernity is the most problematic as its theorization continues to be on-going in the work of scholars such as the late Aníbal Quijano. These discourses of modernity are carefully elucidated by Schroeder Rodríguez; and they have been deeply researched—in the case of corporatism, for instance, from Saint Paul’s description of the body politic (I Corinthians 12:12–28) to Thomism, the dominant ideology in colonial Latin America. The author’s evident abilities as a film critic are on display in the volume’s approximately fifty close textual analyses of paradigmatic films. In the tradition of Marxist-influenced thinkers such as Raymond Williams and Fredric Jameson, Schroeder Rodríguez considers films as cultural texts [End Page 514...

Teaching Modern Latin American Poetries ed. by Jill S. Kuhnheim and Melanie Nicholson

Reviewed by: Teaching Modern Latin American Poetries ed. by Jill S. Kuhnheim and Melanie Nicholson Beth Green-Nagle Kuhnheim, Jill S., and Melanie Nicholson, editors. Teaching Modern Latin American Poetries. MLA, 2019. Pp. 343. ISBN 978-1-60329-409-6. Teaching Modern Latin American Poetries edited by Jill S. Kuhnheim and Melanie Nicholson is a worthy addition to the Modern Languages Association’s Options for Teaching series. This collection of twenty-two essays by experienced authors was written with veteran and new college faculty in mind. Topically, it focusses on Latin American poetry from the second half of the twentieth century and early twenty-first century. It provides a connection to the previous literary traditions and accepts the challenge of creating interest in a genre which can be difficult. In the “Introduction: Teaching the Language of Poetry,” Jill S. Kuhnheim writes: “In response to the notion that poetry is too literary, too difficult, or too unfamiliar to teach in a variety of contexts, this book offers college-level instructors strategies and new approaches to the genre that will reinvigorate and expand their teaching repertoires” (1). This collection is an excellent resource for faculty who want to strengthen their knowledge of contemporary Latin American poetry, increase familiarity with Brazilian and indigenous authors, integrate less canonical writers into courses, and revitalize their pedagogy with new ideas and models to effectively engage students with poetry. This collection is not a handbook for poetry teaching, and the essays do not replicate familiar lists of canonical texts. They do consider works and authors from many of Latin American countries, including Brazil, but this is not exhaustive. Instead, the collection offers ways to integrate new texts, poetic forms, and authors into the courses most taught at the undergraduate level: surveys of literature, culture courses, special topics courses, and composition courses. It also suggests some innovative ideas such as a creative writing course in the target language or a translation workshop with indigenous poetry. Although focused on a college-level audience, some ideas could be adapted for teaching advanced high school and graduate-level courses, and the length of the essays, averaging 14–15 pages, make them potential resources for student readings. The collection is divided in three sections. Part 1, entitled “Poetic Literacy and Latin American Canon” presents a foundation of knowledge for poetic literacy and teaching canonical works. Melanie Nicholson provides an overview of Latin American poetic history with a strong focus on the twentieth century, especially modernismo, postmodernismo, the vanguardia, post-avant-garde, and contemporary poetry up to the 1980s. She provides a brief overview of Brazilian poetry, particularly 20th century Brazilian modernismo. Johnathan Mayhew proposes teaching students to “examine poems in the context of their concrete history and their implicit theories of poetic language and genre” as we shed the formalist remnants of New Criticism from our theory and praxis (33). Justin Read, Jacobo Sefamí, and Tamara R. William’s essays offer strategies for teaching difficult poetic texts like the silva, the avant-garde and neobaroque, and the long poem. Melanie Nicholson presents the course design of “A Course Model for the Liberal Arts Curriculum” for undergraduate students using Latin American poetry in translation. In “Part II: Orality, Multimedia, and Comparative Arts,” the essays present a welcomed variety in topics and pedagogical models. Gwen Kirkpatrick challenges teachers to help [End Page 303] students reconnect poetry with oral and visual forms. Eduardo Ledesma explores how to teach experimental poetry from the 1920s Avant-Garde, 1960s Concrete poetry, and the digital poetry of the 2000s. Bruce Dean Willis advocates for studying contemporary Mexican lyric poetry through music to create cultural understanding and increase student interest. Teresa Longo presents an innovative curriculum integrating the study of poetry, ethics, and aesthetics. Charles A. Perrone provides an overview of the phases of twentieth century Brazilian poetry highlighting important movements and poets. Jill Kuhnheim describes her performative technique of approaching poetry through oral readings by students and poets. “Part III: Poetic Contexts and the Idea of Latin America,” provides more models for teaching poetic works from outside the canon. Fernando J. Rosenberg challenges us to explore the intersections between poetry and human rights. Juan G. Ramos gives a descriptive...

El archivo de fin de siglo XIX en la literatura latinoamericana contemporánea

Late 20th and early 21st century Latin American literature rereads and problematizes late 19th-century Latin American Modernism. This article examines some of these genealogies in order to analyze the significance of this literary dialogue in our present time.

The Present, the Modern, and Modernization: Reexamining Latin American Modernity in the Writing of Alberto Cruz

The Present, the Modern, and Modernization: Reexamining Latin American Modernity in the Writing of Alberto Cruz

Bazar, mercancía y decadencia: Antonio José Ponte y Julián del Casal

The fascination of Latin American modernism for 19th century French fashion merchandise has been widely addressed in literary theory. Texts filled with diverse cultural materials, textures and objects configured a poetics of the bazaar that became part of a series of strategies through which Latin American literature defined and linked itself to hegemonic aesthetics of the 19th century. The poems and chronicles of Cuban writer Julián del Casal (1863-1893) are no exception; this proliferation of merchandise reveals how the gaze and the images become configured as empty fictions, filled by a cosmopolitan desire. This feature, tied to the function and configuration of images in Cuban modernism, makes possible an anachronical reading of the presence of State merchandise at the other end of the century: Antonio José Ponte’s decadent reality in post-Soviet Cuba.

The dictator – A specific figure of modern Latin American novels

heroic pages of her own. Latin America is an area encompassing countries historically ruled by the Spanish and the Portuguese under their colonization time throughout the centuries.After hard struggles to gain independence, the region continued to face many new challenges and difficulties in which violence and military dictatorship were the most common situation dominating Latin American politics in the 19th and 20th centuries. Since then, the topic of dictatorship has been written in novels in that region. Márquez has stated in an interview that, the fact that brutality ran from one end of the continent to the other made the history shaped by brutality. Writing about this topic, modern Latin American writers have "entered" the deepest into the reality of their continent, wherever they are, no matter what narrative method they use. This helps modern Latin American literature express its own literary themes, not being mixed with other literatures. In Vietnam, over the past 50 years, a lot of Latin American novels have been translated and well received by Vietnamese academic and popular readers. Such authors as A. Asturias, L. Borges, Carpentier of the Latin American Vanguardia, Márquez, Llosa of the Latin American Boom have become familiar names to Vietnamese readers. Understanding the image of the dictator – an important image of the tradition and identity of Latin American literature will give a better understanding about this literature.

Bolívar Echeverría y las asimultaneidades de la modernidad capitalista: Ethos barroco y blanquitud

This article presents an approach to the way in which Bolívar Echeverría, based on his reformulation of Marxist criticism, attempts to locate in the truncated configurations of Latin American modernity potentials for resisting the universal expansion of the value form. Drawing on his distinction between modernity and capitalism, as well as his interpretation of the fundamental tension between natural form and value form, the article exposes Exheverría’s historical analysis of the triumph of the realist ethos over the baroque ethos of Latin American modernity. Nevertheless, the remnants of the latter constitute for Echeverría a possible counter-figure of the realistic ethos embodied by Whiteness. This is how his approach attempts to go beyond both Eurocentrism and the postmodern rejection of modernity, aiming to save the hope of a concrete universalism against the purely abstract universalism of capitalist modernity.

Concepciones mesoamericanas de la subjetividad y su potencial crítico ante la psicología dominante

Situándome en la tradición de las perspectivas psicológicas indígena y ancestral, expongo ocho aspectos subjetivos amenazados por la modernidad capitalista e ignorados por la psicología dominante occidental predominantemente europea y estadounidense, pero aún considerados y salvaguardados en los pueblos originarios de Mesoamérica, a saber, la variabilidad, la multiplicidad, la extimidad, la apertura, la inesencialidad, la historicidad, la individualización y la singularidad. Reconstituyo estos aspectos a partir de informaciones proporcionadas por la palabra de los propios indígenas o de quienes han sabido escucharlos, como religiosos del período colonial o cronistas, historiadores, antropólogos y etnólogos que han trabajado en los últimos siglos en México y Centroamérica. El análisis de las informaciones recabadas me permite, por un lado, apreciar lo que estamos desconociendo y perdiendo en las sociedades latinoamericanas modernas, y, por otro lado, intuir por qué no conseguimos ni reconocerlo ni preservarlo. Es así como los saberes de los pueblos originarios pueden constituir un medio eficaz al relacionarnos críticamente con el capitalismo colonial y neocolonial, con su dispositivo psicológico y con aquello en lo que nos ha convertido y en lo que nos continúa convirtiendo. El presente artículo forma parte de una investigación más amplia enmarcada en la psicología crítica y dedicada a la reconstrucción de las concepciones mesoamericanas de la subjetividad.

Channeling the Cinematic in Manuel Puig’s Betrayed by Rita Hayworth

The relationship between literature and cinema has grown more extensive in recent decades, not only due to the immense popularity of book-movie tie-ins and their intertextual relationship with other narrative genres like online games and literary adaptations on Netflix, but also because of developments in adaptation studies itself. However, there had been a concentration of studies on novel-to-film adaptations or the wholesale transpositions of literary works onto another medium. Still in the developing stage is the academic analysis of adaptations as a site for literary liquidity. Not only do novels, for instance, become source texts for films, there are occasions when novelists appropriate the cinematic into their characters, themes, narrative techniques, and plot structure. Beyond the adaptation discourse, how do contexts like the prevailing media culture, the realities of the author’s literary environment, and the character of the literary and film industries affecting the text being investigated inform an interpretation of a particular novel and its eventual place in the literary world? In view of the above, this study seeks to answer the following questions: 1. How does Manuel Puig’s Betrayed by Rita Hayworth appropriate cinematic devices in its themes, characters, plot structure, narrative devices, and narrative voice? 2. How does the novel represent Puig’s worldview both as a film artist and a novelist? 3. How does the modern Latin American literary landscape inform the novel’s composition? 4. How does cinema culture become a novelistic trope in Betrayed by Rita Hayworth? 5. How does the novel constitute an occasion for literary liquidity through a new sense of Latin American reality and linguistic play?

Антиимпериализм как объединяющий принцип современных латиноамериканских левых

Антиимпериализм как объединяющий принцип современных латиноамериканских левых

The Americas Revealed: Collecting colonial and modern Latin American art in the United States

The Americas Revealed: Collecting colonial and modern Latin American art in the United States is the fourth volume in the series Frick Collection Studies in the History of Art Collecting in America, and the first in the series to reach beyond the categories of European and American art associated with the Frick Collection. Emerging from a symposium of the same name in 2014, the volume gathers together a highly stimulating group of essays by eleven specialists exploring the formation in the United States of public and private collections of art from the Spanish- and Portuguese-speaking Americas. The volume opens with a sweeping introduction by its editor, Edward J. Sullivan. Starting at the very beginning, Sullivan seeks out the initial points of contact between Europeans and indigenous peoples, identifying the artists and collectors who first developed a curiosity about art created in Latin America. He then deftly traces the major milestones...

FUT2 polymorphism in Latin American populations

BackgroundThe secretor type α(1,2)fucosyltransferase gene (FUT2) is known to be rich in population-specific polymorphisms. However, genetic variations of FUT2 have not been well examined in Latin American populations in which nonsecretors are rare. MethodsConventional polymerase chain reactions and direct sequencing were performed to detect single nucleotide polymorphisms (SNPs) and copy number variations (CNVs) of FUT2 in Mexicans including Americans of Mexican ancestry, Puerto Ricans, Caribbeans, and Colombians. FUT2 alleles were determined by cloning into plasmids or PHASE software. The impact of uncharacterized missense SNPs on the enzyme activity were examined by transient transfection assays and estimated by several software programs. ResultsThree alleles, Se357, Se, and se428, were common, and the frequency of nonsecretors was relatively low in the studied populations. We also encountered several alleles specific to Africans, Europeans, and South and East Asians including a South Asian-specific sedel. In contrast to the in silico prediction, a transient expression study suggested that both of two missense SNPs, 235G > A and 304G > A, did not impair the enzyme activity. ConclusionsThe allelic polymorphism of FUT2 suggests that the modern Latin American populations were formed via genetic admixture among Native Americans and populations whose ancestors migrated from other continents. In this study, we have observed a discrepancy between in silico and functional analyses for FUT2 for the first time. Therefore, experimental functional analysis is required for evaluation of SNPs of FUT2.

Escenarios emergentes del melodrama en el paisaje audiovisual contemporáneo

En este artículo se realiza una serie de reflexiones sintéticas en torno a algunos de los desarrollos teóricos recientes más relevantes sobre el melodrama. Tomando como eje de referencia el trabajo canónico de Jesús Martín-Barbero sobre la materia, el texto plantea la necesidad de recuperar la noción del melodrama en tanto matriz cultural característica de múltiples experiencias de las modernidades latinoamericanas capaz de estructurar discursos, géneros y formatos audiovisuales, así como las prácticas de producción, circulación y consumo de las narrativas transmediales.

Self-Reflexivity as Infra-Structure: A review of Karen Benezra, Dematerialization: Art and Design in Latin America

Self-Reflexivity as Infra-StructureA review of Karen Benezra, Dematerialization: Art and Design in Latin America Jens Andermann (bio) Benezra, Karen. Dematerialization: Art and Design in Latin America. U of California P, 2020. Over the course of little more than a decade, from the late 1950s to the early 1970s, Latin American art experienced a wholesale transformation. As evidenced by the diverse group invited to participate in the Museum of Modern Art’s landmark 1970 survey exhibition Information (Marta Minujin, Carlos D’Alessio, Cildo Meirelles, Hélio Oiticia, and Artur Barrio, among others), Latin American artists increasingly challenged earlier neo-avant-gardist references such as Concrete, Informal, or Minimalist art, embarking instead on a process of homegrown conceptual and political radicalization. Argentine artist Roberto Jacoby—then a leading proponent of arte de los medios (media art) with Raúl Escari—succinctly describes the sentiment at the time, reflecting on how he and his fellow artists around Buenos Aires’s trend-setting Instituto Di Tella art school entered a crazy race which, in just a few years, brought plastic artists to move from the bidimensional space of the painting to the object, in its multiple variants, and from there to concept-based works, to messages that reflect on themselves, and on to the dissolution of the very idea of work and its extension to the transformations operated by the mass communication media as well as to the framings of their context and to signposting social life, etc. All these approaches removed painters from their relationships with traditional materials, and brought them to reflect on their positions vis-à-vis the cultural institutions of the bourgeoisie, on the possibilities of carrying out a transformative practice, and on the best ways of taking it forward: the avant-garde became politicized. (qtd. in Longoni and Mestman 58; my translation) Writing in 1966 on Hélio Oiticica’s early “ambientations,” Brazilian critic Mário Pedrosa notes that this new cycle is “no longer purely artistic but cultural”; instead of the isolated, self-referential work, “what is dominant is the perceptive-sensory ensemble.” He speculates that this shift might also herald a broader turn towards an altogether new social and political role for the aesthetic, one he tentatively proposes to call “postmodern art” (Pedrosa 205). Recent art-historical scholarship and curatorial proposals reflect a re-ignited interest in Latin American late modernism, exemplified by recent shows such as the Hammer Museum’s 2019 Radical Women: Latin American Art, 1960–1985 and the Migros Museum’s 2016–2017 Resistance Performed: Aesthetic Strategies Under Repressive Regimes in Latin America. In her in-depth study of the period, Karen Benezra argues that scholars and curators have too rapidly glossed over the years separating the conceptualist moment from a fully-fledged “political art” that began with the landmark 1968 Tucumán Arde (Tucumán Is Burning) in Argentina or the ground-breaking 1970 Brazilian show Do Corpo à Terra (From Body to Ground, curated by Frederico Morais, who coined the concept of guerrilla art in the same year). On today’s global museum circuit, Benezra suggests, “Latin American modernism” is coded as always already incipient political intervention, something other than purely art in a way that “implies its fusion with life within the closed historical horizon of the short twentieth century” (166). By contrast, Benezra refuses to take the dissolution of the work-as-object—and its gradual replacement by self-reflexive stagings of artistic practice (in its double relationship with the art system and everyday social life)—as an interstitial moment en route to an avowedly political art practice. Instead, her book zeroes in on the moment of dematerialization itself. Rather than using the term in a descriptive and historicizing sense, Benezra endows dematerialization with conceptual and analytical valences, allowing us “to reconsider the relationship between antiformalist art and sociopolitical transformation” (2). She argues that, insofar as “the ‘material’ at stake in art and design’s dematerialization is not only that of the physical, tangible object, but also the objective, historical specificity of the intertwined logic and ideology that produce and reproduce social relations” (4), dematerialization can serve as “a certain kind of operational self-reflexivity” (167) present both in...

Innovators and Iconoclasts: Six Books on Latin American Modern and Contemporary Art

This essay reviews the following works: Abstraction in Reverse: The Reconfigured Spectator in Mid-Twentieth-Century Latin American Art. By Alexander Alberro. Chicago: University of Chicago Press, 2017. Pp. 368. $50.00 hardcover. ISBN: 9780226393957. Twentieth-Century Art of Latin America. Revised and expanded edition. By Jacqueline Barnitz and Patrick Frank. Austin: University of Texas Press, 2015. Pp. 435. $55.00 paperback. ISBN: 9781477308042. Manifestos and Polemics in Latin American Modern Art. Edited and translated by Patrick Frank. Albuquerque: University of New Mexico Press, 2017. Pp. 320. $29.95 paperback. ISBN: 9780826357885. Painting in a State of Exception: New Figuration in Argentina, 1960–1965. By Patrick Frank. Gainesville: University Press of Florida, 2018. Pp. 256. $40.00 paperback. ISBN: 9780813062495. Constructing an Avant-Garde: Art in Brazil, 1949–1979. By Sergio B. Martins. Cambridge, MA: MIT Press, 2013. Pp. 248. $43.95 hardcover. ISBN: 9780262019262. The New Iconoclasts: From Art of a New Reality to Conceptual Art in Colombia, 1961–1975. By Gina McDaniel Tarver. Bogota: Facultad de Artes y Humanidades, Universidad de los Andes, 2016. Pp. 342. $130.00 hardcover. ISBN: 9789587742909.

La ciencia entre los modernistas: La Quincena. Revista de Letras (1893-1902)

El presente artículo analiza la presencia, las apropiaciones y la resignificación del discurso científico en una revista argentina vinculada al ámbito literario del Modernismo: La Quincena. Revista de Letras (1893-1902), dirigida por el escritor Guillermo Stock. En La Quincena no sólo es posible hallar numerosos relatos ficcionales, artículos y ensayos vinculados a las ciencias de la época, sino también diferentes resonancias de su discurso. En su amplio mosaico de textos, se verifica que, en los años de entresiglos, la potencia del discurso científico-positivista no sólo repercutió en ámbitos expertos, sino que también decantó hacia otras áreas de la cultura ajenas al quehacer científico, pero profundamente atraídas por su imaginario, por su potencial proyección futura y por su juego hipotético con la fantasía.

El arte colonial de América Latina y los investigadores polacos. El panorama de los textos

El arte colonial de América Latina desde hace muchos años despertaba el interés de los investigadores polacos, tanto de los historiadores como de los teóricos del arte. Sin embargo, a pesar de su fascinación, muy a menudo aparecieron problemas relacionados con su estudio en las publicaciones polacas del siglo XX, eso fue resultado de las limitadas posibilidades de las investigaciones y de los viajes. El arte colonial interesaba las personas muy conocidas en el mundo científi co polaco como: Władysław Tatarkiewicz, Zbigniew Hornung o Jan Białostocki. También Mieczysław Porębski y Ksawery Piwocki mencionaron algunos monumentos barrocos del mundo americano como los ejemplos comparativos en su trabajo titulado Dzieje sztuki w zarysie (Compendio de la historia del arte). La lista de las publicaciones se cierra con el artículo de Przemysław Trzeciak Architektura nowożytna Ameryki Łacińskiej (Arquitectura moderna de América Latina) del año 1994, que constituye un capítulo del libro Sztuka Świata (Arte Mundial), del volumen siete. Entre los estudios mencionados los más importantes son las publicaciones de Jan Białostocki, quien fue autor de uno los textos más amplios sobre el arte colonial. Él fue también un investigador valorado por los historiadores del arte del otro lado del Atlántico y sus estudios infl uyeron en las investigaciones del arte colonial y contemporáneo de América Latina.

Manifestos and Polemics in Latin American Modern Art ‐ editedby Patrick Frank

Manifestos and Polemics in Latin American Modern Art ‐ editedby Patrick Frank