A transdisciplinary and divergent approach to the complex relations found between Latin American human rights and identity art media Liliana Gallegos Fernando J. Rosenberg. After Human Rights: Literature, Visual Arts, and Film in Latin America, 1990-2010. Pittsburgh, PA: U of Pittsburgh Press, 2016. 296 pp. ISBN 978-0-8229-6416-2. Fernando J. Rosenberg's work is a 296-page book divided into seven chapters and an epilogue. Within its pages, we do not find 'windows into history', but 'mirror-houses', complex readings and analysis of photographs showing concentrated versions of the uncanny intersections between the rule of law, colonization, the rights of the people of Latin America, and the space in which this takes place. We begin with photography such as one of native American farmers sitting in court titled, Campesinos indígenas en el juzgado, or Campesinos acusados en el juzgado (1929) by Martin Chambi, and move on to a reading of literature and audiovisual media performances that highlight the circumstances and consequences of these unprotected citizens. After Human Rights begins by acknowledging the narrative of human rights popularized in the 1980s and 1990s, which coincided with the end of the Cold War and the 'return to a liberal-democratic ethos' (1) also referred to as "third wave democratization", a policy-making ideological machine that would raise Western European and US American economistic, neo-liberal ideals and plans above the just demised 'monster of socialism'. These individualist and capitalist ideals, with visions of a progress and success that was only attainable through monetary means, and an imagined sector of winners who needed losers (communities unable to become individualistic, consumerist capitalists) to prove their worth, came with what appeared to be an unavoidable 'common sensical' indifference towards moral issues involving the 'other' communities, diversity, respect for nature, and human rights. Fernando J. Rosenberg hits the mark. Ironically, 'the ascent of global capital, was promoted as a 'return to the natural order of things and described, with a mix of celebration and nostalgia, as the end of politics altogether' (1). Which brings us to a place of myth debunking, no longer cynical conspiracy theories, but a very attractive and hip academic approach that is deeply historical, theoretical, political, [End Page 247] cultural, artistic, psychoanalytical at times, as well as critical and elegant. Latin America's liberatory, emancipatory and politically defining strength through the agency of human rights expression, culture and creativity, is now finding itself before a logic and conditions of marketization that intersects with Latin American artistic production, where hybridity becomes an oversimplifying resolution. Yet there are many factors that are revised and analyzed before delving into a logic of coloniality with its so-much-desired resolutions. Such a study forces us to look at the United States and Latin America as a unit (many times forced), whose relationships go beyond cause and effect, beyond immigrants longing for the American Dream, beyond First World and Third World definitions, beyond the violence of the conquerors, the assumed savagery of the conquered and the hierarchy of coloniality, into the give-and-take of a disproportional socio-economic relationship, lawful injustice and turmoil, where Latin Americans are no longer represented and taken as passive silent victims, no longer anthropologically, but who speak, as in conversation, under their own terms and discourse. Rosenberg brings to us the 'Other' side, through underground and local Latin-American media history, that rarely (if ever) makes it into our educational curriculum. He familiarizes us—through critical, cultural analysis—with what is found both in intimacy and the public arena, starting from the realms of visual arts, literature, and films which, in turn, have continuously contested and responded to the experience of marginalization, the enforced and imposed silence of subalternity, and a wrongfully presumed passive and inert victimization. Even though they are not all mentioned or specifically cited for these reasons, Rosenberg's study further branches out, develops and proves the ideas presented by previous theorists and writers like Ramón Grosfoguel in "Hybridity and Mestizaje: Syncretism or Subversive Complicity" (2005), Enrique Dussel's Philosophy of liberation (1985) and Anibal Quijano's Nationalism & capitalism in Peru (1971). The first chapter, 'After Human Rights', gives historical feedback for...
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