Yo Soy Research Articles

Lope de Vega. La discreta enamorada / The Cleverest Girl in Madrid

Lope de Vega. <i>La discreta enamorada</i> / <i>The Cleverest Girl in Madrid</i>

“I am a Miracle, Yo soy un Milagro, I am not Supposed to be Here": A Conversation with Bamby Salcedo

&#x0D; Bamby Salcedo was a 2021 keynote speaker at the 33rd annual National Conference on Race and Ethnicity in American Higher Education (NCORE). On July 22 and August 7, 2021, Bri Sérráno and Cristóbal Salinas Jr. interviewed Bamby Salcedo via Zoom. JCSCORE thanks Bamby for sharing her story with us.&#x0D;

Todos Somos Joaquín

This essay elaborates on Rodolfo Corky Gonzales’s “Yo soy Joaquín” as an inter-American articulation of the critical commitments of Chicanismo, which is here identified as the sociopolitical philosophy and ideological/normative leanings of Mexican Americans who call(ed) themselves Chicanas/os. The purpose of this essay is to show both how syncretism frames Chicanismo as a philosophy of growth and identity beyond borders and that this worldview can be critically explained as seeking alliances to communities and contexts defined by struggle. It engages the historical groundwork, philosophical influences on, and cultural ideals and values voiced through this poem by proponents of Chicanismo among its multiple forms and various representatives.

A Reconsideration and Elaboration of a Previously Proposed Hypothesis for the Origin of the —y of Spanish soy, doy, voy, estoy

Abstract The origin of –y of Sp. soy, doy, voy, estoy remains unresolved to date. The present study reconsiders and elaborates the ‘post-verbal yo hypothesis’, originally proposed by Ford (1911), which has been rejected by most scholars because they have misunderstood it to suggest that the post-verbal subject pronoun yo became atonic and agglutinated to the verb, subsequently reducing to –y. It is suggested here that the phenomenon of ‘leftward palatal spreading’ from the post-verbal subject pronoun yo, with no agglutination nor reduction in form, first produced phonetic variants, e.g., so yo &gt; ['soi̯-'yo], which were later morphologized and raised to allomorphic status before becoming full-fledged morphological variants upon extraction from the new syntagms, e.g., soy yo &gt; soy (yo) &gt; soy.

COVID-19 through the Latinx infectious disease doctor's eyes

COVID-19 through the Latinx infectious disease doctor's eyes

Algunos problemas de una posible solución artística de "Yo soy un hombre de letras", de Fernando del Paso

A partir del Proceso de Aproximaciones Sucesivas-Acumulativas (PASA), formulado por el Grupo Slovo, se analiza el texto “Yo soy un hombre de letras”, de Fernando del Paso, publicado en varios momentos de la carrera literaria del mexicano e incluido en diferentes revistas y libros (como relato en la Revista de la Universidad de Mexico, 1980-1981; en la novela Noticias del Imperio, 1987; en el Discurso de ingreso del escritor a El Colegio Nacional, 1996; y en la antologia Cuentos dispersos, 1999). A pesar de su brevedad (tan solo ocho paginas), se plantea que este texto permite un acercamiento a algunos problemas de una posible solucion artistica tanto de Noticias del Imperio, como de las novelas anteriores de Del Paso: Jose Trigo y Palinuro de Mexico, y de la posterior: Linda 67. Es decir, nos brinda pistas para acceder, de forma mas certera, a la poetica de su autor.

Latina feminist moments of recognition: Contesting the boundaries of gendered US Colombianidad in Bomba Estéreo’s “Soy yo”

Interwoven with a textual analysis of Colombian electronica band Bomba Estereo’s viral music video “Soy yo” (2016), here I offer an autoethnographic perspective on the experience of Latina feminist media identification for a US Colombiana/Latina viewer unaccustomed to encountering herself in popular media. I trace the numerous moments of what I term “Latina feminist recognition” in “Soy yo,” with an eye toward how the video, often described as an “ode to little brown girls everywhere,” implies a universality of Latina experience, yet may simultaneously be read as a uniquely Colombian diasporic text. In centering the Latina contemplative eye, I assert that the power ascribed to “Soy yo” is in significant part anchored in the Latina female gaze. This gesture ultimately offers a potent alternative paradigm for reimagining gendered US Colombianidad and Latinidad in popular media generated within the Global North as well as by the Colombian state.

‘Yo soy Groot’: Afro-Caribbean religions and transnational identity in the comic metropolis

This article examines the ways in which Afro-Caribbean superheroes engage with questions of identity, movement and belonging as they embody diverse and culturally hybrid populations within the North American imaginary. First engaging with scholarship regarding the writing of race and marginalized cultures in US comics to situate the Santerians, Brother Voodoo/Doctor Voodoo and Groot within the larger comic book oeuvre, it turns to explore how these Marvel characters incorporate the myths and spiritual powers of Cuban/Puerto Rican Santería and Haitian Vodou into the metropolitan narratives in which they are depicted. As corporeal representations of these religions within the cultural landscapes of New York City and New Orleans, these transnational superheroes have each been physically and/or culturally displaced to the margins but see their hybrid identities valorized to greater or lesser degrees within the cultural framework of the metropolis. However, in spite of these characters having challenged stereotypical and hegemonic representations of racial and ethnic alterity, they are still subject to a clear hierarchy between the metropolis and the periphery. This is most clearly communicated through the restrictions and processes of othering that the Santerians and Brother Voodoo/Doctor Voodoo suffer, in comparison to the success and global mobility enjoyed by those more established characters alongside which they appear. As such, although the writing of these characters is both culturally sensitive and has permitted the development of new knowledges within the comic metropolis, at the same time these superheroes remain subordinate to their white, metropolitan counterparts and see themselves marginalized within very narrative that has sought to celebrate their transnational and hybrid identities.

¿Cocreación o participación? Estudio de caso de las secciones “El periodista soy yo” de Noticias Caracol y “El cazanoticias” de Noticias RCN

The audiovisual industry is changing. Audiences are empowering, appearing as agents of audiovisual production and consumption processes. Media have begun to develop alternatives to engage the now-called prosumer. In this paper, I will analyze two segments of the colombian news networks Caracol News and RCN News, in order to determine if the processes they develop with viewers in their sections “El periodista soy yo” and “El cazanoticias” , respectively, correspond to processes of co-creation or participation. The analysis focused on three fundamental axes: the broadcasted audiovisual piece, the viewer’s contributions and the news’s contributions to this construction. These axes were composed by variables constructed from different data and theoretical contributions. From this analysis it was possible to identify participation levels that both, the viewer and the newscast had in the construction of the journalistic note. The result shows some evidence of the creative potentialities of audience, as well as opportunities and challenges related to communication that media should face in order to develop co-creation processes with prosumers.

Díadas (y tríadas) de vida y esperanza. Una lectura de “Yo soy aquel que ayer no más decía…”

Este artículo aborda una propuesta hermenéutica diferente sobre el famoso poema liminar “Yo soy aquel que ayer no más decía…”, del poemario Cantos de vida y esperanza. Los conceptos de “díada” y “tríada”, procedentes del campo filosófico y sociológico –en especial de Georg Simmel- proporcionan una herramienta valiosa para elucidar una nueva lectura del poema, donde la imbricación de los grupos de dos y tres unidades revelan pautas esenciales de su poética.

El mito de Narciso en Yo soy otro (2008) de Óscar Campo: del misterio del ser a la violencia (auto)terrorista

En el presente artículo, analizaremos al detalle la refiguración posmoderna del mito clásico de Narciso en el largometraje Yo soy otro (2008), dirigido por el cineasta colombiano Óscar Campo. Según argüiremos desde una amplia perspectiva filosófica enfocada en las epistemologías contemporáneas del individuo posmetafísico, este filme propone una apropiación audaz de la trágica historia del efebo heleno que subsume las preocupaciones existenciales que determinan al sujeto contemporáneo y causan su auto-absorción individualista, su líquida impotencia, su falta de referentes trascendentales y sus pulsiones mortíferas.

The TV format market in Latin America: Trends and opportunities

Abstract The Latin American incursion and participation in the trade of audio-visual formats is considerably recent, and has become particularly relevant with the rise of the trade in scripted formats. The region’s expertise in telenovelas has given them an edge in this type of formats, with Argentina leading a conscious strategy to take advantage of the market that opened up following the international success of the Colombian Yo soy Betty, la fea (1999). We present here a summary of the latest developments of the format market in Latin America collected from trade magazine reports and in-depth interviews with leading figures in television production and distribution companies. Our research evinces that cultural proximity and volume of television production output are not necessarily predictors of the regional flow of scripted formats in the region.

Yo Soy Muslim by Mark Gonzales

Yo Soy Muslim by Mark Gonzales

When the Devil Knocks: The Congo Tradition and the Politics of Blackness in Twentieth-Century Panama by Renée Alexander Craft

When the Devil Knocks provides an insightful view into the Congo tradition (s) that coincides with Carnival in Portobelo, Panama and surrounding Atlantic-based Afro-Colonial Panamanian communities. Reminiscent of the Peruvian ethnography Yo soy negro due to its Afro-diasporic focus, Renee Alexander Craft demonstrates an exhaustive maneuvering of knowledge pertaining to a nuanced understanding of blackness in contemporary Panama.

Tentativas sobre cine y nación: género, estilo y puesta en escena de la “Colombianidad” / Attempts on film and nation: genre, style and staging of “Colombianness”

&lt;p&gt;Se indaga la relación entre cine y nación en el contexto colombiano, examinando los aportes de la cinematografía y su evolución como dispositivo que media la construcción de referentes de nacionalidad. Teórica y metodológicamente, se asumen las películas como discursos sociales, como imágenes múltiples de fragmentos de la historia y de la cultura, cuyos sentidos pueden rastrearse en un cruce de caminos entre las experiencias de lo nacional, las configuraciones narrativas y variadas formas expresivas. Estudiamos tres producciones cinematográficas en las que la mediación genérica y/o estilística es clave para la resignificación de ciertos hechos o temas de la historia nacional colombiana: Cóndores no entierran todos los días (1984), Bolívar soy yo (2002), y Retratos en un mar de mentiras (2010). Concluimos que sus diversas maneras de representar eventos, personajes y fenómenos nacionales históricos y contemporáneos y la disposición narrativa que les da forma, ofrecen claves para entender el dinamismo de la representación de lo nacional y las disputas en torno a dicha representación.&lt;/p&gt;

El poema confesional

El análisis de «Yo soy aquel», primer poema de Cantos de Vida y Esperanza, refleja el cambio experimentado por Rubén Darío, especialmente en su preferencia por el simbolismo frente a la atención que presta a la forma en Prosas Profanas. Poemario más claramente hispano, con una defensa del arielismo que refleja la dedicatoria a José Enrique Rodó. Sin embargo, es en el contenido confesional del poema en el que se desvela el reino interior de Darío, marcado por la dualidad y el esfuerzo por conciliar «sus» contrarios. De la lectura atenta se observa un proceso de transformación de «la estatua bella» a «fauno» monstruoso. Fábulas como la de Eros y Psiquis sirven al poeta para expresar con mayor precisión el juego de antítesis que finaliza con «la caravana pasa», de rasgos relacionados con el gnosticismo cristiano y los rosacruces.

‘Sí valgo, yo valgo seguro’ Spain’s new peripheral female subjects in Yo soy la Juani

Abstract Despite his mainstream success and prolific production, in all his films Bigas Luna demonstrates a preference for the peripheral and the marginal – in terms of the subjects he depicts as well as through his representational practices. In this article I investigate the new peripheral subjects in his 2006 film Yo soy la Juani/My Name is Juani: young women on the cusp of adulthood, at the margins of Spain (Tarragona) and the edges of mainstream culture. I argue that Bigas Luna’s resistance to hegemonic power structures and his marginal politics face a new challenge in the twenty-first century as the mediatized and pervasive culture of celebrity alters our reading of his female star, Verónica Echegui, and his relationship with her. Bigas attempts in this film to present a specific version of Spanish femininity as a point of resistance to a manufactured female subjectivity yet he also imitates it and shows that these young female characters are in thrall to the culture that he claims to resist. As the film negotiates a tricky path between these media discourses and the images of resistance in the film itself the end result is an ambiguous text that neither resists nor entirely complies with a culture that commodifies the bodies and aspirations of its peripheral female stars.

Advertising patriotism: The “Yo Soy El Army” campaign and the politics of visibility for Latina/o youth

Today’s young Latina/os have come of age in a decade marked by war, rising nativism, and economic crisis. As the fastest growing group of young people in the United States, they have been identified by the US military as a primary target of current and future long-term recruitment strategies. In this article, I examine the “Yo Soy El Army” campaign, a Latino-directed recruitment initiative of the US Army (2001–2005), to consider how ethnic marketing shapes, distills, and otherwise reveals important insights about citizenship, nationalism, and patriotism for Latina/o youth in the post-9/11 era.

Visual British Hispanism and the Puerto del Rosario ‘parque escultórico’

This essay takes José Ortega y Gasset’s famous comment ‘yo soy yo y mi circunstancia’ and Kaja Silverman’s view that perception is always ‘propped’ on things we have seen before and retraces the ‘circunstancias’ of the development of visual studies within British Hispanism, then considers the making of the ‘parque escultórico’ in the Canary Island of Fuerteventura. Linking the development of the this sculpture park to Unamuno’s exile on the island, when he took to walking around the capital, then known as Puerto de Cabras, this essay takes a contemporary viaje al azar around the public art that is now located in the present-day capital, now known as Puerto del Rosario. It argues that the creation of the ‘parque escultórico’ is an attractive contemporary visual case study: as an example of how far the discipline has developed since the time when writers like Unamuno and Ortega y Gasset were the mainstay of the Hispanic Studies literary curriculum; as an example of what can be achieved when the ‘circunstancias’ of local government, artist and viewer are embraced from the start; and as a model for sustainable cultural development in times of economic recession.

Las músicas de Betty, la fea

The Colombian telenovela Yo soy Betty, la fea (1999–2001) had unprecedented and outstanding diffusion all over the world, both in its original form and through the manifold national adaptations that sprang forth throughout the 2000s, making it the most successful telenovela in history. Although the phenomenon has attracted scholarly attention, the role of music in the trajectories and transformations of this telenovela has largely been overlooked. Yet the soundtrack design and music were fundamental elements at the core of Betty's successful worldwide circulation. The series’ soundtrack—its opening theme, source music, and popular songs—was mobilized in Yo soy Betty, la fea and in its manifold adaptations to habilitate the international circulation and local adaptation of the series, to address local audiences, to fashion the basic plot, to define the series’ aesthetics, and to adjust Betty's ugliness-otherness to the different sociocultural realities and media contexts in which it was produced and consumed. Popular songs also participated in the promotion and commercialization of the series while extending the telenovela's world beyond its televisual context.