Yo Soy Research Articles

Beyond Violence: Toward Justice

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsKsenija BilbijaKsenija Bilbija is professor of Spanish American literature at the University of Wisconsin-Madison. Her books include Yo soy trampa: Ensayos sobre la obra de Luisa Valenzuela (2003), and as co-editor, The Art of Truth-Telling about Authoritarian Rule (2005), Akademia Cartonera: A Primer of Latin American Cartonera Publishers (2009), and Accounting for Violence: Marketing Memory in Latin America (2011).Marguerite FeitlowitzMarguerite Feitlowitz is the author of A Lexicon of Terror: Argentina and the Legacies of Torture (1998, New Edition 2011). Her translation of Salvador Novo's Pillar of Salt: An Autobiography with Nineteen Erotic Sonnets (2014) has just been published by the University of Texas Press. She has also edited and translated the work of Griselda Gambaro (Information for Foreigners and Other Plays), Angélica Gorodischer, and French playwright and poet Liliane Atlan. She is a professor of literature at Bennington College.

The Mystery of El Mortecina

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsDiana Varas RodríguezDiana Varas Rodríguez (Guayaquil, Ecuador, 1984) is a documentary filmmaker and writer. Her documentaries include A imagen y semejanza (2007), Reaparecidos (2010), and the short Los colgados (2011). She is currently working on another short documentary, Yo soy José.for Freddy Avilés

La imagen negada Mito e ideología en la imagen de la persona con VIH

This article examines some mythological and ideological elements related to the social and personal image of people who live with HIV (Human Immunodeficiency Virus), with reference to implications for film production as part of prevention programs for young people. The duality image/non-image represents an essential factor in the analysis of the relationship established between technological images, self-identity and myth conformation regarding HIV people, and consequently in the production of documentary films for the prevention of HIV. Our approach, mainly qualitative, is based on a series of testimonies of HIV people interviewed in El Salvador and Spain. The recorded material covers 27 interviews in audio and video formats of approximately 60 to 90 minutes each. This material was recorded initially for the film Yo soy positivo ?y tu?, a documentary planned to be part of a prevention program on HIV for the young population of the above mentioned countries. Our analysis is marked by a dual fact: the decision of the interviewed subjects to make visible or not their condition as a person living with HIV and the limitations this might have for appropriate audiovisual treatment of this issue. Consequently, our investigation focuses on this sign/ non- sign dilemma of a reality which struggles to become visible and is torn between science and myth.

“Yo soy indígena”: identifying and using traditional ecological knowledge (TEK) to make the teaching of science culturally responsive for Maya girls

This study examines how traditional ecological knowledge—TEK—can be identified and utilized to create culturally responsive science learning opportunities for Maya girls from a community in the Guatemalan highlands. Maya girls are situated in a complex socio-historical and political context rooted in racism and sexism. This study contextualizes the current situation of Maya women and girls in Guatemala and emphasizes the important need for educators to create science-learning opportunities that are culturally congruent. The author posits that when considering how to make the teaching and learning of science culturally responsive for Maya girls, educators must begin with the scientific knowledge inherent within Maya communities. Indigenous communities have a wealth of TEK that can be used to contextualize science curricula that can be purposely designed to meet the nuanced cultural needs of traditional Maya girls within and outside Guatemala.

Yo Soy Negro: Blackness in Peru By Tanya Golash-Boza University Press of Florida. 2011. 246 pages. $74.95 cloth, $21.95 paper

The winds have shifted in Latin America. Countries once assimilationist in rhetoric and practice, or hostile to ethnoracial particularism, are now embracing multiculturalism. The politics of difference, of recognition and the right to cultural specificity are center stage. Indeed, progress is tangible; many indigenous populations have gained some rights and recognition, especially in the last two decades. But what about Afro-descendents? How might they fare under Latin America's new multicultural citizenship regimes? This is one of the key issues Tanya Golash-Boza addresses in Yo Soy Negro: Blackness in Peru. She notes, alongside other scholars, that the possibility for progressive reform in Latin America's new multicultural contexts may favor communities perceived by state elites and publics as bearers of cultural specificity. That is, progress may hinge on claims associated with clearly delineated ethnic-group status as opposed to those based centrally on racial grievances. This is a problem, for blackness may not be typically viewed through the lens of communities of culture for state elites, the general public, or even for many of Latin America's Afro-descendent populations, as Golash-Boza finds.

Autorrepresentación en la obra de Torrente Ballester

On the occasion of the centenary of the birth of Gonzalo Torrente Ballester (1910-1999), this article explores his permanent search for new forms of literary self-representation. Throughout his career, the concern to capture life through fiction led Torrente away from the traditional paths of realism, to radical new conceptions of literary representation based on authenticity and subjectivity (as developed in Don Juan and Dafne y ensuenos). His increasing irrationalism resulted in an effort to re-think the limits of verisimilitude and the persuasive power of words. These experiments with truth and fiction are analysed as they appear in several of Torrente writings, especially Yo no soy yo, evidentemente, a parodical homage to Fernando Pessoa.

Raphael and Spanish Popular Song: A Master Entertainer and/or Music for Maids

Raphael and Spanish Popular Song: A Master Entertainer and/or Music for Maids1 Duncan Wheeler (bio) Raphael, a global multimedia superstar, began his professional singing career in 1960 and has subsequently taken the lead role in numerous cinematic star vehicles, hosted his own television shows and starred in the Spanish version of the Jekyll and Hyde stage musical. His initial rise to fame was inextricably linked with his ability to simultaneously embody tradition and modernity in his public persona, music and performance style. He remains a household name in Spain and his television specials on Christmas Eve have become as traditional and commented upon as the King’s address to the nation. Although Raphael is undeniably an institution at home, he is too contested a figure to acquire the status of a national treasure. In the words of Luz Sánchez-Mellado: Pruebe a decir estas frases en público. Yo soy aquél. Qué sabe nadie. En carne viva. Escándalo. Seguro que alguien las completa con una estrofa sepultada en su inconsciente. Como la magdalena de Proust. Como el perro de Pavlov. Cada una de las 300 canciones del repertorio de Raphael desencadena una respuesta automática en el imaginario de tres generaciones de españoles. Con su nombre pasa igual. ¿Raphael? “Un artistazo.” “Un histrión.” “Un facha.” “El precursor del glam.” “Una estrella.” “Amanerado.” “Único.” La reacción espontánea de un puñado de encuestados lo constata. Todos tienen una opinión sobre él. (52) [End Page 11] My intention in this article is to contextuy intention in this article is to contextualise and explain these complex and often contradictory responses which, I will argue, stem largely from the fact that Raphael embodies a form of commoditised mass culture which came to the fore in Spain during the 1960s when, in Tatjana Pavlović’s memorable phrase, the Franco “regime’s self-justification ceased to be metaphysical and became more frankly material” (1). It is designed to be read as a socio-historical companion piece to the first academic study dedicated to Raphael in which I locate him, both culturally and aesthetically, within the nascent field of Spanish popular music studies (Wheeler). Especially following his marriage to aristocrat Natalia Figueroa in 1972, Raphael had close personal and political ties with the Francoist elite and he provides a particularly blatant example of how celebrities courted and were courted by the dictatorial regime. In interviews as in his lyrics, he sought to avoid political commentary but, when pushed, he made his sentiments if not his words clear: ¿Si creo que existen aquí problemas políticos? ¡Ahí, sí que me has dado en la médula: de eso sí que no entiendo nada! Y no es pose: soy apolítico por completo, por completo. No sé qué es socialismo, no sé qué es . . . ¿qué más cosas hay? . . . pues comunismo . . . ¿qué más cosas hay?, hay más cosas . . . democracia y rinosincracia, ¡ja, ja, ja! Te juro que no entiendo nada. Ni siquiera sé lo que quieren decir estas palabras . . . Yo admiro y adoro con locura al Generalísimo Franco, le quiero muchísimo, con amor profundo. Me produjo un respeto imponente . . . Ahora, si de pronto, viene el rey Juan Carlos o . . . y viene él y se porta tal como Franco, para mí merecerá los mismos respetos, igual como se merecía mis respetos por lo bien que se ha portado con el pueblo americano Kennedy, ¿me entiendes? (Raphael cited in Porcel, “Raphael” 23) During the 1960s and early 1970s, this led many to assume that he was an opportunist whose fame would be transitory. Raphael is a fascinating case-study in that he helps contextualise the distrust of popular culture in the Spanish academy, an unsatisfactory state of affairs of which he is both a victim and perpetrator. An (in)conspicuous absence of scholarly attention is, I will suggest, symptomatic of a broader tendency characterised by Jo Labanyi in the following terms: “critical writing on modern Spanish culture, by largely limiting itself to the study of ‘high culture’ (even when the texts studied are non-canonical), has systematically made invisible—ghostly—whole areas of culture which are...

Manichaean Realism: Being the Baddie in Bolivian Films

The Bicentenary of the first coherent independence movements in Latin America has generally served political and ideological consolidation rather than aesthetic innovation. In film terms, this follows an established pattern – film portrayals of national heroes, whether those involved in independence movements or otherwise, have tended towards cinematic conservatism, whatever their content. This can even apply to usually innovative filmmakers: in Venezuela, Luis Alberto Lamata's Miranda regresa (Miranda Returns, 2007) and Diego Rísquez's Manuela Saenz (2001) are cases in point, offering less than stimulating interpretations of inherently inspirational protagonists. Much the same applies to Miguel Littín's Sandino (Chile/Spain/Cuba/Mexico/Nicaragua, 1990) which appeared shackled by the responsibility and expectation involved in portraying a figure synonymous with free Nicaragua. An exception was Jorge Ali Triana's Bolívar soy yo (Bolívar is Me; Colombia, 2002). But Triana's film is far from simply an institutional monument; it explores the revered Liberator's hold on the popular imagination, and thus the nature of foundational material itself. In Argentina, Sebastián Pivotto's Belgrano (Argentina, 2010) is a lively and perceptive portrayal that skilfully interweaves public and personal concerns.

Glocalized Telenovelas and National Identities

This article examines the globalization of the telenovela format in relation to issues of adaptation, proximities, and national identities. As a case study of glocalized telenovelas, it deals with the domestic adaptation of one of the most popular Latin American telenovelas, Yo soy Betty, la fea (1999-2001), into the “telenovelle” Sara (2007-2008), which takes place in a Belgian (more specifically Flemish) context. Therefore, this article specifically asks how Flemish identities are represented through the production process of Sara. While examining the international flow of telenovelas and the cross-cultural adaptation of the telenovela format, this case study considers an additional geopolitical and cultural context, as well as confronts and combines thematic textual analysis with expert interviews. Considering the successful export of “canned” telenovelas and the adaptation of this format within the framework of national identity and identification, this article deals with the emergence of the telenovelle as a local genre that is inspired by, and modifies, the original Latin American format.

Traveling style: Aesthetic differences and similarities in national adaptations of Yo soy Betty, la fea

The global television landscape in the first decade of the 21st century is a complex terrain of contradictory developments and trends. Since the early years of television the United States has been the most important exporter of TV series, TV serials and game shows. But nowadays times have changed. Admittedly the USA is still the leading nation in selling TV fiction all over the world, but since the deregulation of the TV market in Western Europe in the 1990s Great Britain and the Netherlands are the leading exporters of non-fiction formats like reality shows, Australia sells its soap operas all over the world and Latin American countries are important exporters of telenovelas. At the beginning of the 21st century the Colombian telenovela Yo soy Betty, la fea made its way around the world. Several countries bought the rights to produce a local adaptation of the format. For example ABC produced Ugly Betty in the United States, the German channel Sat.1 produced Verliebt in Berlin, and there is a Russian adaptation Ne Rodis’ Krasivoy. This article compares several local adaptations of the telenovela: the Colombian original and the adaptations in Germany, Russia, Spain and the USA. It looks at the dramaturgical and narrative proximities and differences of the adaptations and focuses on the textual conditions of international success.

Cultural translation, global television studies, and the circulation of telenovelas in the United States

‘Cultural translation’ is a metaphor whose currency is increasing in the broad field of cultural studies, but it has largely been neglected in narrower field of television studies. This article brings cultural translation to television studies by proposing an approach to describe how the industrial logics that govern the global circulation of programs also shape them as texts. It then uses this approach to explain the circulation of telenovelas in the English-language market in the United States, paying special attention to Ugly Betty, adapted from the Colombian program Yo soy Betty, la fea.

Reflexividad y política en Bolívar soy yo de Jorge Alí Triana

The present study reveals how the film Bolívar soy yo provides a fictional space in which the implied author's frustrated desire for justice in Colombia is unburdened. Both the social and aesthetic utopian impulses converge in a singular utopian project that largely rejects the desolation and chaos in contemporary Colombian society. Ultimately, this study unveils an implied author that opposes ruling class interests, even though the film generally fails to fully depict the real socioeconomic causes behind today's conflicts. Likewise, Jorge Alí Triana's film repeatedly foregrounds the idea of “madness,” an ideologeme that effectively de-materializes contemporary struggles while avoiding a comprehensive explanation of the injustice and war that afflict the majority of Colombians. Thus, Triana resorts to a parodic representation of Simon Bolívar to express his concern for Colombia's societal problems and ongoing internal war. The present study critically addresses the representation of this historical figure, as well as the film's use of metafiction and intertextuality, so as to interrogate current events in Colombia. As historiographic metafiction, the film foregrounds its historical and sociopolitical basis, as well as its self-reflexivity.

Editorial

Editorial Christopher W. Lemelin (bio) Marcel Proust once wrote, "The real voyage of discovery consists not in seeking new landscapes but in having new eyes." Certainly, discovering a poet for the first time gives the reader new eyes with which to see the world, and this new perspective is always exciting. This issue of Sirena provided me such a discovery: Cora Coralina. Coralina (pseudonym of Ana Lins dos Guimarães Peixoto Brêtas) was born in the city of Goiás in Brazil in 1889. Though she was poorly educated, she began writing poetry at the age of 14. Still her first book, Poems from the Alleys of Goiás and Other Stories, was published more than sixty years later, in 1965. Though there is little information available on Coralina in English, what I have read points to a fascinating and unusual life. It is her poems, however, that provide a better window onto Cora Coralina's life. Many of the poems included here focus on the reality of Coralina's world-her hometown of Goiás, stones in the landscape, hands roughened by daily work, the harvest, sowing-soberly presenting the everyday in direct, expressive images. Yet Carolina transforms these images into marks of achievement, hope, sorrow and joy: "I am the stem of these ordinary vines," she writes, "sprung from the cracks between the stones. Wild. Stubborn. Indomitable. Cut. Sliced. Abused. Trodden down. And coming back to life again." Her work also points to the craft of poetry, which hews meaning from the world; she has "lifted up the rough-hewn stone" of her poetry from the stony landscape around her. In her poetry, Coralina strove to discover the meaning in her everyday world, and the poetic laboratory is as fertile a location for discovery as any. As Northrop Frye once noted, "Just as a new scientific discovery manifests something that was already latent in the order of nature,… so the new poem manifests something that was already latent in the order of words." Coralina's poetry provides just that kind of discovery, making the universal out of the everyday. In addition to the sizable section of Cora Coralina's poetry, Sirena is proud to publish an article on Coralina's poetry by well-known Coralina scholar Darcy França Denófrio. Finally, this issue of Sirena also includes poetry of Steve Gehrke, Utz Rachowski, and Alexei Tsvetkov, all of whom participated in last fall's Semana poética at Dickinson College. The art in this issue is by Massimiliano Tommaso Rezza, whose intriguing photograph graced the cover of Sirena 2007:1. I hope that our readers will find many discoveries of their own in these pages. [End Page 6] Editorial Christopher W. Lemelin (bio) Marcel Proust una vez escribió, "El viaje auténtico de descubrimiento consiste no en buscar nuevos paisajes sino en tener nuevos ojos" Ciertamente, descubrir un poeta por la premiera vez da al lector nuevos ojos con los cuales a ver el mundo, y esta nueva perspectiva es siempre emocionante. Este número de Sirena me proporcionó tal descubrimiento: Cora Coralina. Coralina (el pseudónimo de Ana Lins dos Guimarães Peixoto Brêtas) nació en la ciudad de Goiás en Brasil en 1889. Aunque no tuve educación avanzada, empezó a escribir la poesía a la edad de 14 años. No obstante, su premiero libro, Poemas dos Becos de Goiás e Estórias Mais, fue publicado más de 60 años después, en 1965. Aunque hay poco información sobre Cora Coralina en inglés, lo que he leído indica una vida fascinante y original. Es sus poems, sin embargo, que le proporcionan una mejor ventana en la vida de Cora Coralina. Muchos de los poemas incluidos aquí se enfocan en la realidad del mundo de Coralina-su ciudad de Goiás, piedras en el paisaje, las manos ásperas de trabajo, la cosecha, la época de la siembra-sobriemente presentando la vida cotidiana en las imagenes directas y expresivas. Pero Carolina transforma estas imagenes en las marcas de éxito, de esperanza, de pena, y de alegría. "Yo soy el tallo de esas enredaderas sin clase...

Sangre, intriga y materialismo dialéctico: notas sobre el teatro policiaco y de contraespionaje cubano

This essay intends to offer a first approach to some works that have been rarely taken into account by literary criticism: Cuban crime and contraspying theatre. These texts were mainly produced in the 70s and early 80s due to the success of the novels dealing with the same topics. They clearly show the link between literature and ideology that was the core of the an important part of Cuban cultural production of the period. Some plays are specially dealt with Ha muerto una mujer, Ernesto y Aqui del G-2 soy yo by Gerardo Fernandez Garcia and Crimen en Noche de mascaras , by Antonio Veloso y Rodolfo Perez Valero.

The clientelization of ethnicity: party hegemony and indigenous political subjectivities

Click to increase image sizeClick to decrease image size Acknowledgements I presented an earlier version of this article in the 8th Argentinean Congress of Social Anthropology, held in Villa Giardino, Córdoba, in May 2004. I am grateful to Mariana Gómez and Ana Vivaldi for their careful, critical reading of an earlier draft, and to Lorena Cardin for reminding me that the paper at the Córdoba conference deserved to be published. Shaylih Muehlmann read and commented the final version and inspired some of the ideas discussed in this article in more ways than I can acknowledge in writing. Notes 1 One of the archetypical representatives of the twentieth century Latin American populism, Perón was president of Argentina in 1946–55 and 1973–74, when he died while in office. 2 Additionally, many aborígenes remember that it was in the first two governments of Juan Domingo Perón (1946–55) that they were finally recognized as citizens with full-rights and were granted the ID papers that symbolized such status. Yet in many parts of Formosa it was only in the late 1960s that the government implemented massive documentation campaigns in indigenous villages (Gordillo 2006a Gordillo, Gastón. 2006a. The Crucible of Citizenship: ID-paper Fetishism in the Argentinean Chaco. American Ethnologist, 33(2): 162–76. [Crossref], [Web of Science ®] , [Google Scholar], 2006b). 3 http://www.formosa.gov.ar/elecciones2007/resultados/index.php 4 The so-called ‘lemas law’ that exists in Formosa allows each party (‘lema’) to present several candidates in each election, which then compete among themselves for elective positions such as mayors, city councilors (concejales), and provincial legislators, even if they all formally belong in the same party. 5 The exceptions were brief moments in the late 1980s, when a prominent Toba leader was for a few years a member of the UCR, and in 1996, when in order to protest massive layoffs at the municipality many Toba men and women quit the PJ and joined the UCR. Shortly after, however, most of these people realigned themselves with the PJ, given the little weight of the UCR in the province (see Gordillo 2002 Gordillo, Gastón. 2002. Locations of Hegemony: The Making of Places in the Toba's Struggle for La Comuna, 1989–1999. American Anthropologist, 104(1): 262–77. [Crossref], [Web of Science ®] , [Google Scholar]). 6 In spite of this, patron-client relations are not restricted to electoral moments. These relations have a long-term continuity and also emerge in everyday practices through which ‘punteros’ grant their followers a wide spectrum of ‘favours’ (for instance, giving them a lift on their pick-up trucks, or taking them to the regional hospital) that are later on activated to demand political loyalty at the time of elections (see Gordillo 2002 Gordillo, Gastón. 2002. Locations of Hegemony: The Making of Places in the Toba's Struggle for La Comuna, 1989–1999. American Anthropologist, 104(1): 262–77. [Crossref], [Web of Science ®] , [Google Scholar], Iñigo Carrera 2001 Iñigo Carrera, Valeria. 2001. ‘Yo Soy Mercadería’: Producción de relaciones clientelares en un asentamiento de población indígena en la ciudad de Formosa. Tesis de Licenciatura en Ciencias Antropológicas, Universidad de Buenos Aires. [Google Scholar]).

Golpes Bajos/Low Blows: Instantáneas/Snapshots (review)

Reviewed by: Golpes Bajos/Low Blows: Instantáneas/Snapshots Charles Hatfield (bio) Alicia Borinsky , Golpes Bajos/Low Blows: Instantáneas/Snapshots. Trans. Cola Franzen with the author. Foreword by Michael Wood. (University of Wisconsin Press, 2007), 195 pp. Alicia Borinsky's Golpes Bajos/Low Blows: Instantáneas/Snapshots is a tour de force. First published in Spanish in Argentina in 1999, Low Blows is now available to English-language readers in a beautiful bilingual edition, translated by Cola Franzen in collaboration with the author, with a new Foreword by Michael Wood. Borinsky, an Argentine poet, novelist, and professor of Latin American literature at Boston University, has already established a following among readers of English for her novels Mean Woman (Nebraska, 1993), Dreams of the Abandoned Seducer (Nebraska, 1998), and All Night Movie (Northwestern, 2002). The translations are the product of a collaboration between the author and Cambridge-based translator Cola Franzen, who has developed a distinguished reputation for her translations of Spanish and Latin American writers such as Claudio Guillén, Saúl Yurkievich, and Juan Cameron. Franzen, a recipient of PEN's Gregory Kolovakos Award for her translations, has long been Borinsky's co-translator, and since the early 1990s they have produced English versions of three of Borinsky's novels. Franzen's keen understanding of Borinsky's styles and themes (already evident in her highly perceptive introduction to Mean Woman in 1993) has surely helped make possible her excellent translations of Low Blows —translations which deliberately oscillate between trying to reproduce the original and playfully riffing on it. [End Page 503] In the Prologue to Low Blows, Borinsky explains that she and Franzen worked to produce "a language as easy and flowing as the Spanish original," which means that they sometimes chose to leave aside "the most obvious and literal translation" in favor of an English text that creates some of the "same effects." In a book that plays so heavily off colloquial Spanish, literal translation would hardly ever have been an option. Franzen's gifts as a translator are on full display throughout this book as she renders expressions such as "en casa de herrero, cuchillo de palo" (literally: "in a blacksmith's house, a wooden knife") as "que será, sera" for the title of a story about a fortune-teller who can't predict whether or not she will have a job next year. But rather than striving on the whole to produce a fluent, invisible, or domesticated translation, Borinsky and Franzen took advantage of the opportunity of a bilingual edition to explore "what lies in between languages," and Borinsky in her Prologue invites readers who speak both Spanish and English to approach the bilingual edition of Low Blows as a Spanish-English "hide-and-seek." Low Blows is a collection of 88 "snapshots"—short, sometimes darkly ironic, and often highly amusing satirical prose pieces about next-door neighbors, lovers, diets, jealousy, and television in an unnamed city in an unnamed country. At first the object of Borinsky's satire seems to be worn-out language and cliché, and expressions ranging from "you never know when you'll need a favor" to "Shipping Included" are the victims of Borinsky's (sometimes painfully) hilarious prose. A piece with the title "irreconcilable differences" tells the story of a "mandarin" stalking a washerwoman who secretly wanted to "caress his pointy, straight, and shiny black goatee" but feared that "he would ask her to wash his kimono and as we all know silk must be dry-cleaned." A piece titled "Mismatch" is about a woman who perfects her Italian only to weep when she discovers that her lover only likes to sing arias in German; and "love that kills" is a story about a masochist begging her lover, who is a whip-maker by trade, to give it to her just a little bit "harder please." And what is without doubt one of the most familiar lines from Latin American literature, Martí's "yo soy un hombre sincero" (literally: "I'm an honest man") turns out to be the title to a story about a man whose honesty leads him to ask his girlfriend to wipe his ass ("it wasn...

Contemporary Latin American cinema: breaking into the global market

Introduction: Latin Amercan Cinema Today: A Qualified Success Story Chapter 1: Los diarios de motocicleta as Pan-American Travelogue Chapter 2: So What's Mexico Really Like?: Framing the Local, Negotiating the Global in Alfonso Cuaron's Y tu mama tambien Chapter 3: Cidade de Deus: Challenges to Hollywood, Steps to The Constant Gardener Chapter 4: Playing Hollywood at Its Own Game? Bielinski's Nueve reinas Chapter 5: Afro-Brazilian Identity, Malandragem and Homosexuality in Madame Sata Chapter 6: Family Romance and Pathetic Rhetoric in Marcelo Pineyro's Kamchatka Chapter 7: Soapsuds and Histrionics: Media, History, and Nation in Bolivar soy yo Chapter 8: Killing Time in Cuba: Juan Carlos Tabio's Lista de espera Chapter 9: The Power of Looking: Politics and the Gaze in Salvador Carrasco's La Otra Conquista Chapter 10: Peruvian Cinema and the Struggle for International Recognition: Case Study on El Destino no tiene favoritos

Yo Soy Dominicano: Hegemony and Resistance through Baseball

Yo Soy Dominicano: Hegemony and Resistance through Baseball

La traducción del arte: una operación de mediación intercultural "estéticamente" condicionada

Resumen: Este trabajo forma parte de la investigación traductológica que han realizado los autores sobre un catálogo de arte con ocasión de la exposición Man Ray: Yo soy un enigma. El objeto del mismo es, más que hacer un comentario, reflexionar sobre la teoría de la traducción en el ámbito especializado del arte. Éste, es entendido como una manifestación cultural que debe interpretarse desde los supuestos inherentes a la propia especificidad del tema. Ofrecemos algunos ejemplos que obraban en dicho catálogo.

Disrupting the Dichotomy: “Yo Soy Chicana /o?” in the New Latina /o South

Click to increase image sizeClick to decrease image size Notes 1 A Chicana identity is grounded in the belief that we are neither Mexican nor American, but rather exist in a third space. Furthermore, Chicanas/os recognize the Southwest, the land seized by the United States through the Treaty of Guadalupe Hidalgo as the Chicana/o homeland Aztlán. For a history of Chicana/o presence in the United States please see F. Arturo Rosales Chicano!: The History of the Mexican American Civil Rights Movement. 2 Aztlán, the symbolic and real homeland of Chicanas/os the American Southwest, includes those states and lands seized by the United States government after the 1848 Treaty of Guadalupe Hidalgo. 3 Malintzin Tenépal is most often recognized as Hernan Cortés’ translator and love during his conquest of Mexico. Despite Chicana feminist revisions of this narrative, she is still often referred to as La Malinche, a traitor. 4 Usually translated as “environment” or “setting.” 5 My use of the term authenticity is self-reflexive and aware of its social constructedness as well as its use as mythology. In this project authenticity represents the desired difference that continues to remain as a space of lack. Thus, the search or desire for authenticity becomes a performative process that is in itself a marker of difference. 6 In this transcription I use italics to mark points of emphasis in his words and capitalization to mark changes in volume and tone. 7 Derogatory term used by Mexicans to label assimilated Mexican Americans or Chicanas/os. 8 An annual festival celebrating the Latina/o communities in North Carolina. 9 Witch, or in his case, warlock. 10 A common rhetorical strategy employed by Latina/o activists.