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Revista Journal of Iberian and Latin American Studies

Journal of Latin American Cultural Studies

Revista Journal of Latin American Studies

Año: 2014 vol. 23 n. 1

Passmore, Leith. Force-feeding and Mapuche Autonomy: Performing collective rights in individual prison cells in Chile.  / Alimentación por la fuerza y autonomía mapuche: aplicación de derechos colectivos en celdas individuales en Chile p. 1-16 Chile


In August 2010, the decision was taken to feed thirty-two Mapuche prisoners spread throughout prisons in Chile's southern regions intravenously and against their will. Imprisoned Mapuche activists had in the years previous turned to the hunger strike to protest their conviction under anti-terror legislation and the conditions of their incarceration, and the Chilean government eventually responded by force-feeding or threatening to force-feed starving inmates. This paper examines the performativity of the confrontation between prisoners refusing food and the authorities seeking to feed them against their expressed wishes. It analyzes how the strategy of self-starvation and the debate about the hunger strikers' right to make choices about their own bodies enabled starving prisoners to embody the broader struggle for Mapuche autonomy. The distinction between the individual and the collective eroded as the debate moved between, and overlapped, international conventions on the ethical treatment of prisoners and the rights of indigenous peoples. As a result, the collective struggle of the Mapuche people was performed in individual prisons cells, as the Chilean penal system emerged as an important new front line in a centuries-old conflict.

Gundermann, Christian. The New Cinema Going to the Dogs? The Encounter with Animal Otherness in the Film "El aura".  / ¿El nuevo cine se echa a los perros? El encuentro con la alteridad animal en la película "El aura" p. 17-31 Argentina


This paper explores the topic of animal alterity in Argentinian cinema in general, but primarily in Fabián Bielinsky's El aura. Through one of its much overlooked main characters, a wolfish dog, and her relationship with the human protagonist, this thriller develops a dialogue with the excluded and repressed visual subject status of animals. Historicizing this visual paradigm as originating in Renaissance perspectivism, and theorizing it alongside the gendered category of castration anxiety and the representation of women as to-be-looked-at-ness in film, this essay proposes that El aura reworks these traditions and comes to an innovative, even radical, conclusion about the possibilities of the human in relation to other, non-human forms of subjectivity. The dog fills the gap, and alters the parameters, of the missing femme fatale, if we read the film as pertaining to the noir (or neo-noir) genre. In its treatment of the relationship between the canine and human protagonists, it also reorients the viewer, thematically as much as esthetically, with regards to hegemonic binary categories such as active/passive, good/evil, predator/prey, and strong/weak. This article engages centrally with recent scholarship on human-animal relations.

Geraghty, Niall. Ema is by Nature a Political Animal: Politics and Capitalism in César Aira's Ema, la cautiva.  / Ema es por naturaleza un animal político: política y capitalismo en Ema, la cautiva de César Aira p. 33-50 Argentina


Where much research focuses on comic and playful elements in César Aira's work, or on the forms of Aira's literature and its relationship with Argentine or Latin American literary tradition, this paper constructs a political reading of Aira's novel Ema, la cautiva. I consider the historical circumstances of the periods in which Aira set and published his novel (immediately prior to the culminating episode in the Conquest of the Desert in 1879 and during the military government of 1976–1983 when references to the Conquest of the Desert were utilised to justify the ‘dirty war’) to argue that, although Aira's ironic mode of writing makes the development of parallels between historical periods fraught with difficulty, the novel contains a latent critique of the military government, of the dirty war and of Peronist economic policies prior to the coup of 1976. Additionally, I argue that Ema, la cautiva contains a political critique of the arguments for the capitalist system at its inception and that the novel can be read together with the work of Deleuze and Guattari to explore the development of capitalism and expose the apparent freedoms gained through it as allusive and as substitutes for a new type of subjection.

Driver, Alice Laurel. Más o Menos Muerto: Bare Life in Roberto Bolaño's 2666.  / Más o Menos Muerto: vida al descubierto en 2666 de Roberto Bolaño p. 51-64 Chile


This article explores Chilean Roberto Bolaño's novel 2666 (2004) with a focus on the significance of what Giorgio Agamben describes as ‘bare life.’ In the novel, Bolaño employs Pedro Páramo as a metaphor to talk about feminicide and violence against women in Santa Teresa, the fictional Ciudad Juárez, Mexico. The victims of violence in Santa Teresa in 2666 are described as ‘más o menos muerto,’ a condition that points to the way in which disappeared and misidentified bodies are forced into eternal anonymity and denied even the right of death. Whereas the dead in Pedro Páramo are denied the rights of citizenship in life, those in 2666 face a denial of rights that extends from life into death, leaving them with nothing, not even their names. In 2666, the physical violence is preceded by what Juárez photojournalist Julián Cardona describes as ‘economic violence.’

Astley, Tom. Remembrance as a Tool for Reflecting a National Identity: A Cuban Punk Approach.  / El recuerdo como una herramienta de reflexión de la identidad nacional: un enfoque punk cubano p. 65-86 Cuba


This paper takes several examples from the work of one Cuban punk band – Porno Para Ricardo – to assess the use of memory as a tool for reflecting fragments of a national identity which is both quotidian and contemporary. This singular case study is chosen not for their pertinence within Cuban culture, or even within Cuban alternative music, but rather as an exemplar of the assertion that popular music, rather than changing identities, often reflects aspects of identity and how they manifest in the everyday. Porno Para Ricardo are one such point of reflection. However, their remembrances often stray into areas too traumatic or politically admonished to be ‘remembered’ as part of a more rigid revolutionary history. By remembering the cultural (and thus, vicariously, the political) legacy of the Soviet Union within Cuba, and by re-personalising (or personifying) the traumas of mass generational exodus experiences in the early 90s, Porno Para Ricardo both augment the space of collective Cuban memory, and thus identity, but also attempt to reconnect the slabs of Cuban history often cleaved into evental epochs after which a ‘new way of being’ is constructed, as a means to better make sense of, and better reflect, contemporary Cuban identity.

Laguna, Albert Sergio. Cuban Miami on the Air: Narratives of Cubanía.  / Miami cubano en el aire: narrativas de la cubanidad p. 87-110 Cuba


Radio has been a fundamental aspect of Cuban culture on and off the island since the first broadcast in Havana in 1922. When Cubans fled the island after the revolution of 1959 for the USA, particularly Miami, radio quickly became a vital medium for navigating a new country and for consolidating a Cuban exile identity. Politically, radio in Miami has been an effective means for articulating hardline exile politics. But with generational turnover and increasingly moderate stances on Cuba by more recent arrivals and US-born Cuban Americans, how is radio changing? How are narratives of what constitutes cubanía – Cubanness – shifting in an increasingly diverse Cuban Miami? This article takes up these questions through an examination of an immensely popular morning program that aired in 2009 in southern Florida called the Enrique y Joe Show. I examine how the Enrique y Joe Show, produced and performed by US-born Cuban Americans, utilized a form of irreverent Cuban humor called choteo to represent and satirize the hardline Cuban exile politics that have been dominant on Miami's radio waves for decades. Ultimately, their performances deploy choteo to articulate Cuban American identity divorced from a particular political orthodoxy. The coda reflects on changes in Miami's radio landscape since 2009.

Journal of Latin American Cultural Studies
Papel | Versión digital con suscripción | Trimestral (desde 2011) | Reino Unido Journal of Latin American Cultural Studies. Travesia
ISSN versión papel: 1356-9325
ISSN versión digital: 1469-9575
Año de creación: 1992

Editor: Routledge (Taylor and Francis Group)

Publica artículos sobre la historia y la análisis de la cultura latinoamericana así como sobre el desarrollo de teorías y de métodos a fines de estudiar las costumbres latinoamericanas. Los artículos multi diciplinarios que contribuyen a dar sentido a una área de investigación y de debate están particularmente bienvenidos así como las disciplinas de cierto interés tales como la antropología, la comunicación, la historia y la literatura.

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Sistema Regional de Información en Línea para Revistas Científicas de América Latina, el Caribe, España y Portugal. Recurso creado por una red internacional que reune y difunde información bibliográfica sobre las publicaciones científicas seriadas producidas en la región. El "Directorio" recoge las publicaciones académicas y científicas que superan un nivel mínimo de calidad editorial, mientras que en el "Catálogo" ingresan aquellas que alcanzan un nivel óptimo en los criterios de evaluación. REDIAL colabora suministrando información sobre las revistas latinoamericanistas europeas.

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