EL PRINCIPAL MOTIVO DE ESCRIBIR ESTE LIBRO ES SENCILLAMENTE PARA LLAMAR LA ATENCION DEL AMABLE LECTOR EN CUANTO A LA CRUDA REALIDAD QUE A VIVIDO SIEMPRE NUESTRA AMERICA LATINA A TRAVEZ DE LOS SIGLOS. ES UNA HISTORIA DE SUFRIMIENTO, DE ATRAZO Y ABANDONO EN QUE HEMOS VIVIDO POR CULPA EN PARTE NUESTRA PERO MAS QUE TODO POR INFLUENCIAS Y PRESIONES EXTERIORES QUE NO HEMOS QUERIDO O NO HEMOS SABIDO RECHAZAR. ESTE LIBRO PUES, ES UNA MIRADA GENERAL A TRAVEZ DE LOS 500 ANOS DE EXISTENCIA COMO PUEBLOS CIVILIZADOS DESDE LA CONQUISTA, EPOCA COLONIAL HASTA NUESTROS DIAS. ES UNA PEQUENA EVALUACION DEL DESENVOLVIMIENTO CULTURAL,SOCIAL, POLITICO Y RELIGIOSO DE NUESTROS PUEBLOS AMERICANOS. ESPERO QUE EL AMABLE LECTOR AL TRMINAR SU LECTURA O DURANTE LA MISMA, ME DISPENSE SU ATENCION Y REFLECCIONE S UN POCO Y PIENSE SI TENGO O NO RAZON. MUCHAS GRACIAS POR SU AMABLE ATENCION. EL AUTOR
This volume contains articles on topics within a variety of disciplines: political philosophy, ethics, history of philosophy, formal logic, philosophy of science and technology, as well as philosophical interpretation of literature. It is relevant to philosophers and researchers in these disciplines. It addresses the question of a genuine Latin American local, national and continental cultural identity being a challenge to philosophy.
An intra-ethnic study of Latina/o fiction written in the United States from the early 1990s to the present, Forms of Dictatorship examines novels that depict the historical reality of dictatorship and exploit dictatorship as a literary trope. This literature constitutes a new sub-genre of Latina/o fiction, which the author calls the Latina/o dictatorship novel. The book illuminates Latina/os' central contributions to the literary history of the dictatorship novel by analyzing how Latina/o writers with national origin roots in the Caribbean, Mexico, and Central and South America imaginatively represent authoritarianism. The novels collectively generate what Harford Vargas terms a "Latina/o counter-dictatorial imaginary" that positions authoritarianism on a continuum of domination alongside imperialism, white supremacy, heteropatriarchy, neoliberalism, and border militarization. Focusing on novels by writers such as Junot D az, H ctor Tobar, Cristina Garc a, Salvador Plascencia, and Francisco Goldman, the book reveals how Latina/o dictatorship novels foreground more ubiquitous modes of oppression to indict Latin American dictatorships, U.S. imperialism, and structural discrimination in the U.S., as well as repressive hierarchies of power in general. Harford Vargas simultaneously utilizes formalist analysis to investigate how Latina/o writers mobilize the genre of the novel and formal techniques such as footnotes, focalization, emplotment, and metafiction to depict dictatorial structures and relations. In building on narrative theories of character, plot, temporality, and perspective, Harford Vargas explores how the Latina/o dictatorship novel stages power dynamics. Forms of Dictatorship thus queries the relationship between different forms of power and the power of narrative form --- that is, between various instantiations of repressive power structures and the ways in which different narrative structures can reproduce and resist repressive power.
Diasporic Marvellous Realism highlights the interesting switch in perspective found in contemporary literary production where the supernatural is regarded from a diasporic perspective as marvellous rather than magical. The titular term is applied to the influence of transterritorialization on the works of first- and second generation immigrant writers when approaching and exploring the myths and legends of their culture of origin. The texts included in this analysis show that the employment of this literary philosophy and narrative technique in contemporary literature involves a fruitful refocusing of the rhetorical gaze regarding the importance of cultural heritage as vindicatory resistance to the lacunae of history and as celebratory re-enfranchisement of diasporic communities in host countries such as Canada and the UK.
Interpretaciones: Experimental Criticism and the Metrics of Latin American Literature examines readers' reactions to short texts during crucial moments of the reading experience. These readers are students at universities in the US and several Spanish-speaking countries. Far from reducing the reading experience to a series of numbers, the data-driven approaches in the study instead underline the startling complexity and elusiveness of seemingly basic literary processes and concepts, including those pertaining to authorship, titles, conclusions, and so on. Simultaneously, Interpretaciones suggests alternative methodologies for gaining new and unexpected knowledge about literary texts themselves, whether from Latin America or elsewhere. Interpretaciones is an ambitious, interdisciplinary project geared toward those interested in literary theory, Latin American and Caribbean literature, and the nexus between literature and science.
"The one source that sets reference collections on Latin American studies apart from all other geographic areas of the world.... The Handbook has provided scholars interested in Latin America with a bibliographical source of a quality unavailable to scholars in most other branches of area studies." —Latin American Research Review Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon, of the Library of Congress Hispanic Division, has been the editor since 2000, and Katherine D. McCann has been assistant editor since 1999. The subject categories for Volume 60 are as follows: Art History (including ethnohistory) Literature (including translations from the Spanish and Portuguese) Music Philosophy: Latin American Thought
Rosman persuasively demonstrates how they explore ways of being in common - the communal relation - when the notion of a common being - a totalized conception of community - is shown to be untenable. In doing so she incorporates and looks beyond her predecessors theoretical resources to urgent contemporary preoccupations with how to imagine identity in a "post-national" moment."--Jacket.
This new in paperback edition of World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This Encyclopedia is indispensable for anyone interested in the cultures of the Americas or in modern theatre. It is also an invaluable reference tool for students and scholars of a wide range of disciplines including history, performance studies, anthropology and cultural studies.
The second volume of the World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty-six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This is a unique volume in its own right; in conjunction with the other volumes in this series it forms a reference resource of unparalleled value.
