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Literary Studies (Brandeis University)<br />Professor of Latin American Literature and Cultural Studies.<br />Areas of Research: Sound Studies ( in Contemporary Hispanic Literature and Film),  Poverty Studies, Humor and Irony in Women's Fiction<br />Editor, Revista de Estudios de Género y Sexualidades (2015- 2019)<br />Teaches courses in Translation for the Professions<br />SEE PUBLICATIONS UNDER CV<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><h3 class="ds2-5-heading-sans-serif-xs">Related Authors</h3></div><ul class="suggested-user-card-list" data-nosnippet="true"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a data-nosnippet="" href="https://usach.academia.edu/MacarenaLobos"><img class="profile-avatar u-positionAbsolute" alt="Macarena P . 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class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Books" data-toggle="tab" href="#books" role="tab" title="Books"><span>19</span> <span class="ds2-5-body-sm-bold">Books</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>101</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li 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class="profile--tab_heading_container">Books by Dianna C Niebylski</h3></div><div class="js-work-strip profile--work_container" data-work-id="106007540"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106007540/_IntroNiebylski_3_"><img alt="Research paper thumbnail of .IntroNiebylski (3)" class="work-thumbnail" src="https://attachments.academia-assets.com/105318741/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106007540/_IntroNiebylski_3_">.IntroNiebylski (3)</a></div><div class="wp-workCard_item"><span>Sergio Chejfec: Trayectorias de una escritura (Ed. D. Niebylski)</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Introducción de Dianna Niebylski </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="930ecd538e7182622ca650c889878e25" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105318741,"asset_id":106007540,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105318741/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106007540"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106007540"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106007540; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106007540]").text(description); $(".js-view-count[data-work-id=106007540]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106007540; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106007540']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "930ecd538e7182622ca650c889878e25" } } $('.js-work-strip[data-work-id=106007540]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106007540,"title":".IntroNiebylski (3)","translated_title":"","metadata":{"abstract":"Introducción de Dianna Niebylski ","publication_date":{"day":null,"month":null,"year":2012,"errors":{}},"publication_name":"Sergio Chejfec: Trayectorias de una escritura (Ed. 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La obra de Chejfec, extraña, solitaria, insistente, espera lectores dispuestos a prestar atención a una forma que comunica ficciones mínimas. La originalidad de Boca de lobo se sostiene en la argumentación. No se trata sólo de un argumento resumible en las líneas que la novela misma proporciona: "Yo había hecho un hijo, después habla despreciado a la madre. Esta madre era una mujer que, obrera y recién salida de la infancia había logrado, sin proponerlo, que yo adoptara su mundo como propio". 12 Sobre la línea de estos hechos sintetizados por el narrador, se teje otro sistema de razones. Sin recurrir a la representación realista, ni a la exacerbación expresionista, ni al costumbrismo, Chejfec presenta un argumento-hipótesis sobre la vida obrera, con dos anclajes: uno teórico y otro utópico. Desde un punto de vista teórico, Chejfec da vueltas alrededor de la noción de alienación. Su novela sostiene la idea marxista de que el trabajo fabril, en el capitalismo, excluye al obrero del producto de su trabajo y convierte sus percepciones en una captación cuantitativa y abstracta del mundo. Incorporados a la producción en gran escala, los obreros se vuelven indiferentes frente a las cualidades de la naturaleza y a los avatares más dramáticos de su propia vida, con los que guardan una distancia resignada. Boca de lobo presenta esto a través de su personaje principal, Delia, la obrera-niña, y de las observaciones del narrador, su amante: "Los paisajes o escenarios naturales no producían tensión emocional; ninguna fibra interior temblaba ante nada, natural o artificial. Al contrario, las</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d873b6aedf5ebceb8adbcc2384888d1e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105315941,"asset_id":106003922,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105315941/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106003922"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106003922"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106003922; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106003922]").text(description); $(".js-view-count[data-work-id=106003922]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106003922; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106003922']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d873b6aedf5ebceb8adbcc2384888d1e" } } $('.js-work-strip[data-work-id=106003922]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106003922,"title":"Chejfec JUNE 4 final draft","translated_title":"","metadata":{"grobid_abstract":"El amargo corazón del mundo: sobre Boca de lobo (2000) La última novela de Sergio Chejfec, Boca de lobo, acentúa los rasgos, personalísimos, de su literatura. 11 Los lectores que conocen a Chejfec sabrán qué esperar; registrarán las variaciones y los parecidos de este libro con las seis novelas anteriores, publicadas a lo largo de diez años. 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class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/73561996/RELEYENDO_POEMAS_HUMANOS_DESPOSESI%C3%93N_Y_LENGUAJE_EN_EL_EXILIO"><img alt="Research paper thumbnail of RELEYENDO POEMAS HUMANOS: DESPOSESIÓN Y LENGUAJE EN EL EXILIO" class="work-thumbnail" src="https://attachments.academia-assets.com/82035744/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/73561996/RELEYENDO_POEMAS_HUMANOS_DESPOSESI%C3%93N_Y_LENGUAJE_EN_EL_EXILIO">RELEYENDO POEMAS HUMANOS: DESPOSESIÓN Y LENGUAJE EN EL EXILIO</a></div><div class="wp-workCard_item"><span>Hispanic Poetry Review Vol 3, No 1, pp. 1-15</span><span>, 2004</span></div><div class="wp-workCard_item"><span 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data-click-track="profile-work-strip-authors" href="https://pfw.academia.edu/StephenButtes">Stephen Buttes</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indice/Index Pobreza y precariedad en el imaginario latinoamericano del siglo XXI (Poverty and Pr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indice/Index<br />Pobreza y precariedad en el imaginario latinoamericano del siglo XXI<br />(Poverty and Precarity in 21st Century Latin American Fiction and Film)<br />Volume edited by Stephen Buttes and Dianna Niebylski<br />Publisher: Cuarto Propio, 2017.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a 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Laughter and the Excessive Body. . .</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter discusses lethargy and wit as forms of resistance in Realidad Nacional desde la cama...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter discusses lethargy and wit as forms of resistance in Realidad Nacional desde la cama de Luisa Valenzuela</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a9b5bd45e554e874d62a7d205d62bada" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39979046,"asset_id":18295133,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39979046/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="18295133"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="18295133"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 18295133; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=18295133]").text(description); $(".js-view-count[data-work-id=18295133]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 18295133; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='18295133']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a9b5bd45e554e874d62a7d205d62bada" } } $('.js-work-strip[data-work-id=18295133]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":18295133,"title":"Book Chapter from Humoring Resistance - Realidad nacional desde la cama","translated_title":"","metadata":{"abstract":"This chapter discusses lethargy and wit as forms of resistance in Realidad Nacional desde la cama de Luisa Valenzuela","publication_date":{"day":null,"month":null,"year":2005,"errors":{}},"publication_name":"Humoring Resistance. 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Introducción</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Rosario Ferré, novelista, cuentista, poeta, ensayista y periodista, publica sus primeros artículo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Rosario Ferré, novelista, cuentista, poeta, ensayista y periodista, publica sus primeros artículos literarios y culturales en la revista Zona de carga y descarga en el año 1972. 1 Dos años antes, mientras cursaba estudios de posgrado en literatura en la Universidad de Puerto Rico, se celebró en Río Piedras el famoso coloquio organizado por dicha universidad con el motivo de discutir el estado de "Crisis y transformación de la literatura puertorriqueña" en esos momentos. 2 La convocatoria contó con la presencia de escritores puertorriqueños jóvenes (entre ellos Luis Rafael Sánchez), así como de historiadores literarios de renombre (Francisco Manrique Cabrera) y de.conocidos críticos literarios (Angel Rama y Arcadio Días Quiñones entre ellos). 3 La cuestión sobre la cual giraba la polémica del coloquio no era, en sí, novedosa: toda literatura nacional se ve obligada a repensar el conflicto entre tradición e innovación con cada nueva generación de escritores o artistas, y toda tradición literaria experimenta momentos de "crisis" y renovación. Lo que complicaba enormemente la discusión de dicho tema en las 1 Rosario Ferré, con su prima Olga Nolla, ayudó a fundar esta revista en 1971. Angel Rama, entonces su profesor en la Universidad de Río Piedras, sirvió de intelectual en los primeros años. 2 El debate fue publicado en varios números de la Revista Zona de carga y descarga, revista que también publicó y divulgó la obra de muchos escritores y poetas puertorriqueños jóvenes, entre ellos, Rosario Ferré. 3 Luis Rafael Sánchez, cuya novela más famosa es La guaracha del macho Camacho (1976), era de la opinión que la "crisis" de las letras puertorriqueñas se debía a las actitudes y estilos ultra-tradicionales de los escritores puertoriqueños de las generaciones anteriores (especialmente los de la generación de 1940). De parte de estos jóvenes escritores estaba el crítico uruguayo Angel Rama quien, como noto antes, fue profesor de Rosario Ferré en la Universidad de Río Piedras. El debate del coloquio fue publicado en Zona de carga y descarga (1972)(1973)(1974)(1975).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="790a5d65728f9ba509be09029078934f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36713124,"asset_id":10964724,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36713124/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10964724"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10964724"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10964724; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10964724]").text(description); $(".js-view-count[data-work-id=10964724]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10964724; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10964724']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "790a5d65728f9ba509be09029078934f" } } $('.js-work-strip[data-work-id=10964724]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10964724,"title":"Rosario Ferré. 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=119649638]").text(description); $(".js-view-count[data-work-id=119649638]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 119649638; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='119649638']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-119649638-figures'); } }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2277459" id="books"><div class="js-work-strip profile--work_container" data-work-id="106007540"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106007540/_IntroNiebylski_3_"><img alt="Research paper thumbnail of .IntroNiebylski (3)" class="work-thumbnail" src="https://attachments.academia-assets.com/105318741/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106007540/_IntroNiebylski_3_">.IntroNiebylski (3)</a></div><div class="wp-workCard_item"><span>Sergio Chejfec: Trayectorias de una escritura (Ed. D. Niebylski)</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Introducción de Dianna Niebylski </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="930ecd538e7182622ca650c889878e25" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105318741,"asset_id":106007540,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105318741/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106007540"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106007540"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106007540; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106007540]").text(description); $(".js-view-count[data-work-id=106007540]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106007540; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106007540']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "930ecd538e7182622ca650c889878e25" } } $('.js-work-strip[data-work-id=106007540]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106007540,"title":".IntroNiebylski (3)","translated_title":"","metadata":{"abstract":"Introducción de Dianna Niebylski ","publication_date":{"day":null,"month":null,"year":2012,"errors":{}},"publication_name":"Sergio Chejfec: Trayectorias de una escritura (Ed. 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La obra de Chejfec, extraña, solitaria, insistente, espera lectores dispuestos a prestar atención a una forma que comunica ficciones mínimas. La originalidad de Boca de lobo se sostiene en la argumentación. No se trata sólo de un argumento resumible en las líneas que la novela misma proporciona: "Yo había hecho un hijo, después habla despreciado a la madre. Esta madre era una mujer que, obrera y recién salida de la infancia había logrado, sin proponerlo, que yo adoptara su mundo como propio". 12 Sobre la línea de estos hechos sintetizados por el narrador, se teje otro sistema de razones. Sin recurrir a la representación realista, ni a la exacerbación expresionista, ni al costumbrismo, Chejfec presenta un argumento-hipótesis sobre la vida obrera, con dos anclajes: uno teórico y otro utópico. Desde un punto de vista teórico, Chejfec da vueltas alrededor de la noción de alienación. Su novela sostiene la idea marxista de que el trabajo fabril, en el capitalismo, excluye al obrero del producto de su trabajo y convierte sus percepciones en una captación cuantitativa y abstracta del mundo. Incorporados a la producción en gran escala, los obreros se vuelven indiferentes frente a las cualidades de la naturaleza y a los avatares más dramáticos de su propia vida, con los que guardan una distancia resignada. Boca de lobo presenta esto a través de su personaje principal, Delia, la obrera-niña, y de las observaciones del narrador, su amante: "Los paisajes o escenarios naturales no producían tensión emocional; ninguna fibra interior temblaba ante nada, natural o artificial. Al contrario, las</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d873b6aedf5ebceb8adbcc2384888d1e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105315941,"asset_id":106003922,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105315941/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106003922"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106003922"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106003922; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106003922]").text(description); $(".js-view-count[data-work-id=106003922]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106003922; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106003922']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d873b6aedf5ebceb8adbcc2384888d1e" } } $('.js-work-strip[data-work-id=106003922]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106003922,"title":"Chejfec JUNE 4 final draft","translated_title":"","metadata":{"grobid_abstract":"El amargo corazón del mundo: sobre Boca de lobo (2000) La última novela de Sergio Chejfec, Boca de lobo, acentúa los rasgos, personalísimos, de su literatura. 11 Los lectores que conocen a Chejfec sabrán qué esperar; registrarán las variaciones y los parecidos de este libro con las seis novelas anteriores, publicadas a lo largo de diez años. 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class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/73561996/RELEYENDO_POEMAS_HUMANOS_DESPOSESI%C3%93N_Y_LENGUAJE_EN_EL_EXILIO"><img alt="Research paper thumbnail of RELEYENDO POEMAS HUMANOS: DESPOSESIÓN Y LENGUAJE EN EL EXILIO" class="work-thumbnail" src="https://attachments.academia-assets.com/82035744/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/73561996/RELEYENDO_POEMAS_HUMANOS_DESPOSESI%C3%93N_Y_LENGUAJE_EN_EL_EXILIO">RELEYENDO POEMAS HUMANOS: DESPOSESIÓN Y LENGUAJE EN EL EXILIO</a></div><div class="wp-workCard_item"><span>Hispanic Poetry Review Vol 3, No 1, pp. 1-15</span><span>, 2004</span></div><div class="wp-workCard_item"><span 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data-click-track="profile-work-strip-authors" href="https://pfw.academia.edu/StephenButtes">Stephen Buttes</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indice/Index Pobreza y precariedad en el imaginario latinoamericano del siglo XXI (Poverty and Pr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indice/Index<br />Pobreza y precariedad en el imaginario latinoamericano del siglo XXI<br />(Poverty and Precarity in 21st Century Latin American Fiction and Film)<br />Volume edited by Stephen Buttes and Dianna Niebylski<br />Publisher: Cuarto Propio, 2017.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a 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Laughter and the Excessive Body. . .</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter discusses lethargy and wit as forms of resistance in Realidad Nacional desde la cama...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter discusses lethargy and wit as forms of resistance in Realidad Nacional desde la cama de Luisa Valenzuela</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a9b5bd45e554e874d62a7d205d62bada" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39979046,"asset_id":18295133,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39979046/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="18295133"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="18295133"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 18295133; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=18295133]").text(description); $(".js-view-count[data-work-id=18295133]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 18295133; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='18295133']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a9b5bd45e554e874d62a7d205d62bada" } } $('.js-work-strip[data-work-id=18295133]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":18295133,"title":"Book Chapter from Humoring Resistance - Realidad nacional desde la cama","translated_title":"","metadata":{"abstract":"This chapter discusses lethargy and wit as forms of resistance in Realidad Nacional desde la cama de Luisa Valenzuela","publication_date":{"day":null,"month":null,"year":2005,"errors":{}},"publication_name":"Humoring Resistance. 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Introducción</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Rosario Ferré, novelista, cuentista, poeta, ensayista y periodista, publica sus primeros artículo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Rosario Ferré, novelista, cuentista, poeta, ensayista y periodista, publica sus primeros artículos literarios y culturales en la revista Zona de carga y descarga en el año 1972. 1 Dos años antes, mientras cursaba estudios de posgrado en literatura en la Universidad de Puerto Rico, se celebró en Río Piedras el famoso coloquio organizado por dicha universidad con el motivo de discutir el estado de "Crisis y transformación de la literatura puertorriqueña" en esos momentos. 2 La convocatoria contó con la presencia de escritores puertorriqueños jóvenes (entre ellos Luis Rafael Sánchez), así como de historiadores literarios de renombre (Francisco Manrique Cabrera) y de.conocidos críticos literarios (Angel Rama y Arcadio Días Quiñones entre ellos). 3 La cuestión sobre la cual giraba la polémica del coloquio no era, en sí, novedosa: toda literatura nacional se ve obligada a repensar el conflicto entre tradición e innovación con cada nueva generación de escritores o artistas, y toda tradición literaria experimenta momentos de "crisis" y renovación. Lo que complicaba enormemente la discusión de dicho tema en las 1 Rosario Ferré, con su prima Olga Nolla, ayudó a fundar esta revista en 1971. Angel Rama, entonces su profesor en la Universidad de Río Piedras, sirvió de intelectual en los primeros años. 2 El debate fue publicado en varios números de la Revista Zona de carga y descarga, revista que también publicó y divulgó la obra de muchos escritores y poetas puertorriqueños jóvenes, entre ellos, Rosario Ferré. 3 Luis Rafael Sánchez, cuya novela más famosa es La guaracha del macho Camacho (1976), era de la opinión que la "crisis" de las letras puertorriqueñas se debía a las actitudes y estilos ultra-tradicionales de los escritores puertoriqueños de las generaciones anteriores (especialmente los de la generación de 1940). De parte de estos jóvenes escritores estaba el crítico uruguayo Angel Rama quien, como noto antes, fue profesor de Rosario Ferré en la Universidad de Río Piedras. El debate del coloquio fue publicado en Zona de carga y descarga (1972)(1973)(1974)(1975).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="790a5d65728f9ba509be09029078934f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36713124,"asset_id":10964724,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36713124/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10964724"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10964724"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10964724; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10964724]").text(description); $(".js-view-count[data-work-id=10964724]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10964724; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10964724']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "790a5d65728f9ba509be09029078934f" } } $('.js-work-strip[data-work-id=10964724]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10964724,"title":"Rosario Ferré. 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Por una parte esta voz narrativa reproduce un registro verbal caracterizado por su excesiva-y banal-cordialidad; por otra, la misma voz se trastoca constantemente en insultos agresivos, vulgares y típicamente chilenos. Si bien cada viñeta se inicia con elogios y reconocimientos del aprecio mutuo entre los miembros del grupo, el temor al desempleo, la falta de alimentos, de agua y de luz resultan en la jerga obscena y furiosa en que decae este esfuerzo de solidaridad. Este contraste antagónico refleja la tensión entre lo que Rossana Reguillo ha llamado "la palabra blanca" y el habla de un sector obrero que ya no cree o no puede formar parte de un diálogo colectivo. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-115279714-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="115279713"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/115279713/P%C3%A1ginas_preliminares_Preliminary_pages"><img alt="Research paper thumbnail of Páginas preliminares / Preliminary pages" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Páginas preliminares / Preliminary pages</div><div class="wp-workCard_item"><span>Letras Femeninas. A Journal of Women and Gender Studies in Hispanic Literatures and Cultures</span><span>, Oct 15, 2015</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115279713"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115279713"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115279713; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=115279713]").text(description); $(".js-view-count[data-work-id=115279713]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 115279713; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='115279713']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=115279713]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":115279713,"title":"Páginas preliminares / Preliminary pages","translated_title":"","metadata":{"publisher":"Michigan State University Press","publication_date":{"day":15,"month":10,"year":2015,"errors":{}},"publication_name":"Letras Femeninas. 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Influenced by Deleuze and Guattari&#39;s notions of a subject perennially in a state of transition (or &quot;becoming&quot;), Braidotti insists on the need to give a sense of positionality to the Deleuzian image of a heterogenous subject in-process. But the positionality she proposes is a mobile one. The female nomad, argues Braidotti, is a subject capable of frequently altering her geographical, topographical, and relational parameters on the spur of the moment. Braidotti&#39;s notions of female nomadism are influenced, of course, by earlier feminist incursions into the figure of the female exile, the female migrant, and the female traveler. Julia Kristeva first considered the advantages of mobile female subjectivity in a short piece titled &quot;From Ithaca to New York,&quot; published originally in &quot;Promesse,&quot; in 1974. Taking both a critical and a prescriptive tone on this occasion, Kristeva encouraged women authors to replace the image of patient Penelope—the house bound wife who waits at home for a roaming husband—with that of &quot;the female voyager.&quot; The potential freedom of the female voyager, explains Kristeva, resides precisely in not having a place of one&#39;s own (a &quot;chez soi&quot;). Unanchored, the true woman traveler considers &quot;every home a place.. .of the Other, and irritated by its fixity, refus[es] it&quot; (495). Although all three of the novels that compose Alicia Borinsky&#39;s loosely bound trilogy (Borinsky refers to them as &quot;novelas de</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115279712"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115279712"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115279712; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=115279712]").text(description); $(".js-view-count[data-work-id=115279712]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 115279712; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='115279712']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=115279712]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":115279712,"title":"Spectacle and Nomadic Bodies in Alicia Borinsky's Mina cruel and Cine continuado","translated_title":"","metadata":{"abstract":"In Nomadic Subjects, feminist philosopher Rosi Braidotti proposes the condition of nomadism as a trope for fluid female subjectivity. 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Although all three of the novels that compose Alicia Borinsky\u0026#39;s loosely bound trilogy (Borinsky refers to them as \u0026quot;novelas de","internal_url":"https://www.academia.edu/115279712/Spectacle_and_Nomadic_Bodies_in_Alicia_Borinskys_Mina_cruel_and_Cine_continuado","translated_internal_url":"","created_at":"2024-02-22T13:47:15.293-08:00","preview_url":null,"current_user_can_edit":false,"current_user_is_owner":null,"owner_id":23301136,"coauthors_can_edit":false,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Spectacle_and_Nomadic_Bodies_in_Alicia_Borinskys_Mina_cruel_and_Cine_continuado","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"In Nomadic Subjects, feminist philosopher Rosi Braidotti proposes the condition of nomadism as a trope for fluid female subjectivity. Influenced by Deleuze and Guattari\u0026#39;s notions of a subject perennially in a state of transition (or \u0026quot;becoming\u0026quot;), Braidotti insists on the need to give a sense of positionality to the Deleuzian image of a heterogenous subject in-process. But the positionality she proposes is a mobile one. The female nomad, argues Braidotti, is a subject capable of frequently altering her geographical, topographical, and relational parameters on the spur of the moment. Braidotti\u0026#39;s notions of female nomadism are influenced, of course, by earlier feminist incursions into the figure of the female exile, the female migrant, and the female traveler. Julia Kristeva first considered the advantages of mobile female subjectivity in a short piece titled \u0026quot;From Ithaca to New York,\u0026quot; published originally in \u0026quot;Promesse,\u0026quot; in 1974. Taking both a critical and a prescriptive tone on this occasion, Kristeva encouraged women authors to replace the image of patient Penelope—the house bound wife who waits at home for a roaming husband—with that of \u0026quot;the female voyager.\u0026quot; The potential freedom of the female voyager, explains Kristeva, resides precisely in not having a place of one\u0026#39;s own (a \u0026quot;chez soi\u0026quot;). Unanchored, the true woman traveler considers \u0026quot;every home a place.. .of the Other, and irritated by its fixity, refus[es] it\u0026quot; (495). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-115279710-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="115279709"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/115279709/Sierra_Marta_Gendered_Spaces_in_Argentine_Womens_Writing"><img alt="Research paper thumbnail of Sierra, Marta: Gendered Spaces in Argentine Women's Writing" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Sierra, Marta: Gendered Spaces in Argentine Women's Writing</div><div class="wp-workCard_item"><span>Chasqui</span><span>, Nov 1, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sierra, Marta. Gendered Spaces in Argentine Women&#39;s Writing. New York: Palgrave-Macmillan, 20...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sierra, Marta. Gendered Spaces in Argentine Women&#39;s Writing. New York: Palgrave-Macmillan, 2012. xiv, 240 pp. ISBN 9780-2301-2085-3 Sierra&#39;s carefully researched book examines various texts written by 20th and 21st Century Argentine women intellectuals, novelists, playwrights and poets in order to reflect on major shifts in &quot;the production of gendered spaces&quot; in Argentine cultural history. In the process, the author seeks to elucidate the relationship between Active constructions of space and what they reveal about the art and thought of women artists and intellectuals who question, resist or reform the social spaces and places assigned to them as national subjects. Chapters on authors as diverse as Victoria Ocampo, Griselda Gambaro, Luisa Futuransky and Maria Negroni (among several others mentioned later in this review) suggest new and highly productive ways of grouping Argentine women writers and poets. They also explore the complex relationship between the gendering of national, transnational and global spaces and the configuration of artistic and intellectual subjectivities both within and beyond national parameters. The persuasive literary analysis that casts new light on the fiction, poetry, autobiography and travel writing included in this study would be enough to recommend Sierra&#39;s book to any student of Argentine literature and culture, but it is Sierra&#39;s impressive theoretical argument that is the book&#39;s greatest strength. As stated in her introduction, the author&#39;s ambitious project is to arrive at a complex, multi-layered and multi-disciplinary understanding of how Argentine women writers&#39; articulation of real and Active spaces can become a venue for understanding historical, social and cultural changes at the national, transnational and global levels. The dialogue she establishes with earlier scholarship on related subjects reflects a keen and even enviable understanding of recent and contemporary studies of gender, agency and subjectivity in the context of new articulations of cultural, geographic and aesthetic notions of spatialization. Sierra&#39;s approach is framed and guided by her nuanced readings of spatial constructs as theorized by David Harvey, Henri Lefebvre, Edward Soja, Karen Caplan (among others) and by gendered-inflected theories of nomadism and displacement ,as articulated by Rosie Braidotti, Sarah Upstone and Doreen Massey and others. Yet the author is equally conversant with recent research by Argentine geographers and cultural studies scholars who have explored the socio-political ramifications of real, figurative and metaphoric spaces in Argentine history and culture. Sierra&#39;s familiarity with work by Perla Zusman, Alvaro Fernandez Bravo and Ernesto Livon Grosman bring a fresh perspective and sometimes a needed corrective to the European and North American articulations of space and culture. What emerges from this welcome dialogue are readings that have something new to offer to the study of these particular writers in particular and to the study of the creation of fictive space in general. A model for young and established scholars on what can emerge from extensive and sustained intellectual dialogue both within and across disciplinary boundaries, the excellent introduction identifies &quot;four representative stages in which significant shifts in the Argentine cultural landscape allow for the production of gendered spaces&quot; in Argentine women&#39;s literature. These are identified as follows: &quot;immigration and the impact of international feminism 1910-1920&quot;; cosmopolitanism, domesticity and the literary scene (1920-1950); authoritarianism and the return to democracy (1970-1990); and the local-global connections of the 1990s and the 2000s.&quot; (9) The only weakness in this book, in my opinion, is the omission of further discussion of the first of these four stages after it is identified. Sierra explains this omission as a result of practical choices and space limitations. …</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115279709"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115279709"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115279709; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=115279709]").text(description); $(".js-view-count[data-work-id=115279709]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 115279709; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='115279709']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=115279709]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":115279709,"title":"Sierra, Marta: Gendered Spaces in Argentine Women's Writing","translated_title":"","metadata":{"abstract":"Sierra, Marta. Gendered Spaces in Argentine Women\u0026#39;s Writing. New York: Palgrave-Macmillan, 2012. xiv, 240 pp. ISBN 9780-2301-2085-3 Sierra\u0026#39;s carefully researched book examines various texts written by 20th and 21st Century Argentine women intellectuals, novelists, playwrights and poets in order to reflect on major shifts in \u0026quot;the production of gendered spaces\u0026quot; in Argentine cultural history. In the process, the author seeks to elucidate the relationship between Active constructions of space and what they reveal about the art and thought of women artists and intellectuals who question, resist or reform the social spaces and places assigned to them as national subjects. Chapters on authors as diverse as Victoria Ocampo, Griselda Gambaro, Luisa Futuransky and Maria Negroni (among several others mentioned later in this review) suggest new and highly productive ways of grouping Argentine women writers and poets. They also explore the complex relationship between the gendering of national, transnational and global spaces and the configuration of artistic and intellectual subjectivities both within and beyond national parameters. The persuasive literary analysis that casts new light on the fiction, poetry, autobiography and travel writing included in this study would be enough to recommend Sierra\u0026#39;s book to any student of Argentine literature and culture, but it is Sierra\u0026#39;s impressive theoretical argument that is the book\u0026#39;s greatest strength. As stated in her introduction, the author\u0026#39;s ambitious project is to arrive at a complex, multi-layered and multi-disciplinary understanding of how Argentine women writers\u0026#39; articulation of real and Active spaces can become a venue for understanding historical, social and cultural changes at the national, transnational and global levels. The dialogue she establishes with earlier scholarship on related subjects reflects a keen and even enviable understanding of recent and contemporary studies of gender, agency and subjectivity in the context of new articulations of cultural, geographic and aesthetic notions of spatialization. Sierra\u0026#39;s approach is framed and guided by her nuanced readings of spatial constructs as theorized by David Harvey, Henri Lefebvre, Edward Soja, Karen Caplan (among others) and by gendered-inflected theories of nomadism and displacement ,as articulated by Rosie Braidotti, Sarah Upstone and Doreen Massey and others. Yet the author is equally conversant with recent research by Argentine geographers and cultural studies scholars who have explored the socio-political ramifications of real, figurative and metaphoric spaces in Argentine history and culture. Sierra\u0026#39;s familiarity with work by Perla Zusman, Alvaro Fernandez Bravo and Ernesto Livon Grosman bring a fresh perspective and sometimes a needed corrective to the European and North American articulations of space and culture. What emerges from this welcome dialogue are readings that have something new to offer to the study of these particular writers in particular and to the study of the creation of fictive space in general. A model for young and established scholars on what can emerge from extensive and sustained intellectual dialogue both within and across disciplinary boundaries, the excellent introduction identifies \u0026quot;four representative stages in which significant shifts in the Argentine cultural landscape allow for the production of gendered spaces\u0026quot; in Argentine women\u0026#39;s literature. 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New York: Palgrave-Macmillan, 2012. xiv, 240 pp. ISBN 9780-2301-2085-3 Sierra\u0026#39;s carefully researched book examines various texts written by 20th and 21st Century Argentine women intellectuals, novelists, playwrights and poets in order to reflect on major shifts in \u0026quot;the production of gendered spaces\u0026quot; in Argentine cultural history. In the process, the author seeks to elucidate the relationship between Active constructions of space and what they reveal about the art and thought of women artists and intellectuals who question, resist or reform the social spaces and places assigned to them as national subjects. Chapters on authors as diverse as Victoria Ocampo, Griselda Gambaro, Luisa Futuransky and Maria Negroni (among several others mentioned later in this review) suggest new and highly productive ways of grouping Argentine women writers and poets. They also explore the complex relationship between the gendering of national, transnational and global spaces and the configuration of artistic and intellectual subjectivities both within and beyond national parameters. The persuasive literary analysis that casts new light on the fiction, poetry, autobiography and travel writing included in this study would be enough to recommend Sierra\u0026#39;s book to any student of Argentine literature and culture, but it is Sierra\u0026#39;s impressive theoretical argument that is the book\u0026#39;s greatest strength. As stated in her introduction, the author\u0026#39;s ambitious project is to arrive at a complex, multi-layered and multi-disciplinary understanding of how Argentine women writers\u0026#39; articulation of real and Active spaces can become a venue for understanding historical, social and cultural changes at the national, transnational and global levels. The dialogue she establishes with earlier scholarship on related subjects reflects a keen and even enviable understanding of recent and contemporary studies of gender, agency and subjectivity in the context of new articulations of cultural, geographic and aesthetic notions of spatialization. Sierra\u0026#39;s approach is framed and guided by her nuanced readings of spatial constructs as theorized by David Harvey, Henri Lefebvre, Edward Soja, Karen Caplan (among others) and by gendered-inflected theories of nomadism and displacement ,as articulated by Rosie Braidotti, Sarah Upstone and Doreen Massey and others. Yet the author is equally conversant with recent research by Argentine geographers and cultural studies scholars who have explored the socio-political ramifications of real, figurative and metaphoric spaces in Argentine history and culture. Sierra\u0026#39;s familiarity with work by Perla Zusman, Alvaro Fernandez Bravo and Ernesto Livon Grosman bring a fresh perspective and sometimes a needed corrective to the European and North American articulations of space and culture. What emerges from this welcome dialogue are readings that have something new to offer to the study of these particular writers in particular and to the study of the creation of fictive space in general. A model for young and established scholars on what can emerge from extensive and sustained intellectual dialogue both within and across disciplinary boundaries, the excellent introduction identifies \u0026quot;four representative stages in which significant shifts in the Argentine cultural landscape allow for the production of gendered spaces\u0026quot; in Argentine women\u0026#39;s literature. These are identified as follows: \u0026quot;immigration and the impact of international feminism 1910-1920\u0026quot;; cosmopolitanism, domesticity and the literary scene (1920-1950); authoritarianism and the return to democracy (1970-1990); and the local-global connections of the 1990s and the 2000s.\u0026quot; (9) The only weakness in this book, in my opinion, is the omission of further discussion of the first of these four stages after it is identified. Sierra explains this omission as a result of practical choices and space limitations. …","internal_url":"https://www.academia.edu/115279709/Sierra_Marta_Gendered_Spaces_in_Argentine_Womens_Writing","translated_internal_url":"","created_at":"2024-02-22T13:47:14.572-08:00","preview_url":null,"current_user_can_edit":false,"current_user_is_owner":null,"owner_id":23301136,"coauthors_can_edit":false,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Sierra_Marta_Gendered_Spaces_in_Argentine_Womens_Writing","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"Sierra, Marta. Gendered Spaces in Argentine Women\u0026#39;s Writing. New York: Palgrave-Macmillan, 2012. xiv, 240 pp. ISBN 9780-2301-2085-3 Sierra\u0026#39;s carefully researched book examines various texts written by 20th and 21st Century Argentine women intellectuals, novelists, playwrights and poets in order to reflect on major shifts in \u0026quot;the production of gendered spaces\u0026quot; in Argentine cultural history. In the process, the author seeks to elucidate the relationship between Active constructions of space and what they reveal about the art and thought of women artists and intellectuals who question, resist or reform the social spaces and places assigned to them as national subjects. Chapters on authors as diverse as Victoria Ocampo, Griselda Gambaro, Luisa Futuransky and Maria Negroni (among several others mentioned later in this review) suggest new and highly productive ways of grouping Argentine women writers and poets. They also explore the complex relationship between the gendering of national, transnational and global spaces and the configuration of artistic and intellectual subjectivities both within and beyond national parameters. The persuasive literary analysis that casts new light on the fiction, poetry, autobiography and travel writing included in this study would be enough to recommend Sierra\u0026#39;s book to any student of Argentine literature and culture, but it is Sierra\u0026#39;s impressive theoretical argument that is the book\u0026#39;s greatest strength. As stated in her introduction, the author\u0026#39;s ambitious project is to arrive at a complex, multi-layered and multi-disciplinary understanding of how Argentine women writers\u0026#39; articulation of real and Active spaces can become a venue for understanding historical, social and cultural changes at the national, transnational and global levels. The dialogue she establishes with earlier scholarship on related subjects reflects a keen and even enviable understanding of recent and contemporary studies of gender, agency and subjectivity in the context of new articulations of cultural, geographic and aesthetic notions of spatialization. Sierra\u0026#39;s approach is framed and guided by her nuanced readings of spatial constructs as theorized by David Harvey, Henri Lefebvre, Edward Soja, Karen Caplan (among others) and by gendered-inflected theories of nomadism and displacement ,as articulated by Rosie Braidotti, Sarah Upstone and Doreen Massey and others. Yet the author is equally conversant with recent research by Argentine geographers and cultural studies scholars who have explored the socio-political ramifications of real, figurative and metaphoric spaces in Argentine history and culture. Sierra\u0026#39;s familiarity with work by Perla Zusman, Alvaro Fernandez Bravo and Ernesto Livon Grosman bring a fresh perspective and sometimes a needed corrective to the European and North American articulations of space and culture. What emerges from this welcome dialogue are readings that have something new to offer to the study of these particular writers in particular and to the study of the creation of fictive space in general. A model for young and established scholars on what can emerge from extensive and sustained intellectual dialogue both within and across disciplinary boundaries, the excellent introduction identifies \u0026quot;four representative stages in which significant shifts in the Argentine cultural landscape allow for the production of gendered spaces\u0026quot; in Argentine women\u0026#39;s literature. These are identified as follows: \u0026quot;immigration and the impact of international feminism 1910-1920\u0026quot;; cosmopolitanism, domesticity and the literary scene (1920-1950); authoritarianism and the return to democracy (1970-1990); and the local-global connections of the 1990s and the 2000s.\u0026quot; (9) The only weakness in this book, in my opinion, is the omission of further discussion of the first of these four stages after it is identified. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-115279704-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="115279703"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/115279703/_i_Hechura_y_confecci%C3%B3n_Escritura_y_subjetividad_en_narraciones_de_mujeres_latinoamericanas_i_review_"><img alt="Research paper thumbnail of <i>Hechura y confección. Escritura y subjetividad en narraciones de mujeres latinoamericanas</i> (review)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><i>Hechura y confección. Escritura y subjetividad en narraciones de mujeres latinoamericanas</i> (review)</div><div class="wp-workCard_item"><span>Revista de estudios hispánicos</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">ABSTRACT In this important collection of essays, María Inés Lagos draws on more than two decades ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">ABSTRACT In this important collection of essays, María Inés Lagos draws on more than two decades of her trailblazing work on Latin American feminist criticism to offer a broad view of the makings and unmakings of female subjectivity, the doings of gendered agents and the creation or recapitulation of strategies for negotiating or resisting familial, sociopolitical or cultural structures in works by over a dozen Latin American women writers. Although several of the essays that appear in this volume appeared in earlier versions (or in English), their juxtaposition brings new light to Lagos’s original readings of the narratives studied, allowing us to appreciate both the development of feminist criticism in the area of Latin American fiction and the author’s own intellectual and theoretical trajectory in the process. My first reaction to the volume was one of surprise at the rather quaint title (“Hechura y confección”) for a collection of essays on women authors whose work was or is considered to be cutting-edge, revolutionary, subversive, or at least contestatory. But I have a penchant for etymologies and word usage, and a quick review of the composition and history of the two terms quickly convinced me Lagos’s inspired title encapsulated perfectly the broad spectrum of critical essays included in the volume. Influenced by feminist anthropologist Sherry Otner’s distinction between doing and making (or constructing) in connection with subjectivity and agency, Lagos’s book pursues questions of identity, subject position and agency and considers these within the social, political and cultural structures which the literary subjects she writes about inhabit. Separately, “hechura” alludes to various forms of doing, of behaviors and deeds, while “confección” has a more complicated history, having referred to, at different points in the history of the term, the preparation of pharmaceutical pastes or syrups thickened with sugar or honey, the preparation of documents or treaties, the expert preparation of sweets and complicated articles of clothing (the last two meanings still are current usage in Spanish). Combined, the phrase “hechura y confección” refers to the designs and constructions of experienced seamstresses and tailors. In the context of this volume, the phrase links textiles and textures to texts, intertexts and subtexts; also, to cuts, seams and designs. Throughout the volume, we witness the undoings and deconstructions of a critic who examines both the complicated social, political and cultural forces that the writers she studies enlist or resist in constructing their gendered subjects. The essays in the volume are also highly conscious of the elaborate woven textual strategies that sustain such creations. Lagos prefaces her studies of women’s narratives written between the mid-1970s and the mid-1990s with a “preliminary portrait” (“Retrato preliminar”) of the seventeenth-century Chilean nun Ursula Suárez. Arguing that Sister Ursula’s autobiography shows the nun already “doing” gendered negotiations in her dealings with the normative male power structures, Lagos claims that Latin American women writers can look to homespun versions of gendered subjects in their midst, implying, of course, that those women writing in the 1970s could look to their own hemispheric histories for narrative models of gendering identity and agency rather than having to rely strictly on foreign examples. In her next chapter, “Sujetos femeninos narrados por ‘Otro,’” Lagos analyzes texts by Clarice Lispector, Julieta Campos, Rosario Ferré and Ana María del Río, all written largely in the 1970s and 1980s. The essays in this section comment on the difficulties and limitations of women whose identity is being defined from the perspective of the other. In these essays Lagos carefully notes the tensions and contestations that develop as the subjects narrated seek to rebel or redefine themselves against the impositions and suppositions established by the other’s line of vision. “Sujetos femeninos en sociedades en proceso de cambio” juxtaposes an additional reading of Ferré to essays on Rosario Castellanos and Isabel Allende in order to examine the particularly strategic negotiations the feminine subject must learn to make in changing times, or in times of social and cultural upheaval. Chapter four, “Sujetos femininos y las marcas de la dictadura,” gathers together some of Lagos’s best known and most frequently cited essays. Her...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115279703"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115279703"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115279703; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=115279703]").text(description); $(".js-view-count[data-work-id=115279703]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 115279703; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='115279703']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=115279703]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":115279703,"title":"\u003ci\u003eHechura y confección. 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The essays in the volume are also highly conscious of the elaborate woven textual strategies that sustain such creations. Lagos prefaces her studies of women’s narratives written between the mid-1970s and the mid-1990s with a “preliminary portrait” (“Retrato preliminar”) of the seventeenth-century Chilean nun Ursula Suárez. Arguing that Sister Ursula’s autobiography shows the nun already “doing” gendered negotiations in her dealings with the normative male power structures, Lagos claims that Latin American women writers can look to homespun versions of gendered subjects in their midst, implying, of course, that those women writing in the 1970s could look to their own hemispheric histories for narrative models of gendering identity and agency rather than having to rely strictly on foreign examples. In her next chapter, “Sujetos femeninos narrados por ‘Otro,’” Lagos analyzes texts by Clarice Lispector, Julieta Campos, Rosario Ferré and Ana María del Río, all written largely in the 1970s and 1980s. The essays in this section comment on the difficulties and limitations of women whose identity is being defined from the perspective of the other. In these essays Lagos carefully notes the tensions and contestations that develop as the subjects narrated seek to rebel or redefine themselves against the impositions and suppositions established by the other’s line of vision. “Sujetos femeninos en sociedades en proceso de cambio” juxtaposes an additional reading of Ferré to essays on Rosario Castellanos and Isabel Allende in order to examine the particularly strategic negotiations the feminine subject must learn to make in changing times, or in times of social and cultural upheaval. Chapter four, “Sujetos femininos y las marcas de la dictadura,” gathers together some of Lagos’s best known and most frequently cited essays. Her...","publisher":"Washington University in St. Louis","publication_date":{"day":null,"month":null,"year":2012,"errors":{}},"publication_name":"Revista de estudios hispánicos"},"translated_abstract":"ABSTRACT In this important collection of essays, María Inés Lagos draws on more than two decades of her trailblazing work on Latin American feminist criticism to offer a broad view of the makings and unmakings of female subjectivity, the doings of gendered agents and the creation or recapitulation of strategies for negotiating or resisting familial, sociopolitical or cultural structures in works by over a dozen Latin American women writers. Although several of the essays that appear in this volume appeared in earlier versions (or in English), their juxtaposition brings new light to Lagos’s original readings of the narratives studied, allowing us to appreciate both the development of feminist criticism in the area of Latin American fiction and the author’s own intellectual and theoretical trajectory in the process. My first reaction to the volume was one of surprise at the rather quaint title (“Hechura y confección”) for a collection of essays on women authors whose work was or is considered to be cutting-edge, revolutionary, subversive, or at least contestatory. But I have a penchant for etymologies and word usage, and a quick review of the composition and history of the two terms quickly convinced me Lagos’s inspired title encapsulated perfectly the broad spectrum of critical essays included in the volume. Influenced by feminist anthropologist Sherry Otner’s distinction between doing and making (or constructing) in connection with subjectivity and agency, Lagos’s book pursues questions of identity, subject position and agency and considers these within the social, political and cultural structures which the literary subjects she writes about inhabit. Separately, “hechura” alludes to various forms of doing, of behaviors and deeds, while “confección” has a more complicated history, having referred to, at different points in the history of the term, the preparation of pharmaceutical pastes or syrups thickened with sugar or honey, the preparation of documents or treaties, the expert preparation of sweets and complicated articles of clothing (the last two meanings still are current usage in Spanish). Combined, the phrase “hechura y confección” refers to the designs and constructions of experienced seamstresses and tailors. In the context of this volume, the phrase links textiles and textures to texts, intertexts and subtexts; also, to cuts, seams and designs. Throughout the volume, we witness the undoings and deconstructions of a critic who examines both the complicated social, political and cultural forces that the writers she studies enlist or resist in constructing their gendered subjects. The essays in the volume are also highly conscious of the elaborate woven textual strategies that sustain such creations. Lagos prefaces her studies of women’s narratives written between the mid-1970s and the mid-1990s with a “preliminary portrait” (“Retrato preliminar”) of the seventeenth-century Chilean nun Ursula Suárez. Arguing that Sister Ursula’s autobiography shows the nun already “doing” gendered negotiations in her dealings with the normative male power structures, Lagos claims that Latin American women writers can look to homespun versions of gendered subjects in their midst, implying, of course, that those women writing in the 1970s could look to their own hemispheric histories for narrative models of gendering identity and agency rather than having to rely strictly on foreign examples. In her next chapter, “Sujetos femeninos narrados por ‘Otro,’” Lagos analyzes texts by Clarice Lispector, Julieta Campos, Rosario Ferré and Ana María del Río, all written largely in the 1970s and 1980s. The essays in this section comment on the difficulties and limitations of women whose identity is being defined from the perspective of the other. In these essays Lagos carefully notes the tensions and contestations that develop as the subjects narrated seek to rebel or redefine themselves against the impositions and suppositions established by the other’s line of vision. “Sujetos femeninos en sociedades en proceso de cambio” juxtaposes an additional reading of Ferré to essays on Rosario Castellanos and Isabel Allende in order to examine the particularly strategic negotiations the feminine subject must learn to make in changing times, or in times of social and cultural upheaval. Chapter four, “Sujetos femininos y las marcas de la dictadura,” gathers together some of Lagos’s best known and most frequently cited essays. Her...","internal_url":"https://www.academia.edu/115279703/_i_Hechura_y_confecci%C3%B3n_Escritura_y_subjetividad_en_narraciones_de_mujeres_latinoamericanas_i_review_","translated_internal_url":"","created_at":"2024-02-22T13:47:12.028-08:00","preview_url":null,"current_user_can_edit":false,"current_user_is_owner":null,"owner_id":23301136,"coauthors_can_edit":false,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"_i_Hechura_y_confección_Escritura_y_subjetividad_en_narraciones_de_mujeres_latinoamericanas_i_review_","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"ABSTRACT In this important collection of essays, María Inés Lagos draws on more than two decades of her trailblazing work on Latin American feminist criticism to offer a broad view of the makings and unmakings of female subjectivity, the doings of gendered agents and the creation or recapitulation of strategies for negotiating or resisting familial, sociopolitical or cultural structures in works by over a dozen Latin American women writers. Although several of the essays that appear in this volume appeared in earlier versions (or in English), their juxtaposition brings new light to Lagos’s original readings of the narratives studied, allowing us to appreciate both the development of feminist criticism in the area of Latin American fiction and the author’s own intellectual and theoretical trajectory in the process. My first reaction to the volume was one of surprise at the rather quaint title (“Hechura y confección”) for a collection of essays on women authors whose work was or is considered to be cutting-edge, revolutionary, subversive, or at least contestatory. But I have a penchant for etymologies and word usage, and a quick review of the composition and history of the two terms quickly convinced me Lagos’s inspired title encapsulated perfectly the broad spectrum of critical essays included in the volume. Influenced by feminist anthropologist Sherry Otner’s distinction between doing and making (or constructing) in connection with subjectivity and agency, Lagos’s book pursues questions of identity, subject position and agency and considers these within the social, political and cultural structures which the literary subjects she writes about inhabit. Separately, “hechura” alludes to various forms of doing, of behaviors and deeds, while “confección” has a more complicated history, having referred to, at different points in the history of the term, the preparation of pharmaceutical pastes or syrups thickened with sugar or honey, the preparation of documents or treaties, the expert preparation of sweets and complicated articles of clothing (the last two meanings still are current usage in Spanish). Combined, the phrase “hechura y confección” refers to the designs and constructions of experienced seamstresses and tailors. In the context of this volume, the phrase links textiles and textures to texts, intertexts and subtexts; also, to cuts, seams and designs. Throughout the volume, we witness the undoings and deconstructions of a critic who examines both the complicated social, political and cultural forces that the writers she studies enlist or resist in constructing their gendered subjects. The essays in the volume are also highly conscious of the elaborate woven textual strategies that sustain such creations. Lagos prefaces her studies of women’s narratives written between the mid-1970s and the mid-1990s with a “preliminary portrait” (“Retrato preliminar”) of the seventeenth-century Chilean nun Ursula Suárez. Arguing that Sister Ursula’s autobiography shows the nun already “doing” gendered negotiations in her dealings with the normative male power structures, Lagos claims that Latin American women writers can look to homespun versions of gendered subjects in their midst, implying, of course, that those women writing in the 1970s could look to their own hemispheric histories for narrative models of gendering identity and agency rather than having to rely strictly on foreign examples. In her next chapter, “Sujetos femeninos narrados por ‘Otro,’” Lagos analyzes texts by Clarice Lispector, Julieta Campos, Rosario Ferré and Ana María del Río, all written largely in the 1970s and 1980s. The essays in this section comment on the difficulties and limitations of women whose identity is being defined from the perspective of the other. In these essays Lagos carefully notes the tensions and contestations that develop as the subjects narrated seek to rebel or redefine themselves against the impositions and suppositions established by the other’s line of vision. “Sujetos femeninos en sociedades en proceso de cambio” juxtaposes an additional reading of Ferré to essays on Rosario Castellanos and Isabel Allende in order to examine the particularly strategic negotiations the feminine subject must learn to make in changing times, or in times of social and cultural upheaval. Chapter four, “Sujetos femininos y las marcas de la dictadura,” gathers together some of Lagos’s best known and most frequently cited essays. Her...","impression_tracking_id":null,"owner":{"id":23301136,"first_name":"Dianna","middle_initials":"C","last_name":"Niebylski","page_name":"dcniebylski","domain_name":"uic","created_at":"2014-12-10T17:47:58.798-08:00","display_name":"Dianna C Niebylski","url":"https://uic.academia.edu/dcniebylski"},"attachments":[],"research_interests":[{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology"},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":54659,"name":"Subjectivity","url":"https://www.academia.edu/Documents/in/Subjectivity"},{"id":56663,"name":"Criticism","url":"https://www.academia.edu/Documents/in/Criticism"},{"id":4109113,"name":"Latin Americans","url":"https://www.academia.edu/Documents/in/Latin_Americans"}],"urls":[{"id":39709108,"url":"https://doi.org/10.1353/rvs.2012.0009"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-115279703-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="115279699"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/115279699/A_Companion_to_Latin_American_Women_Writers_ed_by_Br%C3%ADgida_M_Pastor_and_Lloyd_Hughes_Davies"><img alt="Research paper thumbnail of A Companion to Latin American Women Writers ed. by Brígida M. Pastor and Lloyd Hughes Davies" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">A Companion to Latin American Women Writers ed. by Brígida M. Pastor and Lloyd Hughes Davies</div><div class="wp-workCard_item"><span>Revista de estudios hispánicos</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">ABSTRACT Pastor’s and Davies’s volume is a collection of fourteen essays meant to serve as an int...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">ABSTRACT Pastor’s and Davies’s volume is a collection of fourteen essays meant to serve as an introduction to fourteen Latin American women novelists and poets: Sor Juana, Gertrudis Gómez de Avellaneda, Gabriela Mistral, Alfonsina Storni, Silvina Ocampo, Clarice Lispector, Rosario Castellanos, Elena Poniatowska, Alejandra Pizarnik, Luisa Valenzuela, Isabel Allende, Rosario Ferré, Laura Esquivel and Laura Restrepo. As the title of the volume indicates, this collection provides a useful companion piece to readers unfamiliar with these authors. Although the essays do not contribute new perspectives on the authors or works discussed, the value of the collection resides in the essays’ accessibility to the non-specialist reader. Most of the essays combine pertinent biographical and cultural background on the authors and their circumstances while simultaneously providing useful entryways into several of these authors’ works. Pastor and Davies note in their introduction that the volume is meant to guide the reader to an understanding of the socio-historical circumstances that gave rise and shape to the voices studied in the volume. Two other essays fulfill this promise particularly well. Philip Swanson’s essay on Isabel Allende does an admirable balancing act between convincingly explaining why Allende remains very much deserving of a place in an anthology of Latin American women writers and—simultaneously—why academics and critics have become increasingly disillusioned with, and even dismissive of, her novels. Swanson writes knowledgeably of Allende’s trajectory and offers a useful reminder of the ways in which her early fame was buoyed partly by fortunate family connections and partly by being able to ride on the cusp of several major historical and cultural transitions of the last half-century. He traces Allende’s literary development from her beginnings as an exiled writer riding on the coattails of the Boom novel to her established fame as a writer of romances with a political or ethical edge, to her mass media apotheosis when Oprah selected Hija de la fortuna (Daughter of Fortune) for her Book of the Month Club. Swanson’s conclusion, that Allende’s is indeed a “Literatura light,” yet one that continues to “affect[s] millions of readers within and without Latin America” (167), captures well the equanimity of his position. Stephen Hart’s essay on Clarice Lispector eloquently and concisely places Lispector’s career within and against the major cultural and literary movements of her generation: the Latin American Boom and the emergence of second wave French feminist thought on embodied language. At the same time, the critic signals the importance of the emergence of Subaltern Studies as a useful tool for critics eager to deconstruct the social import of Lispector’s fiction. Reading or re-reading Lispector’s work against this literary-theoretical and philosophical triptych may not cast new light on her works, but it brings these works into a richly evocative focus. Hart’s essay leaves no doubt that Lispector is a writer’s writer, one whose voice and work are already enshrined in the pantheon of Latin American letters. Although less concerned with explaining the intersection between the author’s work and the sociological or cultural forces that impacted this work, the essays by Nina Scott on Sor Juana, Brígida Pastor on Gertrudis Gómez de Avellaneda, Teresa Hurley on Elena Poniatowska, Sharon Magnarelli on Luisa Valenzuela and Lloyd Hughes Davies on Laura Restrepo stand out not only for the overview of the authors’ creative trajectory but for their informed and sensitive understanding of the various stages in the writer’s trajectory. The otherwise fine essay by John McCulloch on Alejandra Pizarnik makes no mention of the poet’s likely ambiguous sexual orientation, nor does the critic make any mention of Pizarnik’s most sexually aberrant and most polemical work, La condesa sangrienta. The editors’ introduction contains an overview of some of the important debates surrounding women’s writing in Latin America, and is presented in such a way as to be comprehensible to its intended audience of largely advanced undergraduates and beginning graduate students. Yet the fact that almost all of the scholarship cited is prior to 2003 helps to explain why this overview neglects more recent developments in feminist theory in general, and Latin American...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115279699"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115279699"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115279699; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=115279699]").text(description); $(".js-view-count[data-work-id=115279699]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 115279699; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='115279699']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=115279699]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":115279699,"title":"A Companion to Latin American Women Writers ed. by Brígida M. 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Most of the essays combine pertinent biographical and cultural background on the authors and their circumstances while simultaneously providing useful entryways into several of these authors’ works. Pastor and Davies note in their introduction that the volume is meant to guide the reader to an understanding of the socio-historical circumstances that gave rise and shape to the voices studied in the volume. Two other essays fulfill this promise particularly well. Philip Swanson’s essay on Isabel Allende does an admirable balancing act between convincingly explaining why Allende remains very much deserving of a place in an anthology of Latin American women writers and—simultaneously—why academics and critics have become increasingly disillusioned with, and even dismissive of, her novels. Swanson writes knowledgeably of Allende’s trajectory and offers a useful reminder of the ways in which her early fame was buoyed partly by fortunate family connections and partly by being able to ride on the cusp of several major historical and cultural transitions of the last half-century. He traces Allende’s literary development from her beginnings as an exiled writer riding on the coattails of the Boom novel to her established fame as a writer of romances with a political or ethical edge, to her mass media apotheosis when Oprah selected Hija de la fortuna (Daughter of Fortune) for her Book of the Month Club. Swanson’s conclusion, that Allende’s is indeed a “Literatura light,” yet one that continues to “affect[s] millions of readers within and without Latin America” (167), captures well the equanimity of his position. Stephen Hart’s essay on Clarice Lispector eloquently and concisely places Lispector’s career within and against the major cultural and literary movements of her generation: the Latin American Boom and the emergence of second wave French feminist thought on embodied language. At the same time, the critic signals the importance of the emergence of Subaltern Studies as a useful tool for critics eager to deconstruct the social import of Lispector’s fiction. Reading or re-reading Lispector’s work against this literary-theoretical and philosophical triptych may not cast new light on her works, but it brings these works into a richly evocative focus. Hart’s essay leaves no doubt that Lispector is a writer’s writer, one whose voice and work are already enshrined in the pantheon of Latin American letters. Although less concerned with explaining the intersection between the author’s work and the sociological or cultural forces that impacted this work, the essays by Nina Scott on Sor Juana, Brígida Pastor on Gertrudis Gómez de Avellaneda, Teresa Hurley on Elena Poniatowska, Sharon Magnarelli on Luisa Valenzuela and Lloyd Hughes Davies on Laura Restrepo stand out not only for the overview of the authors’ creative trajectory but for their informed and sensitive understanding of the various stages in the writer’s trajectory. The otherwise fine essay by John McCulloch on Alejandra Pizarnik makes no mention of the poet’s likely ambiguous sexual orientation, nor does the critic make any mention of Pizarnik’s most sexually aberrant and most polemical work, La condesa sangrienta. The editors’ introduction contains an overview of some of the important debates surrounding women’s writing in Latin America, and is presented in such a way as to be comprehensible to its intended audience of largely advanced undergraduates and beginning graduate students. 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Although the essays do not contribute new perspectives on the authors or works discussed, the value of the collection resides in the essays’ accessibility to the non-specialist reader. Most of the essays combine pertinent biographical and cultural background on the authors and their circumstances while simultaneously providing useful entryways into several of these authors’ works. Pastor and Davies note in their introduction that the volume is meant to guide the reader to an understanding of the socio-historical circumstances that gave rise and shape to the voices studied in the volume. Two other essays fulfill this promise particularly well. Philip Swanson’s essay on Isabel Allende does an admirable balancing act between convincingly explaining why Allende remains very much deserving of a place in an anthology of Latin American women writers and—simultaneously—why academics and critics have become increasingly disillusioned with, and even dismissive of, her novels. Swanson writes knowledgeably of Allende’s trajectory and offers a useful reminder of the ways in which her early fame was buoyed partly by fortunate family connections and partly by being able to ride on the cusp of several major historical and cultural transitions of the last half-century. He traces Allende’s literary development from her beginnings as an exiled writer riding on the coattails of the Boom novel to her established fame as a writer of romances with a political or ethical edge, to her mass media apotheosis when Oprah selected Hija de la fortuna (Daughter of Fortune) for her Book of the Month Club. Swanson’s conclusion, that Allende’s is indeed a “Literatura light,” yet one that continues to “affect[s] millions of readers within and without Latin America” (167), captures well the equanimity of his position. Stephen Hart’s essay on Clarice Lispector eloquently and concisely places Lispector’s career within and against the major cultural and literary movements of her generation: the Latin American Boom and the emergence of second wave French feminist thought on embodied language. At the same time, the critic signals the importance of the emergence of Subaltern Studies as a useful tool for critics eager to deconstruct the social import of Lispector’s fiction. Reading or re-reading Lispector’s work against this literary-theoretical and philosophical triptych may not cast new light on her works, but it brings these works into a richly evocative focus. Hart’s essay leaves no doubt that Lispector is a writer’s writer, one whose voice and work are already enshrined in the pantheon of Latin American letters. Although less concerned with explaining the intersection between the author’s work and the sociological or cultural forces that impacted this work, the essays by Nina Scott on Sor Juana, Brígida Pastor on Gertrudis Gómez de Avellaneda, Teresa Hurley on Elena Poniatowska, Sharon Magnarelli on Luisa Valenzuela and Lloyd Hughes Davies on Laura Restrepo stand out not only for the overview of the authors’ creative trajectory but for their informed and sensitive understanding of the various stages in the writer’s trajectory. The otherwise fine essay by John McCulloch on Alejandra Pizarnik makes no mention of the poet’s likely ambiguous sexual orientation, nor does the critic make any mention of Pizarnik’s most sexually aberrant and most polemical work, La condesa sangrienta. 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As the title of the volume indicates, this collection provides a useful companion piece to readers unfamiliar with these authors. Although the essays do not contribute new perspectives on the authors or works discussed, the value of the collection resides in the essays’ accessibility to the non-specialist reader. Most of the essays combine pertinent biographical and cultural background on the authors and their circumstances while simultaneously providing useful entryways into several of these authors’ works. Pastor and Davies note in their introduction that the volume is meant to guide the reader to an understanding of the socio-historical circumstances that gave rise and shape to the voices studied in the volume. Two other essays fulfill this promise particularly well. Philip Swanson’s essay on Isabel Allende does an admirable balancing act between convincingly explaining why Allende remains very much deserving of a place in an anthology of Latin American women writers and—simultaneously—why academics and critics have become increasingly disillusioned with, and even dismissive of, her novels. Swanson writes knowledgeably of Allende’s trajectory and offers a useful reminder of the ways in which her early fame was buoyed partly by fortunate family connections and partly by being able to ride on the cusp of several major historical and cultural transitions of the last half-century. He traces Allende’s literary development from her beginnings as an exiled writer riding on the coattails of the Boom novel to her established fame as a writer of romances with a political or ethical edge, to her mass media apotheosis when Oprah selected Hija de la fortuna (Daughter of Fortune) for her Book of the Month Club. Swanson’s conclusion, that Allende’s is indeed a “Literatura light,” yet one that continues to “affect[s] millions of readers within and without Latin America” (167), captures well the equanimity of his position. Stephen Hart’s essay on Clarice Lispector eloquently and concisely places Lispector’s career within and against the major cultural and literary movements of her generation: the Latin American Boom and the emergence of second wave French feminist thought on embodied language. At the same time, the critic signals the importance of the emergence of Subaltern Studies as a useful tool for critics eager to deconstruct the social import of Lispector’s fiction. Reading or re-reading Lispector’s work against this literary-theoretical and philosophical triptych may not cast new light on her works, but it brings these works into a richly evocative focus. Hart’s essay leaves no doubt that Lispector is a writer’s writer, one whose voice and work are already enshrined in the pantheon of Latin American letters. Although less concerned with explaining the intersection between the author’s work and the sociological or cultural forces that impacted this work, the essays by Nina Scott on Sor Juana, Brígida Pastor on Gertrudis Gómez de Avellaneda, Teresa Hurley on Elena Poniatowska, Sharon Magnarelli on Luisa Valenzuela and Lloyd Hughes Davies on Laura Restrepo stand out not only for the overview of the authors’ creative trajectory but for their informed and sensitive understanding of the various stages in the writer’s trajectory. The otherwise fine essay by John McCulloch on Alejandra Pizarnik makes no mention of the poet’s likely ambiguous sexual orientation, nor does the critic make any mention of Pizarnik’s most sexually aberrant and most polemical work, La condesa sangrienta. The editors’ introduction contains an overview of some of the important debates surrounding women’s writing in Latin America, and is presented in such a way as to be comprehensible to its intended audience of largely advanced undergraduates and beginning graduate students. Yet the fact that almost all of the scholarship cited is prior to 2003 helps to explain why this overview neglects more recent developments in feminist theory in general, and Latin American...","impression_tracking_id":null,"owner":{"id":23301136,"first_name":"Dianna","middle_initials":"C","last_name":"Niebylski","page_name":"dcniebylski","domain_name":"uic","created_at":"2014-12-10T17:47:58.798-08:00","display_name":"Dianna C Niebylski","url":"https://uic.academia.edu/dcniebylski"},"attachments":[],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History"},{"id":4109113,"name":"Latin Americans","url":"https://www.academia.edu/Documents/in/Latin_Americans"}],"urls":[{"id":39709107,"url":"https://doi.org/10.1353/rvs.2014.0037"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-115279699-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="115279698"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/115279698/Violence_and_the_Latin_American_Imaginary_Preliminary_Reflections"><img alt="Research paper thumbnail of Violence and the Latin American Imaginary: Preliminary Reflections" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Violence and the Latin American Imaginary: Preliminary Reflections</div><div class="wp-workCard_item"><span>Arizona Journal of Hispanic Cultural Studies</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">ABSTRACT El tema de la violencia es connatural a la historia misma de América Latina y, por lo mi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">ABSTRACT El tema de la violencia es connatural a la historia misma de América Latina y, por lo mismo, resulta inagotable en cualquiera de sus múltiples manifestaciones materiales y simbólicas, desde los orígenes coloniales hasta la actualidad. El debate en torno a la globalización y sus consecuencias, que resulta fundamental de cara al futuro, puede terminar por ocultar sin embargo la historicidad de ciertos procesos cuya explicación no se agota o no debiera agotarse en la emergencia del “nuevo” orden global y neoliberal. Con relación a las violencias esto parece particularmente relevante en tanto hoy muchos de los brotes violentos hunden sus raíces en la historia y se convierten en las “molestas” señales de un retorno a cuestiones no resueltas y hoy agudizadas por los vientos neoliberales. In her 1992 Children of Cain: Violence and the Violent in Latin America, award-winning journalist Tina Rosenberg claimed that to the average North American newspaper reader, Latin America appeared as an “overwhelmingly, numbingly violent [region], marked by political disappearances, repressive dictatorships, torture, death squads, and revolutions that invariably seem to bring more of the same” (7). Rosenberg’s much lauded study featured a cast of violent actors—among them, an Argentine naval officer acting on behalf of Argentina’s dictatorship and responsible for the torture and deaths of hundreds; a member of Peru’s feared Shining Path; a Nicaraguan guerrilla fighter turned military officer for his new government; a member of El Salvador’s brutally repressive ruling class.1 Nearly two decades after the publication of Rosenberg’s highly publicized book, the Latin American countries featured in Children of Cain are no longer at the mercy of brutally repressive military dictatorships. In retrospect it is clear that the image of Latin America captured in her book was quickly becoming obsolete by the mid 1990s, although Rosenberg could not have realized this at the time her book was finished.1 Since the publication of Children of Cain, much of Latin America has gradually turned to democratically elected governments, some of which have tried, however summarily or reluctantly, to bring to justice the most egregious perpetrators of previous state brutality. Along with the gradual end to these repressive military regimes, Latin American nations have witnessed significant disarmament and disbandment of the organized guerrilla groups that relied on armed struggle and their own brutal tactics to battle governments and control local populations since the 1960s. As one might expect, economists and politicians interpret soaring indices of foreign investment and a rapidly growing tourist industry as reliable indicators of increased political and social stability throughout the region. Yet even a cursory look at Latin American cities, and at many inter-American border zones, leads many scholars and observers to a more troublesome conclusion. Any number of statistics will show that, despite nearly two decades of arguably democratic governments, growing public confidence in the judicial system and the eventual restoration of civil liberties throughout the region, for millions of Latin Americans daily life remains, as Rosenberg’s reader would have concluded in the 1990s, “overwhelmingly, numbingly violent.”2 The realization that the emergence of new democratic regimes did nothing to end the reality of Latin America as a frighteningly violent place was the impetus behind the late Susana Rotker’s 2002 edited collection of essays, Citizens of Fear: Urban Violence in Latin America. In his foreword to the collection, Jorge Balán mentions the dashed hopes of those who had expected that the transition to democracy might bring with it a reduction in violence and an increased sense of public security. Addressing the alarming statistics of urban crime at the beginning of the 21st Century, Balán reaches the disturbing conclusion that the spread of violence and its concomitant climate of fear might pose new threats to Latin America’s recent democracies: [f ]ear is now as much a threat to democracy as violence itself, since it may again justify repression, emergency policies that circumvent the...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115279698"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115279698"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115279698; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=115279698]").text(description); $(".js-view-count[data-work-id=115279698]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 115279698; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='115279698']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=115279698]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":115279698,"title":"Violence and the Latin American Imaginary: Preliminary Reflections","translated_title":"","metadata":{"abstract":"ABSTRACT El tema de la violencia es connatural a la historia misma de América Latina y, por lo mismo, resulta inagotable en cualquiera de sus múltiples manifestaciones materiales y simbólicas, desde los orígenes coloniales hasta la actualidad. El debate en torno a la globalización y sus consecuencias, que resulta fundamental de cara al futuro, puede terminar por ocultar sin embargo la historicidad de ciertos procesos cuya explicación no se agota o no debiera agotarse en la emergencia del “nuevo” orden global y neoliberal. Con relación a las violencias esto parece particularmente relevante en tanto hoy muchos de los brotes violentos hunden sus raíces en la historia y se convierten en las “molestas” señales de un retorno a cuestiones no resueltas y hoy agudizadas por los vientos neoliberales. In her 1992 Children of Cain: Violence and the Violent in Latin America, award-winning journalist Tina Rosenberg claimed that to the average North American newspaper reader, Latin America appeared as an “overwhelmingly, numbingly violent [region], marked by political disappearances, repressive dictatorships, torture, death squads, and revolutions that invariably seem to bring more of the same” (7). Rosenberg’s much lauded study featured a cast of violent actors—among them, an Argentine naval officer acting on behalf of Argentina’s dictatorship and responsible for the torture and deaths of hundreds; a member of Peru’s feared Shining Path; a Nicaraguan guerrilla fighter turned military officer for his new government; a member of El Salvador’s brutally repressive ruling class.1 Nearly two decades after the publication of Rosenberg’s highly publicized book, the Latin American countries featured in Children of Cain are no longer at the mercy of brutally repressive military dictatorships. In retrospect it is clear that the image of Latin America captured in her book was quickly becoming obsolete by the mid 1990s, although Rosenberg could not have realized this at the time her book was finished.1 Since the publication of Children of Cain, much of Latin America has gradually turned to democratically elected governments, some of which have tried, however summarily or reluctantly, to bring to justice the most egregious perpetrators of previous state brutality. Along with the gradual end to these repressive military regimes, Latin American nations have witnessed significant disarmament and disbandment of the organized guerrilla groups that relied on armed struggle and their own brutal tactics to battle governments and control local populations since the 1960s. As one might expect, economists and politicians interpret soaring indices of foreign investment and a rapidly growing tourist industry as reliable indicators of increased political and social stability throughout the region. Yet even a cursory look at Latin American cities, and at many inter-American border zones, leads many scholars and observers to a more troublesome conclusion. Any number of statistics will show that, despite nearly two decades of arguably democratic governments, growing public confidence in the judicial system and the eventual restoration of civil liberties throughout the region, for millions of Latin Americans daily life remains, as Rosenberg’s reader would have concluded in the 1990s, “overwhelmingly, numbingly violent.”2 The realization that the emergence of new democratic regimes did nothing to end the reality of Latin America as a frighteningly violent place was the impetus behind the late Susana Rotker’s 2002 edited collection of essays, Citizens of Fear: Urban Violence in Latin America. In his foreword to the collection, Jorge Balán mentions the dashed hopes of those who had expected that the transition to democracy might bring with it a reduction in violence and an increased sense of public security. Addressing the alarming statistics of urban crime at the beginning of the 21st Century, Balán reaches the disturbing conclusion that the spread of violence and its concomitant climate of fear might pose new threats to Latin America’s recent democracies: [f ]ear is now as much a threat to democracy as violence itself, since it may again justify repression, emergency policies that circumvent the...","publication_date":{"day":null,"month":null,"year":2011,"errors":{}},"publication_name":"Arizona Journal of Hispanic Cultural Studies"},"translated_abstract":"ABSTRACT El tema de la violencia es connatural a la historia misma de América Latina y, por lo mismo, resulta inagotable en cualquiera de sus múltiples manifestaciones materiales y simbólicas, desde los orígenes coloniales hasta la actualidad. El debate en torno a la globalización y sus consecuencias, que resulta fundamental de cara al futuro, puede terminar por ocultar sin embargo la historicidad de ciertos procesos cuya explicación no se agota o no debiera agotarse en la emergencia del “nuevo” orden global y neoliberal. Con relación a las violencias esto parece particularmente relevante en tanto hoy muchos de los brotes violentos hunden sus raíces en la historia y se convierten en las “molestas” señales de un retorno a cuestiones no resueltas y hoy agudizadas por los vientos neoliberales. In her 1992 Children of Cain: Violence and the Violent in Latin America, award-winning journalist Tina Rosenberg claimed that to the average North American newspaper reader, Latin America appeared as an “overwhelmingly, numbingly violent [region], marked by political disappearances, repressive dictatorships, torture, death squads, and revolutions that invariably seem to bring more of the same” (7). Rosenberg’s much lauded study featured a cast of violent actors—among them, an Argentine naval officer acting on behalf of Argentina’s dictatorship and responsible for the torture and deaths of hundreds; a member of Peru’s feared Shining Path; a Nicaraguan guerrilla fighter turned military officer for his new government; a member of El Salvador’s brutally repressive ruling class.1 Nearly two decades after the publication of Rosenberg’s highly publicized book, the Latin American countries featured in Children of Cain are no longer at the mercy of brutally repressive military dictatorships. In retrospect it is clear that the image of Latin America captured in her book was quickly becoming obsolete by the mid 1990s, although Rosenberg could not have realized this at the time her book was finished.1 Since the publication of Children of Cain, much of Latin America has gradually turned to democratically elected governments, some of which have tried, however summarily or reluctantly, to bring to justice the most egregious perpetrators of previous state brutality. Along with the gradual end to these repressive military regimes, Latin American nations have witnessed significant disarmament and disbandment of the organized guerrilla groups that relied on armed struggle and their own brutal tactics to battle governments and control local populations since the 1960s. As one might expect, economists and politicians interpret soaring indices of foreign investment and a rapidly growing tourist industry as reliable indicators of increased political and social stability throughout the region. Yet even a cursory look at Latin American cities, and at many inter-American border zones, leads many scholars and observers to a more troublesome conclusion. Any number of statistics will show that, despite nearly two decades of arguably democratic governments, growing public confidence in the judicial system and the eventual restoration of civil liberties throughout the region, for millions of Latin Americans daily life remains, as Rosenberg’s reader would have concluded in the 1990s, “overwhelmingly, numbingly violent.”2 The realization that the emergence of new democratic regimes did nothing to end the reality of Latin America as a frighteningly violent place was the impetus behind the late Susana Rotker’s 2002 edited collection of essays, Citizens of Fear: Urban Violence in Latin America. In his foreword to the collection, Jorge Balán mentions the dashed hopes of those who had expected that the transition to democracy might bring with it a reduction in violence and an increased sense of public security. Addressing the alarming statistics of urban crime at the beginning of the 21st Century, Balán reaches the disturbing conclusion that the spread of violence and its concomitant climate of fear might pose new threats to Latin America’s recent democracies: [f ]ear is now as much a threat to democracy as violence itself, since it may again justify repression, emergency policies that circumvent the...","internal_url":"https://www.academia.edu/115279698/Violence_and_the_Latin_American_Imaginary_Preliminary_Reflections","translated_internal_url":"","created_at":"2024-02-22T13:47:10.023-08:00","preview_url":null,"current_user_can_edit":false,"current_user_is_owner":null,"owner_id":23301136,"coauthors_can_edit":false,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Violence_and_the_Latin_American_Imaginary_Preliminary_Reflections","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"ABSTRACT El tema de la violencia es connatural a la historia misma de América Latina y, por lo mismo, resulta inagotable en cualquiera de sus múltiples manifestaciones materiales y simbólicas, desde los orígenes coloniales hasta la actualidad. El debate en torno a la globalización y sus consecuencias, que resulta fundamental de cara al futuro, puede terminar por ocultar sin embargo la historicidad de ciertos procesos cuya explicación no se agota o no debiera agotarse en la emergencia del “nuevo” orden global y neoliberal. Con relación a las violencias esto parece particularmente relevante en tanto hoy muchos de los brotes violentos hunden sus raíces en la historia y se convierten en las “molestas” señales de un retorno a cuestiones no resueltas y hoy agudizadas por los vientos neoliberales. In her 1992 Children of Cain: Violence and the Violent in Latin America, award-winning journalist Tina Rosenberg claimed that to the average North American newspaper reader, Latin America appeared as an “overwhelmingly, numbingly violent [region], marked by political disappearances, repressive dictatorships, torture, death squads, and revolutions that invariably seem to bring more of the same” (7). Rosenberg’s much lauded study featured a cast of violent actors—among them, an Argentine naval officer acting on behalf of Argentina’s dictatorship and responsible for the torture and deaths of hundreds; a member of Peru’s feared Shining Path; a Nicaraguan guerrilla fighter turned military officer for his new government; a member of El Salvador’s brutally repressive ruling class.1 Nearly two decades after the publication of Rosenberg’s highly publicized book, the Latin American countries featured in Children of Cain are no longer at the mercy of brutally repressive military dictatorships. In retrospect it is clear that the image of Latin America captured in her book was quickly becoming obsolete by the mid 1990s, although Rosenberg could not have realized this at the time her book was finished.1 Since the publication of Children of Cain, much of Latin America has gradually turned to democratically elected governments, some of which have tried, however summarily or reluctantly, to bring to justice the most egregious perpetrators of previous state brutality. Along with the gradual end to these repressive military regimes, Latin American nations have witnessed significant disarmament and disbandment of the organized guerrilla groups that relied on armed struggle and their own brutal tactics to battle governments and control local populations since the 1960s. As one might expect, economists and politicians interpret soaring indices of foreign investment and a rapidly growing tourist industry as reliable indicators of increased political and social stability throughout the region. Yet even a cursory look at Latin American cities, and at many inter-American border zones, leads many scholars and observers to a more troublesome conclusion. Any number of statistics will show that, despite nearly two decades of arguably democratic governments, growing public confidence in the judicial system and the eventual restoration of civil liberties throughout the region, for millions of Latin Americans daily life remains, as Rosenberg’s reader would have concluded in the 1990s, “overwhelmingly, numbingly violent.”2 The realization that the emergence of new democratic regimes did nothing to end the reality of Latin America as a frighteningly violent place was the impetus behind the late Susana Rotker’s 2002 edited collection of essays, Citizens of Fear: Urban Violence in Latin America. In his foreword to the collection, Jorge Balán mentions the dashed hopes of those who had expected that the transition to democracy might bring with it a reduction in violence and an increased sense of public security. Addressing the alarming statistics of urban crime at the beginning of the 21st Century, Balán reaches the disturbing conclusion that the spread of violence and its concomitant climate of fear might pose new threats to Latin America’s recent democracies: [f ]ear is now as much a threat to democracy as violence itself, since it may again justify repression, emergency policies that circumvent the...","impression_tracking_id":null,"owner":{"id":23301136,"first_name":"Dianna","middle_initials":"C","last_name":"Niebylski","page_name":"dcniebylski","domain_name":"uic","created_at":"2014-12-10T17:47:58.798-08:00","display_name":"Dianna C Niebylski","url":"https://uic.academia.edu/dcniebylski"},"attachments":[],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy"},{"id":951,"name":"Humanities","url":"https://www.academia.edu/Documents/in/Humanities"},{"id":9939,"name":"Torture","url":"https://www.academia.edu/Documents/in/Torture"},{"id":50785,"name":"Dictatorship","url":"https://www.academia.edu/Documents/in/Dictatorship"},{"id":53674,"name":"History of the Imaginary","url":"https://www.academia.edu/Documents/in/History_of_the_Imaginary"},{"id":4109113,"name":"Latin Americans","url":"https://www.academia.edu/Documents/in/Latin_Americans"}],"urls":[{"id":39709106,"url":"https://doi.org/10.1353/hcs.2011.0428"}]}, dispatcherData: dispatcherData }); 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The image of woman's body as a terryfying pause in Octavio Paz's poem nestles in one of the most pervasive metaphors of Western psycho-sexual thought: that which posits universal woman, and in particular this universal woman's carnal materiality, as enigma, puzzle, question mark. Under the aggressive but incomprehnding gaze of a phallophiliac erotics and a phallocentric aesthetics, the female body--so often represented as little more than torso in Western art--evokes both fascination and terror, desire and repulsion in texts that seek to conquer its mystery by examining it, dissecting it, autopsying it. As foreign objectcs to be mastered rather than understood or pleasured, the female bodies that appear on the beds or on the operating tables of these dominant (and domineering) discourses lose their fluidity, become stolid, numbed or paralized. Likewise, as the irresistible but terryfying (erotic) pause of the androcentric imaginary, women's bodies must repress their own yearnings, silence their own needs, in order to make room for the explosions of semen and signification that constantly gush out of incontinent phallic spouts.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4bc2743477922c6cb31766810248f5bc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36712983,"asset_id":10964557,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36712983/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10964557"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10964557"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10964557; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10964557]").text(description); $(".js-view-count[data-work-id=10964557]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10964557; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10964557']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4bc2743477922c6cb31766810248f5bc" } } $('.js-work-strip[data-work-id=10964557]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10964557,"title":"New Discourses of Sexuality and Eroticism in Latin American Women Writers -1998 presentation","translated_title":"","metadata":{"grobid_abstract":"El cuerpo femenino/Es una pausa/Terrible/Proximidad inaccesible (A woman's body/ Is a pause/Terrifying/ Inaccessible proximity). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-10775151-figures'); } }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2782031" id="editorialwork"></div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="16988581" id="drafts"><div class="js-work-strip profile--work_container" data-work-id="95817526"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/95817526/Radio_Sounds_Absent_Voices_and_the_anti_Archival_Impulse_in_Sergio_Chejfecs_Apuntes_para_un_panfleto"><img alt="Research paper thumbnail of Radio Sounds, Absent Voices and the anti-Archival Impulse in Sergio Chejfec's Apuntes para un panfleto" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/95817526/Radio_Sounds_Absent_Voices_and_the_anti_Archival_Impulse_in_Sergio_Chejfecs_Apuntes_para_un_panfleto">Radio Sounds, Absent Voices and the anti-Archival Impulse in Sergio Chejfec's Apuntes para un panfleto</a></div><div class="wp-workCard_item"><span>Paper will be presented at the ACLA conference in Chicago</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Apuntes para un panfleto, like all of Sergio Chejfec's previous narratives, pursues an art of dig...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Apuntes para un panfleto, like all of Sergio Chejfec's previous narratives, pursues an art of digression, indirectness and ellipses. These traits are typical of the author's oeuvre, but the turn away from visual images (maps and photographs in particular) towards the sonic is a late development for the author. By reading this work (published a year before the author's death) alongside Chejfec's own essays on imaginative writing in the era of digital media, and both alongside recent work on early vs. contemporary sound technology, I propose to explore what appears to be its anti-archival impulse, an impulse that may have been part of the author's novels and essays all along, but is much more pronounced in this late work.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="35cb9eae8dbb994845a4189ab1bdb7f9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":97893387,"asset_id":95817526,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/97893387/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="95817526"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="95817526"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 95817526; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=95817526]").text(description); $(".js-view-count[data-work-id=95817526]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 95817526; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='95817526']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "35cb9eae8dbb994845a4189ab1bdb7f9" } } $('.js-work-strip[data-work-id=95817526]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":95817526,"title":"Radio Sounds, Absent Voices and the anti-Archival Impulse in Sergio Chejfec's Apuntes para un panfleto","translated_title":"","metadata":{"abstract":"Apuntes para un panfleto, like all of Sergio Chejfec's previous narratives, pursues an art of digression, indirectness and ellipses. 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These traits are typical of the author's oeuvre, but the turn away from visual images (maps and photographs in particular) towards the sonic is a late development for the author. By reading this work (published a year before the author's death) alongside Chejfec's own essays on imaginative writing in the era of digital media, and both alongside recent work on early vs. contemporary sound technology, I propose to explore what appears to be its anti-archival impulse, an impulse that may have been part of the author's novels and essays all along, but is much more pronounced in this late work.","impression_tracking_id":null,"owner":{"id":23301136,"first_name":"Dianna","middle_initials":"C","last_name":"Niebylski","page_name":"dcniebylski","domain_name":"uic","created_at":"2014-12-10T17:47:58.798-08:00","display_name":"Dianna C Niebylski","url":"https://uic.academia.edu/dcniebylski"},"attachments":[{"id":97893387,"title":"","file_type":"odt","scribd_thumbnail_url":"https://a.academia-assets.com/images/blank-paper.jpg","file_name":"Radio_Sounds_Chejfec_abstract_.odt","download_url":"https://www.academia.edu/attachments/97893387/download_file","bulk_download_file_name":"Radio_Sounds_Absent_Voices_and_the_anti.odt","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/97893387/Radio_Sounds_Chejfec_abstract_.odt?1674856888=\u0026response-content-disposition=attachment%3B+filename%3DRadio_Sounds_Absent_Voices_and_the_anti.odt\u0026Expires=1744402155\u0026Signature=gqZkGlyBOFgGethsx2W-M20pR3R8REdKs6ZFUmXCyH4bQ6hd~wkVcKDA5RJFTkfbEItWk474G8WER67BaqvHx7rJ-EdGUKZJFLHRdWPi37smP7h0XKmsvqXupqDQMgFY7Yzvbs6XYxis4LeGGdPH6vVsRmGmr7H8U0fvyu7TNkxv9p2bnnnG9vPQX7pyvCYJR0qYVsnNcKwE0e8GxMrdNH9kl2HO0eIHWdxxEpu6BQUJ94fskOUywq9kiejR2iD7mlmKYskoHZSugxPnimmlg1JNN4MfmZaJqfpgj7VeIbUoRTXSq6jP9ySZgSHFou62cO3WW3kq1e9SBPOKji759Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":6634,"name":"Soundscape Studies","url":"https://www.academia.edu/Documents/in/Soundscape_Studies"},{"id":100722,"name":"Spanish and Latin American Contemporary Literature","url":"https://www.academia.edu/Documents/in/Spanish_and_Latin_American_Contemporary_Literature"},{"id":926113,"name":"Pamphlets","url":"https://www.academia.edu/Documents/in/Pamphlets"},{"id":955596,"name":"Contemporary Argentine Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Argentine_Literature"},{"id":2719152,"name":"Sergio Chejfec","url":"https://www.academia.edu/Documents/in/Sergio_Chejfec"}],"urls":[]}, dispatcherData: dispatcherData }); 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