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From the acclaimed author of "The Dark Bride" comes a new novella published in a bilingual English/Spanish edition.
Quill and Cross in the Borderlands examines nearly four hundred years of history, folklore, literature, and art concerning the seventeenth-century Spanish nun and writer Sor María de Jesús de Ágreda, identified as the legendary “Lady in Blue” who miraculously appeared to tribes in colonial-era New Mexico and taught them the rudiments of the Catholic faith. Sor María, an author of mystical Marian works, became renowned not only for her alleged spiritual travel from her cloister in Spain to the New World, but also for her writing, studied and implemented by Franciscans on both sides of the ocean. Working from original historical accounts, archival research, and a wealth of literature on the legend and the historical figure alike, Anna M. Nogar meticulously examines how and why the legend and the person became intertwined in Catholic consciousness and social praxis. In addition to the influence of the narrative of the Lady in Blue in colonial Mexico, Nogar addresses Sor María’s importance as an author of spiritual texts that influenced many spheres of New Spanish and Spanish society. Quill and Cross in the Borderlands focuses on the reading and interpretation of her works, especially in New Spain, where they were widely printed and disseminated. Over time, in the developing folklore of the Indo-Hispano populations of the present-day U.S. Southwest and the borderlands, the historical Sor María and her writings virtually disappeared from view, and the Lady in Blue became a prominent folk figure, appearing in folk stories and popular histories. These folk accounts drew the Lady in Blue into the present day, where she appears in artwork, literature, theater, and public ritual. Nogar’s examination of these contemporary renderings leads to a reconsideration of the ambiguities that lie at the heart of the narrative. Quill and Cross in the Borderlands documents the material legacy of a legend that has survived and thrived for hundreds of years, and at the same time rediscovers the historical basis of a hidden writer. This book will interest scholars and researchers of colonial Latin American literature, early modern women writers, folklore and ethnopoetics, and Mexican American cultural studies.
Latin America's Indigenous writers have long labored under the limits of colonialism, but in the late twentieth and twenty-first centuries, they have constructed a literary corpus that moves them beyond those parameters. Gloria E. Chacon considers the growing number of contemporary Indigenous writers who turn to Maya and Zapotec languages alongside Spanish translations of their work to challenge the tyranny of monolingualism and cultural homogeneity. Chacon argues that these Maya and Zapotec authors reconstruct an Indigenous literary tradition rooted in an Indigenous cosmolectics, a philosophy originally grounded in pre-Columbian sacred conceptions of the cosmos, time, and place, and now expressed in creative writings. More specifically, she attends to Maya and Zapotec literary and cultural forms by theorizing kab'awil as an Indigenous philosophy. Tackling the political and literary implications of this work, Chacon argues that Indigenous writers' use of familiar genres alongside Indigenous language, use of oral traditions, and new representations of selfhood and nation all create space for expressions of cultural and political autonomy. Chacon recognizes that Indigenous writers draw from universal literary strategies but nevertheless argues that this literature is a vital center for reflecting on Indigenous ways of knowing and is a key artistic expression of decolonization.
From the rise of the Pan-Maya Movement in Guatemala and the Zapatista uprising in Mexico to the Water and Gas Wars in Bolivia and the Idle No More movement in Canada, the turn of the twenty-first century has witnessed a notable surge in Indigenous political action as well as an outpouring of texts produced by Native authors and poets. Throughout the Americas—Abiayala, or the “Land of Plenitude and Maturity” in the Guna language of Panama—Indigenous people are raising their voices and reclaiming the right to represent themselves in politics as well as in creative writing. Revealing Rebellion in Abiayala explores the intersections between Indigenous literature and social movements over the past thirty years through the lens of insurgent poetics. Author Hannah Burdette is interested in how Indigenous literature and social movements are intertwined and why these phenomena arise almost simultaneously in disparate contexts across the Americas. Literature constitutes a key weapon in political struggles as it provides a means to render subjugated knowledge visible and to envision alternatives to modernity and coloniality. The surge in Indigenous literature and social movements is arguably one of the most significant occurrences of the twenty-first century, and yet it remains understudied. Revealing Rebellion in Abiayala bridges that gap by using the concept of Abiayala as a powerful starting point for rethinking inter-American studies through the lens of Indigenous sovereignty.
This definitive reader brings together seminal articles on development in Latin America. Tracing the concepts and major debates surrounding the issue, the text focuses on development theory through three contrasting historical perspectives: imperialism, underdevelopment and dependency, and globalization. By offering a rich array of essays from Latin American Perspectives, the book allows students to sample all the important trends in the field. A new general introduction and conclusion, along with part introductions, contextualize each selection. One of the leading figures in development studies, Ronald Chilcote shows in this text why work on imperialism dating to the turn of the twentieth century informs the controversies on dependency and underdevelopment during the 1960s and 1970s as well as the globalization debates of the past decade. If students are to understand development in Latin America, they must not only be familiar with historical examples and recognize that various theoretical perspectives affect our interpretation of events, they must be willing to keep an open mind. Thus, rather than setting out established premises, this reader offers different points of view, raising provocative questions about Latin America that remain largely unanswered even today. Students will come away from this rewarding collection ready to pursue new understanding through critical inquiry and thinking.
Provides an innovative and theoretically rigorous approach to the subject of testimony in Latin America. This book rethinks the nature of testimony beyond the ground of the human in works produced in Chile and Argentina from the 1970s to the present. Focusing on literature by Juan Gelman, Sergio Chejfec, and Roberto Bolaño, as well as art by Eugenio Dittborn, Kate Jenckes argues that these works represent life, death, and the relation between self and other “beyond the human,” that is beyond the sense that we can know and represent ourselves and others, with powerful implications for our understanding of history, community, and politics. Jenckes engages with the work of Jacques Derrida together with the intellectually rigorous field of Chilean aesthetic theory to explore issues related to the nature of testimony.
Adapting Gender offers a cogent introduction to Mexico's film industry, the history of women's filmmaking in Mexico, a new approach to adaptation as a potential feminist strategy, and a cultural history of generational changes in Mexico. Ilana Dann Luna examines how adapted films have the potential to subvert not only the intentions of the source text, but how they can also interrupt the hegemony of gender stereotypes in a broader socio-political context. Luna follows the industrial shifts that began with Salinas de Gortari's presidency, which made the long 1990s the precise moment in which subversive filmmakers, particularly women, were able to participate more fully in the industry and portrayed the lived experiences of women and non-gender-conforming men. The analysis focuses on Busi Cortés's El secreto de Romelia (1988), an adaptation of Rosario Castellanos's short novel El viudo Román (1964); Sabina Berman and Isabelle Tardán's Entre Pancho Villa y una mujer desnuda (1996), an adaptation of Berman's own play, Entre Villa y una mujer desnuda (1992); Guita Schyfter's Novia que te vea (1993), an adaptation of Rosa Nissán's eponymous novel (1992); and Jaime Humberto Hermosillo's De noche vienes, Esmeralda (1997), an adaptation of Elena Poniatowska's short story "De noche vienes" (1979). These adapted texts established a significant alternative to monolithic notions of national (gendered) identity, while critiquing, updating, and even queering, notions of feminism in the Mexican context.
Women are noticeably marginalized from the Latin American film industry, with lower budgets and inadequate distribution, and they often rely on their creativity to make more interesting films. This book highlights the voices and stories of some of these directors from Brazil, Chile, Argentina, and Mexico. Roberts-Camps’s insightful exploration is the most broad-ranging account of its kind, making the book relevant to the study of literature as well as film.