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Ana Clavel is a remarkable contemporary Mexican writer whose literary and multimedia oeuvre is marked by its queerness. The queer is evinced in the manner in which she disturbs conceptions of the normal not only by representing outlaw sexualities and dark desires but also by incorporating into her fictive and multimedia worlds that which is at odds with normalcy as evinced in the presence of the fantastical, the shadow, ghosts, cyborgs, golems and even urinals. Clavels literary trajectory follows a queer path in the sense that she has moved from singular modes of creative expression in the form of literary writing, a traditional print medium, towards other non-literary forms. Some of Clavels works have formed the basis of wider multimedia projects involving collaboration with various artists, photographers, performers and IT experts. Her works embrace an array of hybrid forms including the audiovisual, internet-enabled technology, art installation, (video) performance and photography. By foregrounding the queer heterogeneous narrative themes, techniques and multimedia dimension of Clavels oeuvre, the aim of this monograph is to attest to her particular contribution to Hispanic letters, which arguably is as significant as that of more established Spanish American boom femenino women writers.
In contemporary Latin America, an emerging crosscurrent of pioneering female writers and artists with an interest in transgressing traditional boundaries of genre, media, gender and nation are using their work to voice dissent against pressing social issues including neo-liberal consumerism, environmental degradation, mass migration and gender violence.
The Latin American novel burst onto the international literary scene with the Boom era--led by Julio Cortázar, Gabriel García Márquez, Carlos Fuentes, and Mario Vargas Llosa--and has influenced writers throughout the world ever since. García Márquez and Vargas Llosa each received the Nobel Prize in literature, and many of the best-known contemporary novelists are inspired by the region's fiction. Indeed, magical realism, the style associated with García Márquez, has left a profound imprint on African American, African, Asian, Anglophone Caribbean, and Latinx writers. Furthermore, post-Boom literature continues to garner interest, from the novels of Roberto Bolaño to the works of César Aira and Chico Buarque, to those of younger novelists such as Juan Gabriel Vásquez, Alejandro Zambra, and Valeria Luiselli. Yet, for many readers, the Latin American novel is often read in a piecemeal manner delinked from the traditions, authors, and social contexts that help explain its evolution. The Oxford Handbook of the Latin American Novel draws literary, historical, and social connections so that readers will come away understanding this literature as a rich and compelling canon. In forty-five chapters by leading and innovative scholars, the Handbook provides a comprehensive introduction, helping readers to see the region's intrinsic heterogeneity--for only with a broader view can one fully appreciate García Márquez or Bolaño. This volume charts the literary tradition of the Latin American novel from its beginnings during colonial times, its development during the nineteenth and the first half of the twentieth century, and its flourishing from the 1960s onward. Furthermore, the Handbook explores the regions, representations of identity, narrative trends, and authors that make this literature so diverse and fascinating, reflecting on the Latin American novel's position in world literature.
Mapping the Megalopolis: Order and Disorder in Mexico City brings the humanities and the social sciences into a conversation about Mexico City in its social, political, and aesthetic manifestations. Through a shared exploration of the order and disorder that mutually constitute the city, contributing authors engage topics such as the privatization of public space, challenges to existing conceptualizations of the urban form, and variations on the flâneur and other urban actors. Mexico City is truly a city of versions, and Mapping the Megalopolis celebrates the intersection of the image of the city and the lived experience of it. Readers will find substantive entries on a great variety of Mexico City’s monumental and counter-monumental spaces, as well as some of its pivotal contemporary debates and cultural products. The volume serves both as supplemental reading on the world city or the Latin American city, and as a central text in a multidisciplinary study of Mexico City.
This book studies the role of subterranean spaces in literary works about Mexico City. It analyzes how underground spaces such as the subway, the sewage system, tunnels, crypts, and the subsoil itself relate to the whole of the city in a body of works published after 1985, the year of the deadliest earthquake in the capital’s history. The texts belong to the most important genres in urban literature (the novel, the short story, and the crónica) and demonstrate the crucial role played by the underground in contemporary imaginings of the megalopolis, as it condenses and confronts the tensions that run through them. This central idea is developed through four analytical chapters focusing on the political, ecological, historical, and aesthetic dimension of subterranean imaginaries.
An essential overview of this blossoming field, The Routledge Companion to Inter-American Studies is the first collection to draw together the diverse approaches and perspectives on the field, highlighting the importance of Inter-American Studies as it is practiced today. Including contributions from canonical figures in the field as well as a younger generation of scholars, reflecting the foundation and emergence of the field and establishing links between older and newer methodologies, this Companion covers: Theoretical reflections Colonial and historical perspectives Cultural and political intersections Border discourses Sites and mobilities Literary and linguistic perspectives Area studies, global studies, and postnational studies Phenomena of transfer, interconnectedness, power asymmetry, and transversality within the Americas.
Before the Portuguese Royal Court moved to its South-American colony in 1808, books and periodicals had a very limited circulation there. It was only when Brazilian ports were opened to foreign trade that the book trade began to flourish, and printed matter became more easily available to readers, whether for pleasure, for instruction or for political reasons. This book brings together a collection of original articles on the transnational relations between Brazil and Europe, especially England and France, in the domain of literature and print culture from its early stages to the end of the 1920s. It covers the time when it was forbidden to print in Brazil, and Portugal strictly controlled which books were sent to the colony, through the quick flourishing of a transnational printing industry and book market after 1822, to the shift of hegemony in the printing business from foreign to Brazilian hands at the beginning of the twentieth century. Sandra Guardini Vasconcelos is Professor of English and Comparative Literature at the University of Sao Paulo.
Widely known for his novels El reino de este mundo and Los pasos perdidos, the Swiss-born Cuban writer Alejo Carpentier incorporated music in his fiction extensively, for instance in titles, in analogies with musical forms, in scenes depicting performances, recordings and broadcasts, and in characters’ discussions of musical issues. Chornik’s study focuses on Carpentier’s writings from a musicological perspective, bridging intermediality and intertextuality through an examination of music as formative, as form, and as performed. The emphasis lies on the novels Los pasos perdidos, El acoso, Concierto barroco and La consagración de la primavera, and on his unknown essay Los orígenes de la música y la música primitiva, the repository of ideas for Los pasos perdidos, included here for the first time as facsimile and in English translation. Chornik’s study will appeal to scholars and students in literary studies, cultural studies, musicology and ethnomusicology, and to a specifically interdisciplinary readership.
"In July 1713 Great Britain and Spain signed a 'Treaty of Peace and Friendship' that brought to an end a conflict that had begun in 1701, following the death the year before of the Spanish King Charles II, who died without leaving a direct descendant or heir. The War of the Spanish Succession that ensued involved the major European powers who all had an interest in the question of who would occupy the Spanish throne. As a result of the various peace treaties that were signed between 1713 and 1714 between the warring countries - Spain, Britain, France, the Austrian Empire, the Dutch Republic -, the Bourbon candidate became king of Spain as Philip V, but Spain lost its last European possessions (the Spanish Netherlands, Naples, Sicily, and Sardinia, among others) and ceded to Great Britain the island of Minorca and Gibraltar. Considered by many historians to be the first real world war, as it involved fighting in the Americas as well as in Europe, the War of the Spanish Succession changed the map of Europe and led to significant alterations in the balance of power. In this volume twelve eminent historians and legal experts from Spain and the United Kingdom consider the political and legal context and consequences of the War and the Treaty of Utrecht that brought it to an end, consequences that still resonate today. This volume is edited by Trevor J. Dadson with the assistance of the Office for Cultural and Scientific Affairs, Embassy of Spain, London."
Though primarily known for his haunting, enigmatic novel Pedro Páramo and the unrelenting depictions of the failures of post-revolutionary Mexico in his short story collection, El Llano en llamas, Juan Rulfo also worked as scriptwriter on various collaborative film projects and his powerful interventions in the area of documentary photography ensure that he continues to inspire interest worldwide. Bringing together some of the most significant names in Rulfian scholarship, this anthology engages with the complexity and diversity of Rulfo’s cultural production. The essays in the collection bring the Rulfian texts into dialogues with other cultural traditions and techniques including the Japanese Noh or "mask" plays and modernist experimentation in the Irish language. They also deploy diverse theoretical frameworks that range from Roland Barthes’ work on studium and punctum in photography to Henri Lefebvre’s ideas on space and spatiality and the postmodern insights of Jean Baudrillard on the nature of the simulacrum and the hyperreal. In this way, innovative approaches are brought to bear on the Rulfian texts as a way of illuminating the rich tensions and anxieties they evoke about Mexico, about history, about art and about the human condition.