In lieu of an abstract, here is a brief excerpt of the content:

254 Arizona Journal of Hispanic Cultural Studies que se ponga en entredicho el trabajo de ellas exponiendo la duda de si hay o no "un teatro de mujeres" (167), puesto que nunca se considera hablar de un "teatro de hombres," reafirmándose de esta manera una tendencia de clasificar el teatro escrito por mujeres como un subgénero. Si es cierto que "su insuficiente legitimación, ha hecho pensar en la dramaturgia femenina sólo en términos de ausencia" (168) el no tan pequeño número de obras que se mencionan a lo largo de este compendio podrÃ-a promover el interés por su estudio y asÃ- comenzar a legitimar esta dramaturgia que todavÃ-a está a la sombra. En tercera persona. Crónicas teatraks cubanas : 1969-2002 es un itinerario e inventario de mucho valor para todo aquel que quiera acercarse al teatro de la Cuba de fin de siglo. Gracias a esta summa del acontecer dramático de la isla—que resume en un tomo todo un trabajo de hemeroteca y revistas a la cual la mayorÃ-a no tenemos acceso—podemos ampliar nuestros horizontes con nombres y obras de las cuales no tenÃ-amos noticia. Yosálida C. Rivero-Moreno The University of Arizona Hispanic American Historical Review, Special Issue: "Can the Subaltern See? Photographs as History" Duke University Press, 2004 Edited by Fernando Coronil Looking at photographs of or by subalterns brings to the fore a variety of complexities regarding visual representation and social agency. The special issue of the Hispanic American History Review, "Can the Subaltern See? Photographs as History, " contains diree excellent essays that address the processes involved in looking at and analyzing such photographs. As Fernando Coronil observes in his introduction, the diree articles in the volume "do not so much see photos as see through them" (2). Indeed, these essays analyze photographs as sites of cultural production that bear the traces of multiple social pressures, that both conform to and resist predominant modes of representation, and that are frequendy used in cultural projects quite distant from the intentions surrounding their original production. Far from viewing photographs as merely historical "evidence," these essays show how photographs make active traces of their own in the formation of history and, likewise, how images not only "reflect" national, ethnic, racial, and sexual identities, but work to constitute them. For these reasons, the volume should be of interest not only to historians and to those engaged in multidisciplinary approaches to visual culture in Latin America, but to anyone interested in the relationships between visual representation and identity formation. The first essay, "Family Photos, Oral Narratives , and Identity Formation: The Ukrainians of Berisso" by historians Daniel James and Mirta Zaida Loba, is a fascinating reading of the history of immigrants from the Ukraine who settled in the industrial town of Berisso in the province of Buenos Aires. By reading and interpreting two personal photo albums of a Ukrainian immigrant to Argentina, the authors show how the juxtaposition and ordering of photographs can lend them new narrative capabilities, allowing them to tell a more general story about emigration and the reconstruction of a new cultural identity. The essay enacts a methodology of looking at personal photographs: contextualizing them and placing them alongside personal narratives, all while providing additional historical information, in order to reconstruct how these images were read and how they intervened in the processes of identity construction. In addition, the albums and narratives provide a case study of the formation of ethnic identity in immigrant culture that will be of interest to those working with other immigrant groups who strive to represent their experiences both visually and verbally. The second essay by anthropologist Deborah Poole, "An Image of'Our Indian: Type Photographs and Racial Sentiments in Oaxaca, 1920-1940," clearly demonstrates how photographs can be not only evidence of socio-cultural or historical change, but also an instrument of Arizona Journal of Hispanic Cultural Studies 255 such changes. In particular, Poole reveals the role of photography in conceptualizations of race and ethnicity in Mexico from the late Porfiriato through the post-revolutionary years in Oaxaca, through perceptive and convincing analysis of the changing significance...

pdf

Share