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Concrete Aesthetics in Cuba, Brazil, and Spain, 1868-1968
The Object of the Atlantic is a wide-ranging study of the transition from a concern with sovereignty to a concern with things in Iberian Atlantic literature and art produced between 1868 and 1968. Rachel Price uncovers the surprising ways that concrete aesthetics from Cuba, Brazil, and Spain drew not only on global forms of constructivism but also on a history of empire, slavery, and media technologies from the Atlantic world. Analyzing José Martí's notebooks, Joachim de Sousândrade's poetry, Ramiro de Maeztu's essays on things and on slavery, 1920s Cuban literature on economic restructuring, Ferreira Gullar's theory of the "non-object," and neoconcrete art, Price shows that the turn to objects--and from these to new media networks--was rooted in the very philosophies of history that helped form the Atlantic world itself.
Cognitive Mappings of Contemporary Chicano/a Fiction
Chicano/a fiction is often understood as a literature of resistance to the dominant U.S. Anglo culture and society. But reducing this rich literary production to a single, binary opposition distorts it in fundamental ways. It conflates literature with life, potentially substituting a literature of protest for social activism that could provoke real changes in society. And it overlooks the complex range of responses to Anglo society that actually animates Chicano/a fiction. In this paradigm-shifting book, Patrick L. Hamilton analyzes works by Rudolfo Anaya, Ana Castillo, Denise Chávez, Rolando Hinojosa, Arturo Islas, John Rechy, Alfredo Véa, and Helena María Viramontes to expand our understandings of the cultural interactions within the United States that are communicated by Chicano/a fiction. He argues that the narrative ethics of “resistance” within the Chicano/a canon is actually complemented by ethics of “persistence” and “transformation” that imagine cultural differences within the United States as participatory and irreducible to simple oppositions. To demonstrate these alternative ethics, Hamilton adapts the methodology of cognitive mapping; that is, he treats the chosen fictional texts as mental maps that are constructed around and communicative of the narrative’s ethics. As he reads these cognitive maps, which envision Chicano/a culture as being part of U.S. society rather than as “resistant” and separate, Hamilton asserts that the authors’ conception of cultural difference speaks more usefully to current sociopolitical debates, such as those about gay marriage and immigration reform, than does the traditional “resistant” paradigm.
Araceli Tinajero's Orientalismo en el modernismo hispanoamericano falls within the present revisionist trend with respect to Spanish American modernism of the late nineteenth and early twentieth century. The text's uniqueness stems from its focus on allusions to images, artifacts, and thought from the East—primarily Japan—found in central and peripheral writings within the Spanish American movement.
Waste and Contamination in Contemporary U.S. Ethnic Literatures
In recent decades, Chicana/o literary and cultural productions have dramatically shifted from a nationalist movement that emphasized unity to one that openly celebrates diverse experiences. Charting this transformation, Postnationalism in Chicana/o Literature and Culture looks to the late 1970s, during a resurgence of global culture, as a crucial turning point whose reverberations in twenty-first-century late capitalism have been profound. Arguing for a postnationalism that documents the radical politics and aesthetic processes of the past while embracing contemporary cultural and sociopolitical expressions among Chicana/o peoples, Hernández links the multiple forces at play in these interactions. Reconfiguring text-based analysis, she looks at the comparative development of movements within women’s rights and LGBTQI activist circles. Incorporating economic influences, this unique trajectory leads to a new conception of border studies as well, rethinking the effects of a restructured masculinity as a symbol of national cultural transformation. Ultimately positing that globalization has enhanced the emergence of new Chicana/o identities, Hernández cultivates important new understandings of borderlands identities and postnationalism itself.
My Weapon Is My Pen
Raúl Salinas is regarded as one of today's most important Chicano poets and human rights activists, but his passage to this place of distinction took him through four of the most brutal prisons in the country. His singular journey from individual alienation to rage to political resistance reflected the social movements occurring inside and outside of prison, making his story both personal and universal. This groundbreaking collection of Salinas' journalism and personal correspondence from his years of incarceration and following his release provides a unique perspective into his spiritual, intellectual, and political metamorphosis. The book also offers an insider's view of the prison rebellion movement and its relation to the civil rights and anti-war movements of the 1960s and 1970s. The numerous letters between Salinas and his family, friends, and potential allies illustrate his burgeoning political awareness of the cause and conditions of his and his comrades' incarceration and their link to the larger political and historical web of social relations between dominant and subaltern groups. These collected pieces, as well as two interviews with Salinas—one conducted upon his release from prison in 1972, the second more than two decades later—reveal to readers the transformation of Salinas from a street hipster to a man seeking to be a part of something larger than himself. Louis Mendoza has painstakingly compiled a body of work that is autobiographical, politically insurgent, and representative.
The De-Mastery of Desire
A race-based oppositional paradigm has informed Chicano studies since its emergence. In this work, Sandra K. Soto replaces that paradigm with a less didactic, more flexible framework geared for a queer analysis of the discursive relationship between racialization and sexuality. Through rereadings of a diverse range of widely discussed writers—from Américo Paredes to Cherríe Moraga—Soto demonstrates that representations of racialization actually depend on the sexual and that a racialized sexuality is a heretofore unrecognized organizing principle of Chican@ literature, even in the most unlikely texts. Soto gives us a broader and deeper engagement with Chican@ representations of racialization, desire, and both inter- and intracultural social relations. While several scholars have begun to take sexuality seriously by invoking the rich terrain of contemporary Chicana feminist literature for its portrayal of culturally specific and historically laden gender and sexual frameworks, as well as for its imaginative transgressions against them, this is the first study to theorize racialized sexuality as pervasive to and enabling of the canon of Chican@ literature. Exemplifying the broad usefulness of queer theory by extending its critical tools and anti-heteronormative insights to racialization, Soto stages a crucial intervention amid a certain loss of optimism that circulates both as a fear that queer theory was a fad whose time has passed, and that queer theory is incapable of offering an incisive, politically grounded analysis in and of the current historical moment.
Essays on Hispanic Popular Culture, Revised and Expanded Edition
Ilan Stavans’s collection of essays on kitsch and high art in the Americas makes a return with thirteen new colorful conversations that deliver Stavans’s trademark wit and provocative analysis. “A Dream Act Deferred” discusses an issue that is at once and always topical in the dialogue of Hispanic popular culture: immigration. This essay generated a vociferous response when first published in The Chronicle of Higher Education as the issue of immigration was contested in states like Arizona, and is included here as a new addition that adds a rich layer to Stavans’s vibrant discourse. Fitting in this reconfiguration of his analytical conversations on Hispanic popular culture is Stavans’s “Arrival: Notes from an Interloper,” which recounts his origins as a social critic and provides the reader with interactive insight into the mind behind the matter.
Once again delightfully humorous and perceptive, Stavans delivers an expanded collection that has the power to go even further beyond common assumptions and helps us understand Mexican popular culture and its counterparts in the United States.