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Sexual Culture in Contemporary Brazil, Second Edition
Originally published in the early 1990s, Bodies, Pleasures, and Passions quickly became a classic ethnographic study of the social, cultural and historical construction of sexuality and sexual diversity. Drawing on extensive field research and interviews, together with the analysis of historical and literary texts, anthropologist Richard Parker mapped out the multiple cultural systems that structure gender, sexuality, and erotic practices in Brazil, and helped to open up a new wave of social science research on sexuality. Using ethnographic methods focusing on sexual meanings as an alternative to traditional surveys of sexual behavior, Parker argues that sexual life can only be fully understood through an analysis of the cultural logics that shape experience. Drawing on the tradition of interpretive anthropology, he focuses on the diverse sexual scripts that have been articulated in Brazilian culture and examines the often contradictory ways in which these scripts shape the sexual experience of different individuals. He highlights the sexual socialization of children and young people, and the changing sexual realities of adults living in a rapidly changing world. He underlines the ways in which complex cultural forms such as carnaval can be understood as stories that Brazilians tell themselves about themselves and about the meaning of sexuality in contemporary Brazilian life. The 1991 book was the winner of the Ruth Benedict Prize from the Society of Lesbian and Gay Anthropologists.
A Guide to His Mind and Art, A Revised Edition
Since its first publication in 1981, Borges and His Fiction has introduced the life and works of this Argentinian master-writer to an entire generation of students, high school and college teachers, and general readers. Responding to a steady demand for an updated edition, Gene H. Bell-Villada has significantly revised and expanded the book to incorporate new information that has become available since Borges’ death in 1986. In particular, he offers a more complete look at Borges and Peronism and Borges’ personal experiences of love and mysticism, as well as revised interpretations of some of Borges’ stories. As before, the book is divided into three sections that examine Borges’ life, his stories in Ficciones and El Aleph, and his place in world literature.
Borges and Mathematics is a short book of essays that explores the scientific thinking of the Argentine writer Jorge Luis Borges (1899-1986). Around half of the book consists of two “lectures” focused on mathematics. The rest of the book reflects on the relationship between literature, artistic creation, physics, and mathematics more generally. Written in a way that will be accessible even to those “who can only count to ten,” the book presents a bravura demonstration of the intricate links between the worlds of sciences and arts, and it is a thought-provoking call to dialog for readers from both traditions. The author, Guillermo Martínez, is both a recognized writer, whose murder mystery The Oxford Murders has been translated into thirty-five languages, and a PhD in mathematics. Contents: Borges and Mathematics: First Lecture; Borges and Mathematics: Second Lecture; The Golem and Artificial Intelligence; The Short Story as Logical System; A Margin Too Narrow; Euclid, or the Aesthetics of Mathematical Reasoning; Solutions and Disillusions; The Pythagorean Twins; The Music of Chance (Interview with Gregory Chaikin); Literature and Rationality; Who’s Afraid of the Big Bad One?; A Small, Small God; God’s Sinkhole. This book was originally published in Spanish as Borges y la matemática (2003). It has been translated with generous support from the Latino Cultural Center at Purdue University. Key points: • Presents complex mathematical and literary concepts in a way that is accessible to non-specialists. • Promotes dialog between readers from both humanist and scientific traditions. • Expands understanding of the Argentine writer, Jorge Luis Borges, including presenting some never-before-translated work.
In this highly original volume, Charles Perrone explores how recent Brazilian lyric engages with its counterparts throughout the Western Hemisphere in an increasingly globalized world. This pioneering, tour-de-force study focuses on the years from 1985 to the present and examines poetic output--from song and visual poetry to discursive verse--across a range of media.
At the core of Perrone's work are in-depth examinations of five phenomena: the use of the English language and the reception of American poetry in Brazil; representations and engagements with U.S. culture, especially with respect to film and popular music; epic poems of hemispheric solidarity; contemporary dialogues between Brazilian and Spanish American poets; and the innovative musical, lyrical, and commercially successful work that evolved from the 1960s movement Tropicalia.
Latina/o Poetic Responses to Neoliberalism and Globalization
Latina/o Aesthetics of Night
Often treated like night itself—both visible and invisible, feared and romanticized—Latina/os make up the largest minority group in the US. In her newest work, María DeGuzmán explores representations of night in art and literature from the Caribbean, Colombia, Central and South America, and the US, calling into question night's effect on the formation of identity for Latina/os in and outside of the US. She takes as her subject novels, short stories, poetry, essays, non-fiction, photo-fictions, photography, and film, and examines these texts through the lenses of nationhood, sexuality, human rights, exoticism, among others.
Autobiografía e invención en el siglo XVI
First-person narrative does not always fall under the genre of autobiography. In the centuries before the genre was defined, authors often patterned their personal narratives after prestigious discourses, such as hagiography, historiography, and the literary miscellany. Caballero noble desbaratado: Autobiografía e invención en el siglo XVI [Noble Knight Disrupted: Autobiography and Invention in the Sixteenth Century] analyzes several first-person narratives from Spain and the conditions of their writing and reception. It focuses on the sixteenth-century Libro de la vida y costumbres [Book of life and customs] by Alonso Enríquez de Guzmán (1499-1547), the knight of the title. One chapter looks at antecedents to the central work: the late fourteenth-century Memorial by Leonor López de Córdoba, who narrates difficult passages of her life; the Breve suma de la vida y hechos [Brief Summary of the Life and Deeds] by Diego García de Paredes, who speaks of duels and battles as an object lesson in honor and courage for his son; and Cautiverio y trabajos [Captivity and Travails] by Diego Galán, a tale of captivity and flight in Muslim lands that constitutes an early example of fictionalized autobiography. The study also examines the influence of writers like Bartolomé de Torres Naharro, Antonio de Guevara, and Pedro Mexía and the vitality of lyric poetry on both sides of the Atlantic. Although the Biblioteca de Autores Españoles has devoted a volume to Enríquez de Guzmán, there has never been a book-length study dedicated to this author. This book fills that gap and constitutes a valuable contribution to the study of autobiography in Spanish.
Trauma Narrative and Social Action in Latin American Testimonio
As if in direct response to The New Yorker's question of “The Power of the Pen: Does Literature Change Anything?” Kimberly Nance takes up the relationship between ethics and literature. With the 40th anniversary of the testimonio occurring in 2006, there has never been a better time to reconsider its role in achieving social justice. The advent of the testimonio--loosely, a political autobiography of a Latin American activist who hopes, through the telling of her life story, to bring about change--was met with a great deal of excitement by scholars who posited it as a radical new form of literature. Those accolades were almost immediately followed by a series of critical problems. In what sense were testimonios "true"? What right did privileged scholars in the U.S. have to engage accounts of suffering with traditional modes of criticism? Were questions of veracity or aesthetics more important? Were these texts autobiography or political screeds? It seemed critics didn't know quite what to make of the testimonio and so, after a brief bout of engagement, disregarded it. Nance, however, argues that any form as prolific as the testimonio is well worth examining and that these questions, rather than being insurmountable, are exactly the questions with which scholars ought to be wrestling. If, as critics claim, that the testimonio is one of the most pervasive contemporary Latin American cultural genres, then it is high time for a comprehensive study of the genre such as Nance's.