Project MUSE®: Arizona Journal of Hispanic Cultural Studies - Latest Articles
https://muse.jhu.edu/journal/357
Project MUSE®: Latest articles in Arizona Journal of Hispanic Cultural Studies.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 1 (1997) through current issueLatest Articles: Arizona Journal of Hispanic Cultural StudiesTWOProject MUSE®Arizona Journal of Hispanic Cultural Studies1934-90091096-2492Latest articles in Arizona Journal of Hispanic Cultural Studies. Feed provided by Project MUSE®In This Issue
https://muse.jhu.edu/article/986852
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The essays in this volume, while addressing diverse topics, emphasize the significance of experience and critique prevailing power structures. The 2025 issue comprises four essays in the main section, two interviews, and a special section titled "The Past Awakened: Cultural Reimagination in the Global Hispanophone." The main section is dedicated to poetry and film, offering critical insights into representations of anorexia and personal trauma, the Basque conflict in cinema, Puerto Rican colonial resistance, and depictions of social exclusion in Madrid's chabolas. These interventions share an attention to trauma (personal or collective), the construction of marginalized identities, and alternative historical
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallIn This Issue2026-04-03text/htmlen-USIn This Issue2026-04-032026TWOProject MUSE®82772026-05-11T00:00:00-05:002026-04-03Shadows of Silence: Exploring the Haunting Legacy of the Basque Conflict Through Negu hurbilak
https://muse.jhu.edu/article/986853
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This article explores the interplay between Basque society, culture, and its cinema, shedding light on how the Basque conflict is revisited on screen through recent Basque-language films. While the dominant narrative in Basque and Spanish cinema has traditionally centered on the victims of ETA violence, 21st-century Basque productions also include over half a dozen documentaries reflecting on the conflict from lesser-known perspectives, such as those of ETA prisoners and victims of police torture. Nevertheless, Basque-language fiction films that address this subject are rare, and possible factors behind this reluctance will be explored. To this end, I will analyze Negu hurbilak 'Near Winter' (Negu Collective
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallShadows of Silence: Exploring the Haunting Legacy of the Basque Conflict Through Negu hurbilak2026-04-03text/htmlen-USShadows of Silence: Exploring the Haunting Legacy of the Basque Conflict Through Negu hurbilak2026-04-032026TWOProject MUSE®1034102026-05-11T00:00:00-05:002026-04-03From Under the Bed to the Center of the Room: Roque Raquel Salas Rivera's Trangressive Translations
https://muse.jhu.edu/article/986854
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Born in Mayagüez in 1985 and now based in San Juan, Roque Raquel Salas Rivera is a Puerto Rican poet and translator whose work weaves queerness, colonialism, and identity through bilingualism and self-translation, reflecting his trans and nonbinary identity and a political commitment to language as resistance (Academy of American Poets). Written in the wake of PROMESA1 and Hurricane María, lo terciario/the tertiary and while they sleep (under the bed is another country), go beyond responses to colonial policy, using bilingualism and self-translation to reconfigure socio-political participation and connect with Puerto Rico's urban visual art. By dismantling official cultural, historical, and economic narratives
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallFrom Under the Bed to the Center of the Room: Roque Raquel Salas Rivera's Trangressive Translations2026-04-03text/htmlen-USFrom Under the Bed to the Center of the Room: Roque Raquel Salas Rivera's Trangressive Translations2026-04-032026TWOProject MUSE®966842026-05-11T00:00:00-05:002026-04-03Constructing Exclusion: Madrid's Chabolas in 1950s Francoist Cinema
https://muse.jhu.edu/article/986855
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In the Spanish comedy El último caballo (Neville), the impact of urban modernization on Madrid's citizens is creatively questioned through its protagonist, Fernando (Fernando Fernán Gómez), when he returns to his home city after his required military service. Neither Fernando nor his trusted equine Bucéfalo seem to belong in a city where horses have been replaced by automobiles, and the pace of urban life suddenly seems to have accelerated too quickly. Both man and horse discover a solution to their dilemma in the last scene which is set in what was then Madrid's outskirts, La Pradera de San Isidro. In this scene, Fernando locates his friend Isabel (Conchita Montes), a street flower vendor, and his horse in a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallConstructing Exclusion: Madrid's Chabolas in 1950s Francoist Cinema2026-04-03text/htmlen-USConstructing Exclusion: Madrid's Chabolas in 1950s Francoist Cinema2026-04-032026TWOProject MUSE®941292026-05-11T00:00:00-05:002026-04-03The Mathematics of Anorexia: Numbers, Lists and Geometry in The Years of Hunger (2022) by Olivia Martínez Giménez de León
https://muse.jhu.edu/article/986856
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Anorexics gain control of the changing contours of their bodies by subjecting themselves to a constant numeric accountability: they use tapes to measure body diameters, submit themselves to hourly weigh-ins, and create a series of mental food listings based on nutrient percentages and macros. They count steps and distances and calories, till their days are filled with prayer-like calculations that distract them from the self-preservation imperative (hunger) that initially sets in with much force. In her poetry collection, Los años del hambre, Olivia Martínez Giménez de León (Alicante, Spain, 1980) boldly captures "the most miserable and tedious features of an anorexic way of life: rumination; rigid behavioral
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallThe Mathematics of Anorexia: Numbers, Lists and Geometry in The Years of Hunger (2022) by Olivia Martínez Giménez de León2026-04-03text/htmlen-USThe Mathematics of Anorexia: Numbers, Lists and Geometry in The Years of Hunger (2022) by Olivia Martínez Giménez de León2026-04-032026TWOProject MUSE®740962026-05-11T00:00:00-05:002026-04-03"Qué se ve y qué no se ve": An Interview with Director Liliana Paolinelli
https://muse.jhu.edu/article/986857
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Liliana Paolinelli is a writer and filmmaker born in Córdoba, Argentina. Her passion for cinema began in childhood, when she watched films on black-and-white television and reenacted the adventures as playful performances with her siblings. In 1987, she began studying film at a film school in her city. The cinema program had recently reopened after being shut down for years during the dictatorship. Today, Paolinelli's body of work consists of four feature films—Por sus propios ojos (2008), Lengua materna (2010), Amar es bendito (2013), and Margen de error (2019)—and two documentaries: El baldío (2021) and Un hombre que escribe (2024).Her films explore human relationships, identity, and intimacy, with a strong focus
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmall"Qué se ve y qué no se ve": An Interview with Director Liliana Paolinelli2026-04-03text/htmlen-US"Qué se ve y qué no se ve": An Interview with Director Liliana Paolinelli2026-04-032026TWOProject MUSE®404592026-05-11T00:00:00-05:002026-04-03"Son herramientas empáticas que juegan a nuestro favor cuando se mapuchizan": Reflexiones sobre la mirada circular mapuche en la pantalla. Entrevista con Francisco Huichaqueo Pérez
https://muse.jhu.edu/article/986858
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Conocimos al profesor, curador y cineasta mapuche Francisco Huichaqueo Pérez en la conferencia de la Asociación de Estudios Latinoamericanos (LASA, por sus siglas en inglés), celebrada en Bogotá en 2024. El tema del encuentro de ese año fue "Reacción y resistencia: imaginar futuros posibles en las Américas". Participamos en la sesión en la que Francisco fue mentor y presentó una ponencia titulada "Cine medicina, cine indígena: una imagen, una vasija y una cámara". Su presentación fue profundamente enriquecedora y generó diversas reflexiones en torno a la función "curativa" del cine y la mirada de la comunidad mapuche frente a la cámara. Sin duda, abrió múltiples perspectivas que ampliaron la lluvia de ideas
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmall"Son herramientas empáticas que juegan a nuestro favor cuando se mapuchizan": Reflexiones sobre la mirada circular mapuche en la pantalla. Entrevista con Francisco Huichaqueo Pérez2026-04-03text/htmlen-US"Son herramientas empáticas que juegan a nuestro favor cuando se mapuchizan": Reflexiones sobre la mirada circular mapuche en la pantalla. Entrevista con Francisco Huichaqueo Pérez2026-04-032026TWOProject MUSE®686242026-05-11T00:00:00-05:002026-04-03The Past Awakened: Cultural Reimagination in the Global Hispanophone
https://muse.jhu.edu/article/986859
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The past is a social construct.1 This once-challenging statement has been defended—to varying extents and from different angles—by multiple schools of thought since at least the late 1960s, and it could well be said that its ramifications extend to the present day.2 However, the past is not merely a discursive entity or something that exists solely in our collective memory in a purely abstract manner as we recall it. It is composed of objective facts—at least to some degree, a point that even some of the most radical nihilists would concede—that have real effects on the present. Moreover, the past is not just the past: its tangible elements persist in our daily lives. If we walk, for instance, through the Historic
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallThe Past Awakened: Cultural Reimagination in the Global Hispanophone2026-04-03text/htmlen-USThe Past Awakened: Cultural Reimagination in the Global Hispanophone2026-04-032026TWOProject MUSE®522402026-05-11T00:00:00-05:002026-04-03"Tanbién son ellos de carne y güeso": Guaman Poma de Ayala's Radical Abolitionism
https://muse.jhu.edu/article/986860
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My examination of Guaman Poma de Ayala's scrutiny of the situation of Black Africans in Peru in Primer nueva corónica y buen gobierno (1615) casts doubt on the prevailing scholarship that Guaman Poma is purely racist or that his sympathy for Black Africans is limited. I maintain that Guaman Poma's discussion of Black Africans reveals a radical abolitionist stance that previous scholarship has not considered. Existing scholarship has inadvertently flattened Guaman Poma's stance on Blackness. Porras Barrenechea, the first critic to study the characterization of Black Africans in Primer nueva corónica y buen gobierno concludes that Guaman Poma is a racist whose sharpest barb is for Black creoles (50, 66). Scholars of
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmall"Tanbién son ellos de carne y güeso": Guaman Poma de Ayala's Radical Abolitionism2026-04-03text/htmlen-US"Tanbién son ellos de carne y güeso": Guaman Poma de Ayala's Radical Abolitionism2026-04-032026TWOProject MUSE®962312026-05-11T00:00:00-05:002026-04-03Diamela Eltit, Federico Licsi Espino, Jr., and the Long Criminalization of Vagrancy in the Urban Margins of the Global Hispanophone
https://muse.jhu.edu/article/986861
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What is a vagabond? With the Latin vagari (to wander) as its etymological root, the term vagabond could signify leisurely freedom. In the fourteenth century the Spanish noun form vagabundo was altered to vagamundo (Araya Espinoza 25-26), which can also denote adventure. But the predominant definition of vagabundo is a subject who is unhoused and economically unstable. The Real Academia Española's Diccionario de la lengua española defines the term as someone "que anda errante y carece de domicilio fijo y de medio regular de vida" (version 23.8 of the online edition [Jan. 2025]). Vagabonds, who take center stage in what Marx and Engels identified as Lumpenproletariat, have long been characterized as misfits and a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallDiamela Eltit, Federico Licsi Espino, Jr., and the Long Criminalization of Vagrancy in the Urban Margins of the Global Hispanophone2026-04-03text/htmlen-USDiamela Eltit, Federico Licsi Espino, Jr., and the Long Criminalization of Vagrancy in the Urban Margins of the Global Hispanophone2026-04-032026TWOProject MUSE®754572026-05-11T00:00:00-05:002026-04-03Memorias feministas y continuidad en resistencia: Caupolicanazo Feminista por una nueva constitución (2022)
https://muse.jhu.edu/article/986862
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Para reflexionar sobre memoria me resulta útil visitar la noción de memoria estelar propuesta por Nona Fernández. En su libro Voyager, la escritora chilena retoma los postulados básicos de la teoría de la termodinámica para contarle a sus lectores sobre la memoria que poseen las estrellas y cómo esta se relaciona con la memoria de la humanidad. Según dice el libro, cada vez que una estrella se extingue, esta no muere realmente, pues su luz sigue viajando por el espacio durante millones de años luz. Esto implica que muchas de las estrellas que vemos en el cielo probablemente ya dejaron de existir hace décadas y que el material estelar del que estaban constituidas ya conformó a nuevos cuerpos celestes de nuestra
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallMemorias feministas y continuidad en resistencia: Caupolicanazo Feminista por una nueva constitución (2022)2026-04-03text/htmlen-USMemorias feministas y continuidad en resistencia: Caupolicanazo Feminista por una nueva constitución (2022)2026-04-032026TWOProject MUSE®926752026-05-11T00:00:00-05:002026-04-03Humo de kif (1922): prensa española, cannabis marroquí y poder colonial en el Estrecho de Gibraltar
https://muse.jhu.edu/article/986863
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Este artículo examina cómo el kif (cannabis marroquí) funcionó como instrumento discursivo del poder colonial español en el Protectorado de Marruecos (1912-1956), centrándose especialmente en las crónicas periodísticas de Antonio Robles publicadas en 1922. Para contextualizar este fenómeno, resulta útil partir de las reflexiones del antropólogo cubano Fernando Ortiz sobre cómo ciertos productos de América y otras regiones llegaron a Europa en momentos clave de su historia imperial. Estos productos transformaron los hábitos de consumo, a la vez que redefinieron las dinámicas de poder, intercambio y dependencia entre los territorios coloniales y las metrópolis. Ortiz identificó cuatro sustancias exóticas
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallHumo de kif (1922): prensa española, cannabis marroquí y poder colonial en el Estrecho de Gibraltar2026-04-03text/htmlen-USHumo de kif (1922): prensa española, cannabis marroquí y poder colonial en el Estrecho de Gibraltar2026-04-032026TWOProject MUSE®787792026-05-11T00:00:00-05:002026-04-03Tarot y temporalidad colonial en Cartas Philippinensis (2016) y Tarot Neocolonial de las Américas (2021)
https://muse.jhu.edu/article/986864
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¿Es el tarot un mecanismo de adoctrinamiento colonial o una puerta hacia una posible emancipación espiritual? Esta pregunta ha cobrado relevancia en ciertos círculos académicos a raíz de una reciente polémica que tuvo lugar en la revista Anthropology of Consciousness, publicada por la American Anthropological Association, la cual se convirtió momentáneamente en el epicentro de una intensa discusión sobre el uso del tarot como práctica decolonial.2 La controversia surgió a raíz de la publicación del artículo "Imaginal Research for Unlearning Mastery: Divination with Tarot as Decolonizing Methodology", escrito por Yvan Greenberg, un practicante de tarot radicado en Brooklyn, Nueva York. En su artículo, Greenberg
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallTarot y temporalidad colonial en Cartas Philippinensis (2016) y Tarot Neocolonial de las Américas (2021)2026-04-03text/htmlen-USTarot y temporalidad colonial en Cartas Philippinensis (2016) y Tarot Neocolonial de las Américas (2021)2026-04-032026TWOProject MUSE®905862026-05-11T00:00:00-05:002026-04-03La Gran China: The Costa Rican – Chinese Diaspora in Contemporary Art
https://muse.jhu.edu/article/986865
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In her self-portrait La Gran China (2003), the Taiwanese-Costa Rican artist Mimian Hsu (b. 1980, San José, Costa Rica) appears dressed in traditional Costa Rican folk attire against the backdrop of a Chinese restaurant named "Gran China" (Fig. 1).1 Kneeling close to the ground, she poses in front of the restaurant's name and phone number, which are displayed behind her—emphasizing the local and familiar feel of the business. The camera captures the artist from a low-angle perspective as she gazes into the lens.In Spanish, the word china (lowercase) refers to a woman of Chinese descent, functioning as both a gendered and racialized label.2 In contrast, China (uppercase) pertains to the country of China as a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallLa Gran China: The Costa Rican – Chinese Diaspora in Contemporary Art2026-04-03text/htmlen-USLa Gran China: The Costa Rican – Chinese Diaspora in Contemporary Art2026-04-032026TWOProject MUSE®1067372026-05-11T00:00:00-05:002026-04-03Women and Missions in Equatorial Guinea
https://muse.jhu.edu/article/986866
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President Obiang Nguema Mbasogo recently reaffirmed Equatorial Guinea's Hispanidad as the colonial legacy of "la madre patria," an epitome of the identity Afro-Hispana-Bantu to encapsulate the territory, ethnicity, and history of the country.2 However, the history of colonization in Equatorial Guinea cannot be reduced to a continuous line of Spanish possession. In 1778, Spain signed the treaty El Pardo and traded Portugal the Island of Catalina and a small borderland in Uruguay for Fernando Poo, Corisco, Annobón, and rights to the adjacent continental coast from Nigeria to French Congo. But Spain's dismissive attention towards the African territories freed them from the administrative and commercial control of
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallWomen and Missions in Equatorial Guinea2026-04-03text/htmlen-USWomen and Missions in Equatorial Guinea2026-04-032026TWOProject MUSE®1040712026-05-11T00:00:00-05:002026-04-03Kissinger in Western Sahara
https://muse.jhu.edu/article/986867
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Henry Kissinger passed away in the early hours of November 29, 2023, at his house in Connecticut at the advanced age of 100 years old. Barely a month before Kissinger's passing, on October 27, 2023, the United Nations adopted resolution 2703 (2023) on the question of Western Sahara by which it renewed the mandate of MINURSO, the United Nations Mission established in 1991 to monitor the ceasefire between the Polisario Front and Morocco and organize a referendum over Western Sahara's sovereignty in accordance with the Secretary-General's report S/22464. The referendum, according to the original settlement plan, should have taken place in December 1992, but Morocco's opposition to the plan and the inability of both
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallKissinger in Western Sahara2026-04-03text/htmlen-USKissinger in Western Sahara2026-04-032026TWOProject MUSE®751112026-05-11T00:00:00-05:002026-04-03Interrogating the Global Hispanophone: From Scholarly Endeavor to Cultural Activism
https://muse.jhu.edu/article/986868
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There seems to have been, over the last few years, great enthusiasm about the Global Hispanophone as a new category of analysis, with many colleagues fully endorsing it, and adopting it at an institutional and scholarly level, for job announcements, course titles, academic publications, and conference panels, even if the geographical areas of concern in their studies do not necessarily match those initially intended under this banner. The need, even the anxiety, to adhere to a new framework is understandable, partially because some of the categories under which we have been operating—within the conscription of Latin American, Caribbean, Latinx, Iberian studies or Transatlantic studies—have often rendered themselves
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallInterrogating the Global Hispanophone: From Scholarly Endeavor to Cultural Activism2026-04-03text/htmlen-USInterrogating the Global Hispanophone: From Scholarly Endeavor to Cultural Activism2026-04-032026TWOProject MUSE®837632026-05-11T00:00:00-05:002026-04-03The Other Border Wars: Conflict and Stasis in Latin American Culture by Shannon Dowd (review)
https://muse.jhu.edu/article/986869
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A few years ago, in a review of Rodríguez Matos' Writing the Formless, Alberto Moreiras wondered if Latin American literature really ever succeeded in its task to mark an "epochal end to political metaphysics."1 Shannon Dowd's first book, The Other Borders Wars, argues that Latin American literature—or a few eddies in the stream of Latin American cultural production—can indeed be read within the frame of this task. To be clear, at no point does Dowd state this task in an explicit way. Her book is instead an explicit attempt to show how these texts help us rethink the border beyond its reified existence in cultural discussions of politics and art.The Other Border Wars focuses on three "case studies" and the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallThe Other Border Wars: Conflict and Stasis in Latin American Culture by Shannon Dowd (review)2026-04-03text/htmlen-USThe Other Border Wars: Conflict and Stasis in Latin American Culture by Shannon Dowd (review)2026-04-032026TWOProject MUSE®104442026-05-11T00:00:00-05:002026-04-03Staging Buenos Aires: Theater, Society, and Politics in Argentina, 1860–1920 by Kristen L. McCleary (review)
https://muse.jhu.edu/article/986870
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Performance scholars know Buenos Aires as one of the global centers of the theatrical world. Artists in the city produce thousands of shows annually. How did this come to be? What circumstances led to the development of a performance culture where theatre could serve as a forum for defining and shaping the social and political values of immigrants migrating to Buenos Aires from various parts of Europe? Kristen L. McCleary presents a thoroughly researched and accessibly written study into the immigration patterns and nationalist identity formation that developed in Argentine from the late 19thcentury to the end of the First World War.The book is divided into seven chapters that use qualitative and quantitative
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallStaging Buenos Aires: Theater, Society, and Politics in Argentina, 1860–1920 by Kristen L. McCleary (review)2026-04-03text/htmlen-USStaging Buenos Aires: Theater, Society, and Politics in Argentina, 1860–1920 by Kristen L. McCleary (review)2026-04-032026TWOProject MUSE®76532026-05-11T00:00:00-05:002026-04-03Traces of the Unseen: Photography, Violence, and Modernization in Early Twenty-Century Latin America by Carolina Sá Carvalho (review)
https://muse.jhu.edu/article/986871
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This innovative research combines text and photography to reveal a pedagogy of the gaze concerning the Amazon and the formation of Brazil as a national state within the global context of modernity and the capitalist economy. Through an in-depth historiographical and interdisciplinary study, Sá Carvalho explores the tensions surrounding the use of photography in various discursive productions in Latin America. This leads to the central question: "What happens to the remnants of early twentieth-century destructive modernization projects?" (239). This question opens up the opportunity to reconsider canonical texts such as Os Sertões (1902) by journalist and military engineer Euclides da Cunha, and Tristes Tropiques
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallTraces of the Unseen: Photography, Violence, and Modernization in Early Twenty-Century Latin America by Carolina Sá Carvalho (review)2026-04-03text/htmlen-USTraces of the Unseen: Photography, Violence, and Modernization in Early Twenty-Century Latin America by Carolina Sá Carvalho (review)2026-04-032026TWOProject MUSE®107022026-05-11T00:00:00-05:002026-04-03The Cambridge History of Cuban Literature ed. by Vicky Unruh and Jacqueline Loss (review)
https://muse.jhu.edu/article/986872
<p></p>
Vicky Unruh y Jacqueline Loss bordan su introducción a The Cambridge History of Cuban Literature alrededor de la noción de lo monumental. Monumental es, en efecto, la tarea de organizar un volumen que recoja más de 400 años de uno de los corpus literarios más importantes, ricos e influyentes de América Latina. Frente a este colosal desafío, no hay más que decir que las autoras han logrado lo que podría parecer imposible de conseguir en un solo volumen: sin ser, ni pretenderlo, una historia pormenorizada de la producción literaria cubana desde sus orígenes y hasta la actualidad, el libro consigue ofrecer un panorama histórico muy completo del devenir literario de la isla, deteniéndose además en algunos de los
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallThe Cambridge History of Cuban Literature ed. by Vicky Unruh and Jacqueline Loss (review)2026-04-03text/htmlen-USThe Cambridge History of Cuban Literature ed. by Vicky Unruh and Jacqueline Loss (review)2026-04-032026TWOProject MUSE®111132026-05-11T00:00:00-05:002026-04-03Invisibility & Influence: A Literary History of AfroLatinidades by Regina Marie Mills (review)
https://muse.jhu.edu/article/986873
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In Invisibility & Influence: A Literary History of AfroLatinidades, Regina Marie Mills examines the life writings of widely studied AfroLatinx figures Arturo Alfonso Schomburg, Jesús Colón, and Piri Thomas, alongside lesser-studied writers Marta Moreno Vega, Lourdes Casal, Jaquira Díaz, and Ariana Brown. Through this diverse choice of writers, Mills underscores the multiplicity of voices, themes, and lived experiences that shape AfroLatinidades, which she defines as "social, cultural, and political constructions based in the embodied experiences of Black Latinxs" (4). By foregrounding a wide range of perspectives on AfroLatinidad, Mills writes against narrow and homogenizing racial constructs.Throughout the book
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallInvisibility & Influence: A Literary History of AfroLatinidades by Regina Marie Mills (review)2026-04-03text/htmlen-USInvisibility & Influence: A Literary History of AfroLatinidades by Regina Marie Mills (review)2026-04-032026TWOProject MUSE®86962026-05-11T00:00:00-05:002026-04-03Zones of Encuentro: Language and Identities in Northern New Mexico by Lillian Gorman (review)
https://muse.jhu.edu/article/986874
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Lillian Gorman's Zones of Encuentro: Language and Identities in Northern New Mexico presents a nuanced articulation of the complexity of New Mexican identity, explained within the rich matrix of language and cultural change; the historical and ongoing relationships with Mexican community in the region; misapprehension(s) of nuevomexicano identity; and the diverse critical conversations spanning scholarly fields whose perspectives Gorman skillfully harnesses and redirects. Gorman's academic background in Hispanic Linguistics and Spanish as a Heritage Language theory are in evidence throughout the book, but Zones of Encuentro is not a linguistic study per se. It extends beyond the bounds of any single field to
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallZones of Encuentro: Language and Identities in Northern New Mexico by Lillian Gorman (review)2026-04-03text/htmlen-USZones of Encuentro: Language and Identities in Northern New Mexico by Lillian Gorman (review)2026-04-032026TWOProject MUSE®94152026-05-11T00:00:00-05:002026-04-03Comfort and Domestic Space in Modern Spain ed. by Susan Larson (review)
https://muse.jhu.edu/article/986875
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¿Qué significa estar en casa en la España moderna? Esta pregunta, birlada a Susan Larson, encapsula las incómodas provocaciones que lanza este libro: ¿Qué limita la intimidad en estancias cada vez más mediatizadas y polivalentes? ¿Cuáles son los efectos del aislamiento social en el espacio físico? ¿Qué relación hay entre lujo y confort? ¿Podría haber paralelismos entre la paulatina autonomía de la gente y la de las estancias de la casa? Sin embargo, Comfort and Domestic Space in Modern Spain no pretende ofrecer respuestas unívocas, sino que invita a adoptar posturas críticas y abiertas hacia temas que a menudo pasan desapercibidos por formar parte de lo ordinario. Y lo hace a través de un examen colectivo en torno
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallComfort and Domestic Space in Modern Spain ed. by Susan Larson (review)2026-04-03text/htmlen-USComfort and Domestic Space in Modern Spain ed. by Susan Larson (review)2026-04-032026TWOProject MUSE®101212026-05-11T00:00:00-05:002026-04-03Borderland Brutalities: Violence and Resistance along the US-Mexico Borderlands in Literature, Film, and Culture by Laura Elena Belmonte (review)
https://muse.jhu.edu/article/986876
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Over the past few decades, several scholars have critically examined the rhetoric that frames the borderlands as a space dominated by violence, where those who are not perpetrators but survivors, are left with no alternative but to flee to the United States. This narrative is not merely a feature of contemporary political discourse aimed at justifying ongoing border fortification; rather, it is deeply rooted in a colonial project of differentiation and separation that has advanced neoliberal, market-led policies such as NAFTA. These policies have established hostile living conditions. Such projects have contributed to the construction of the borderlands as inherently violent, a perception often tied to the presence
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallBorderland Brutalities: Violence and Resistance along the US-Mexico Borderlands in Literature, Film, and Culture by Laura Elena Belmonte (review)2026-04-03text/htmlen-USBorderland Brutalities: Violence and Resistance along the US-Mexico Borderlands in Literature, Film, and Culture by Laura Elena Belmonte (review)2026-04-032026TWOProject MUSE®82362026-05-11T00:00:00-05:002026-04-03Bartolomé de las Casas y el paradigma biopolítico de la modernidad colonial por Carlos A. Jáuregui y David M. Solodkow (review)
https://muse.jhu.edu/article/986877
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La trama de la conquista y de la colonización temprana en el continente que los europeos del siglo XVI llamaron como las Indias Occidentales ha sido, es y será, un tema recurrente de la historiografía clásica y moderna. Intensos han sido los debates académicos que han relocalizado epistemológicamente las formas en las que se registraron los acontecimientos de este periodo histórico, así como las descripciones sobre las acciones de los protagonistas de las expediciones y batallas. Lejos estamos de esos primeros estudios sobre este proceso histórico donde las relaciones de poder entre conquistadores y dominados se explicaron como esencialmente antagónicas y determinadas meramente por el factor económico, concibiendo
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallBartolomé de las Casas y el paradigma biopolítico de la modernidad colonial por Carlos A. Jáuregui y David M. Solodkow (review)2026-04-03text/htmlen-USBartolomé de las Casas y el paradigma biopolítico de la modernidad colonial por Carlos A. Jáuregui y David M. Solodkow (review)2026-04-032026TWOProject MUSE®100832026-05-11T00:00:00-05:002026-04-03Public Everyday Space: Cultural Politics in Neoliberal Barcelona by Megan Saltzman (review)
https://muse.jhu.edu/article/986878
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Con este libro Megan Saltzman nos regala el fruto de muchos años de investigación transdisciplinaria y experiencia personal dedicados a descifrar no solo los procesos urbanos que han ido transformando Barcelona durante las últimas dos décadas sino también las respuestas cotidianas a dichas transformaciones por parte de quienes habitan la ciudad. Public Everyday Space tiene como telón de fondo la creciente neoliberalización del espacio público que se traduce en regulación en favor del capital, corrupción urbanística, precarización social, mercantilización y gentrificación. La turistificación fue una estrategia predilecta por parte de las élites para continuar la acumulación de capital tras la crisis financiera del
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallPublic Everyday Space: Cultural Politics in Neoliberal Barcelona by Megan Saltzman (review)2026-04-03text/htmlen-USPublic Everyday Space: Cultural Politics in Neoliberal Barcelona by Megan Saltzman (review)2026-04-032026TWOProject MUSE®93732026-05-11T00:00:00-05:002026-04-03Spectral Spain: Haunted Houses, Silent Spaces and Traumatic Memories in Post-Franco Gothic Fiction by Heidi Backes (review)
https://muse.jhu.edu/article/986879
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Spectral Spain is at once a beautifully sequenced, in-depth study of gothic literature from the post-Franco period and a timely, theoretically nuanced meditation on the persistence of ghosts in contemporary Spanish cultural production, which the book defines as those decades from the Transition to democracy through the "memory boom" of the 1990s and early 2000s. Among the book's central claims is the idea that haunting, understood as the presence of ghosts, not only references past traumatic events (the civil war, the dictator's death, the thousands of still unearthed mass graves fertilizing Spanish soil) but offers a critical index of the way such events, the places they are linked to, and the atmospheres created
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallSpectral Spain: Haunted Houses, Silent Spaces and Traumatic Memories in Post-Franco Gothic Fiction by Heidi Backes (review)2026-04-03text/htmlen-USSpectral Spain: Haunted Houses, Silent Spaces and Traumatic Memories in Post-Franco Gothic Fiction by Heidi Backes (review)2026-04-032026TWOProject MUSE®77832026-05-11T00:00:00-05:002026-04-03Spatial Theories for the Americas: Counterweights to Five Centuries of Eurocentrism by Fernando Luiz Lara (review)
https://muse.jhu.edu/article/986880
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I was excited to receive this book, Spatial Theories for the Americas. I read the chapters with anticipation. I was looking for answers to my forty years of questions about my indigeneity in architecture. I read paragraphs that excited me with which I identified. How many of us have not had the right word at the right time to make a clever observation or counterpoint? How many of us grappled with finding the right word or phrase to express our meaning before the conversation moved on?As an architect, teacher and Hereditary Chief of the Nisga'a Nation, I recognize the need for a future that is inclusive and supportive of an Indigenous view of the planet. European colonial nations used architecture as a tool for
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallSpatial Theories for the Americas: Counterweights to Five Centuries of Eurocentrism by Fernando Luiz Lara (review)2026-04-03text/htmlen-USSpatial Theories for the Americas: Counterweights to Five Centuries of Eurocentrism by Fernando Luiz Lara (review)2026-04-032026TWOProject MUSE®82712026-05-11T00:00:00-05:002026-04-03Cultural Legacies of Slavery in Modern Spain ed. by Akiko Tsuchiya and Aurélie Vialette (review)
https://muse.jhu.edu/article/986881
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Esta antología editada por Akiko Tsuchiya and Auréle Vialette analiza cómo la España Moderna configuró su sociedad a partir de una amnesia voluntaria sobre su pasado colonial y esclavista, también analiza las repercusiones que ha tenido este "olvido" en la sociedad española actual a la hora de enfrentar su legado con la esclavitud. Uno de los grandes aciertos de este volumen es la inclusión de diversas producciones culturales como: la producción literaria, el archivo histórico, las entrevistas, los museos y las rutas turísticas, que contribuyen al entendimiento de las prácticas esclavistas que se llevaron a cabo después del siglo XIX tanto en España como en las colonias. El libro cuenta con un poco más de
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallCultural Legacies of Slavery in Modern Spain ed. by Akiko Tsuchiya and Aurélie Vialette (review)2026-04-03text/htmlen-USCultural Legacies of Slavery in Modern Spain ed. by Akiko Tsuchiya and Aurélie Vialette (review)2026-04-032026TWOProject MUSE®108422026-05-11T00:00:00-05:002026-04-03D€MOCRAZY in Spain: Cinema and New Forms of Social Life (1968–2008) by Isabel M. Estrada (review)
https://muse.jhu.edu/article/986882
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En D€MOCRAZY in Spain, Isabel M. Estrada ofrece una aguda exploración de los vínculos entre el cine independiente español y las formas emergentes de vida social que surgen en respuesta a los déficits democráticos y las crisis económicas del Estado español (1). A través de un recorrido que abarca desde las prácticas cinematográficas de la Transición hasta las producciones audiovisuales posteriores al 15-M, este libro propone una lectura transhistórica que enlaza la España del tardofranquismo con las expresiones de disidencia contemporánea, haciendo del archivo visual un campo de batalla político y afectivo.Parte del título del libro, "D€MOCRAZY", es un juego de palabras visto en pancartas del 15-M, encapsulando la
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallD€MOCRAZY in Spain: Cinema and New Forms of Social Life (1968–2008) by Isabel M. Estrada (review)2026-04-03text/htmlen-USD€MOCRAZY in Spain: Cinema and New Forms of Social Life (1968–2008) by Isabel M. Estrada (review)2026-04-032026TWOProject MUSE®88302026-05-11T00:00:00-05:002026-04-03Masculinidades gays y maricas en la cultura española contemporánea ed. por Iker González-Allende (review)
https://muse.jhu.edu/article/986883
<p></p>
Los estudios de las masculinidades y de la cultura queer en España han gozado de gran productividad tanto en el ámbito doméstico como internacional durante las últimas tres décadas. Tanto es así que sería imposible citar si quiera una mínima muestra en estas páginas. La combinación de ambos, sin embargo, como apunta el compilador de esta fascinante colección en su introducción, es menos habitual, aun cuando la mayoría de estos estudios suelen cruzar al menos implícitamente la línea entre teorías de género y sexualidad. En ese sentido, este libro no es una excepción, ya que son pocos los capítulos que afrontan explícitamente el concepto de las masculinidades gays y maricas del título, dando prioridad o bien al
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallMasculinidades gays y maricas en la cultura española contemporánea ed. por Iker González-Allende (review)2026-04-03text/htmlen-USMasculinidades gays y maricas en la cultura española contemporánea ed. por Iker González-Allende (review)2026-04-032026TWOProject MUSE®69172026-05-11T00:00:00-05:002026-04-03Volatile Whiteness: Race, Cinema, and Europeanization in Spain by Martin Repinecz (review)
https://muse.jhu.edu/article/986884
<p></p>
In Volatile Whiteness, Martin Repinecz breaks new ground by examining the material and epistemological concept of white racialization in Spanish popular films produced after 1950. Studying the intersection of critical whiteness studies, Black studies, race, postcolonial theory, and gender performance in Spanish films between the 1960s and 80s, Repinecz corrects the assumption that issues of race begin with migration cinema after 1990. While publications have covered this period in Spain from the perspectives of gender, sexuality, urbanization, tourism, censorship and the transition from dictatorship to democracy, none have systematically interrogated whiteness. Volatile Whiteness is also the first to consider a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/357/image/coversmallVolatile Whiteness: Race, Cinema, and Europeanization in Spain by Martin Repinecz (review)2026-04-03text/htmlen-USVolatile Whiteness: Race, Cinema, and Europeanization in Spain by Martin Repinecz (review)2026-04-032026TWOProject MUSE®138772026-05-11T00:00:00-05:002026-04-03