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In the Footsteps of a Shadow: North American Literary Responses to Fernando Pessoa
Charles Cutler, Dan Mahoney, and Gaby Gordon-Fox
Fernando Pessoa enters the imaginations of these gifted American poets like a frightening medicine, challenging them to self-divide, multiply, renounce stability, and relish in the dead-time that our culture so vehemently abhors. Like a slippery thorn in the myth of bigger, better individualism, Pessoa seems to have privately solicited these poets for disturbing conversations about nothing: a nothing that he promotes as everything. -Larissa Szporluk
This lush florilegium of poetic evocations, variations, and inquiries is a beautiful testament to how far and fruitfully Pessoa's shadow reaches. -Richard Zenith
This book is one of a kind. What it reveals is how a master of nothingness can inspire an endless fabric of thingness woven by others. This book offers us echoes and reechoes springing from a void. It is a reworking of Genesis. Overwhelming. -Alexis Levitin
This superb anthology offers ample testimony to Pessoa's place now in the North American literary mainstream as well as to the momentum towards this distinction that has been building over time. -Onésimo Almeida
Source: Publisher
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Female Agency in Films Made by Latin American Women
Vania Barraza and Maria Helena Rueda
At a time of growing relevance for women's social and cultural movements in the Americas, Female Agency in Films Made by Latin American Women examines how the increased prominence of women in a directorial role translates into new paradigms of female agency in Latin American filmmaking. This volume bridges the two main tendencies that have characterized gender-studies approaches to the region's cinema to date: first, the survey-based analysis of films made by women and second, the study of how female characters are treated on the screen-by female and male directors. Bringing together both scholarly trends, this volume explores the complex modalities of female agency developed in recent films directed by women in Latin America, through innovative aesthetic and discursive strategies. Moving beyond consideration of visibility or representation, a diverse body of contributors in this book look for expressions of agency in the films' gaze, their affective depth, the forms of care they bring to the fore, how they highlight their characters' desires and subjectivities, and the bodily and sensorial experiences they convey. María Helena Rueda is a Professor of Spanish and Latin American Studies at Smith College, USA. Her publications focus on contemporary Latin American literature and film, particularly from Colombia, Chile, and Peru. Vania Barraza is a Professor of Spanish at the University of Memphis, USA. Her publications focus on the literature and culture of Latin America, particularly Chile, with an emphasis on film, gender, and sexuality studies.
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Kitchen Conversation and Photographic Memory: A Focus on Female-Centered Narratives of Lineage and Liberation in Brazilian Film
Marguerite Itamar Harrison
Chapter 13 of Female Agency in Films Made by Latin American Women
Edited by Vania Barraza and Helena Rueda
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To Populate the World with Color: OSGEMEOS and the Brazilian Imaginary
Marguerite Itamar Harrison
Book catalog abstract
Enter the world of OSGEMEOS, the Brazilian twins driving international graffiti culture.
Contemporary art is sometimes considered an austere matter: ascetic in palette, serious in tone, a subject for sober contemplation. That stereotype is exploded—ecstatically, and in full color—by the work of OSGEMEOS, trailblazing twin Brazilian artists with a practice as firmly rooted in the rule-breaking world of urban graffiti as it is in the elevated spheres of museum and gallery. Gustavo and Otavio Pandolfo first wielded their spray cans (and spun their discs, and breakdanced with friends) in the São Paulo hip-hop scene of the 1980s and ’90s, drawing from that vibrant milieu the lesson that art is at its best, and most meaningful, when everyone is invited to the party.
Combining historical and contemporary elements of Brazilian society with graffiti, hip-hop, and youth culture, OSGEMEOS: Endless Story extends an invitation into the artists’ expansive body of work, which embraces murals, paintings, sculpture, installations, and video, all using a symbolic visual language often inspired by dreams.
Renowned for their spindly yellow characters—seen dancing, writing graffiti, interacting with their urban settings, and stretching high across buildings and train cars worldwide—OSGEMEOS creates works that invite readers into a surreal, chimerical world filled with motifs that signal access to another realm or the deep psyche. This fantasy world, which they call Tritrez, is the apex of their vision: a land of wonder that reflects the diverse nature of Brazil itself.
Source: publisher
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Lo que hago en mi habitación
Adrián Gras-Velázquez
Lo que hago en mi habitación
¿Qué hacemos cuando nadie nos ve? ¿Quiénes somos cuando estamos intentando encontrarnos en un mundo lleno de ruido? En nuestros propios cuartos somos libres para imaginar, pensar, crear, recordar. Para descubrir nuestras identidades y probarnos tanta ropa como queramos.
Es nuestra habitación un refugio para ser nosotros mismos sin tapujos ni disfraces, un lugar seguro donde descubrir la preferencia sexual y el sexo, aprender a convivir con nuestras múltiples identidades y desde donde contemplar y aceptar el paso del tiempo.
Este libro es una invitación a mi habitación, ¿me acompañas?
Lo que hago en mi habitación forma parte de la colección de poesía de Loto Azul.
What I do in my room
What do we do when no one sees us? Who are we when we are trying to find ourselves in a world full of noise? In our own rooms we are free to imagine, think, create, remember. To discover our identities and try on as many clothes as we want.
Our room is a refuge to be ourselves without disguises or disguises, a safe place to discover sexual preference and sex, learn to live with our multiple identities and from where to contemplate and accept the passage of time.
This book is an invitation to my room, will you come with me?
What I do in my room is part of the collection of Blue Lotus poetry.
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The Sacred Language of the Abakuá
Lydia Cabrera, Victor Manfredi, Ivor Miller, and Patricia González Gómez-Cásseres
In 1988, Lydia Cabrera (1899-1991) published La lengua sagrada de los Ñáñigos, an Abakuá phrasebook that is to this day the largest work available on any African diaspora community in the Americas. In the early 1800s in Cuba, enslaved Africans from the Cross River region of southeastern Nigeria and southwestern Cameroon created Abakuá societies for protection and mutual aid. Abakuá rites reenact mythic legends of the institution's history in Africa, using dance, chants, drumming, symbolic writing, herbs, domestic animals, and masked performers to represent African ancestors. Criminalized and scorned in the colonial era, Abakuá members were at the same time contributing to the creation of a unique Cuban culture, including rumba music, now considered a national treasure.
Translated for the first time into English, Cabrera's lexicon documents phrases vital to the creation of a specific African-derived identity in Cuba and presents the first "insider's" view of this African heritage. This text presents thoroughly researched commentaries that link hundreds of entries to the context of mythic rites, skilled ritual performance, and the influence of Abakuá in Cuban society and popular music. Generously illustrated with photographs and drawings, the volume includes a new introduction to Cabrera's writing as well as appendices that situate this important work in Cuba's history.
With the help of living Abakuá specialists in Cuba and the US, Ivor L. Miller and P. González Gómes-Cásseres have translated Cabrera's Spanish into English for the first time while keeping her meanings and cultivated style intact, opening this seminal work to new audiences and propelling its legacy in African diaspora studies.
Source: Publisher
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National Tragedy, Transnational Gaze: The Films of Héctor Gálvez
Maria Helena Rueda
This volume brings together scholars from Peru, Europe, and the United States whose lucid essays situate Peruvian film production within a global context. The breadth of this volume makes it essential reading for those interested both in Latin American cinema and Peruvian culture." - Carolina Rocha, Southern Illinois University Edwardsvillle, USA "This ground-breaking collection uniquely illuminates the vibrant panorama of contemporary Peruvian cinema. Recognized mostly for its internationally feted art films, now the full picture comes into sharp focus, acknowledging Peru's metropolitan rom coms, artisanal digital indies, regional commercial films, female-led non-fiction, shorts, experimental and indigenous filmmaking. Undoubtedly this will be a "go to" text for Peruvian cinema for at least the next decade." - David Martin-Jones, University of Glasgow, UK "This volume makes a convincing case for 21st-century Peruvian films as a distinct body of work. It usefully charts the changing landscape of Peru's film legislation while offering a cogent grouping of the films, the aim being to clarify the different aspirations of contemporary Peruvian filmmakers and the diversity of their approaches to film production and audience building. This fine collection makes a most welcome contribution to the study of 'small' national cinemas. " - Mette Hjort, Hong Kong Baptist University, Hong Kong This is the first English-language book to provide a critical panorama of the last twenty years of Peruvian cinema. Through analysis of the nation's diverse modes of filmmaking, it offers an insight into how global debates around cinema are played out on and off screen in a distinctive national context. The insertion of post-conflict Peru within neoliberalism resulted in widespread commodification of all areas of life, significantly impacting cinema culture. Consequently, the principal structural concept of this collection is the interplay between film production and market forces, an interaction which makes dynamism and instability the defining features of 21st-century Peruvian cinema. Cynthia Vich is Associate Professor of Latin American Literature and Film at Fordham University, New York, USA. Sarah Barrow is Professor of Film and Media at University of East Anglia, Norwich, UK.
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Films on Loss: Bridging the Collective and the Personal
María Helena Rueda
Focusing on films from Chile since 2000 and bringing together scholars from South and North America, Chilean Cinema in the Twenty-First-Century World is the first English-language book since the 1970s to explore this small, yet significant, Latin American cinema. The volume questions the concept of "national cinemas" by examining how Chilean film dialogues with trends in genre-based, political, and art-house cinema around the world, while remaining true to local identities. Contributors place current Chilean cinema in a historical context and expand the debate concerning the artistic representation of recent political and economic transformations in contemporary Chile. Chilean Cinema in the Twenty-First-Century World opens up points of comparison between Chile and the ways in which other national cinemas are negotiating their place on the world stage. The book is divided into five parts. "Mapping Theories of Chilean Cinema in the World" examines Chilean filmmakers at international film festivals, and political and affective shifts in the contemporary Chilean documentary. "On the Margins of Hollywood: Chilean Genre Flicks" explores on the emergence of Chilean horror cinema and the performance of martial arts in Chilean films. "Other Texts and Other Lands: Intermediality and Adaptation Beyond Chile(an Cinema)" covers the intermedial transfer from Chilean literature to transnational film and from music video to film. "Migrations of Gender and Genre" contrasts films depicting transgender people in Chile and beyond. "Politicized Intimacies, Transnational Affects: Debating (Post)memory and History" analyzes representations of Chile’s traumatic past in contemporary documentary and approaches mourning as a politicized act in postdictatorship cultural production. Intended for scholars, students, and researchers of film and Latin American studies, Chilean Cinema in the Twenty-First-Century World evaluates an active and emergent film movement that has yet to receive sufficient attention in global cinema studies. Source: Publisher
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