A Contracorriente: una revista de estudios latinoamericanos
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente
<p>Founded in 2003 as a refereed electronic journal seeking to stimulate socio-historical analysis of Latin American Literature and push back against the relativism present in poststructuralist thought and postmodernism, <em>A Contracorriente</em> soon became a journal dedicated to the larger field of Latin American Studies, while still maintaining our original theoretical position. It strives to foster intellectual debate about politics, sociology, history, literature, film, art, and culture at large in Latin America from a leftist point of view. The journal is open access and publishes in Spanish and English, three times a year: Fall, Spring, and Winter. </p> <p>Sponsored by the Department of World Languages and Cultures at NC State University, as well as the Center for the Humanities and the College of Liberal Arts at the University of New Hampshire.</p>Editorial A Contracorriente | Sponsored by the Department of Foreign Languages and Literatures at NC State University and the College of Liberal Arts / The Center for the Humanities at the University of New Hampshireen-USA Contracorriente: una revista de estudios latinoamericanos1548-7083<p>1. Author hereby grants, transfers, and assigns to <em>A Contracorriente</em>:</p> <p>(a) the exclusive first serial rights in the Work for publication and distribution throughout the world, as <em>A Contracorriente</em> sees fit, in all languages and formats, by print or any electronic means, including, without limitation, the internet, other public and/or private proprietary intranets and computer networks and on CD-ROMs, DVDs and other discs, before the Work shall appear in any other publication (whether print or electronic), in any manner, format or language, or in any other medium now known or hereafter devised. The first serial rights granted to <em>A Contracorriente</em> by this Paragraph 1(a) shall be exclusive to <em>A Contracorriente</em> until one year following the date of the first serial publication of the Work by<em> A Contracorriente</em>; in addition, this grant of rights shall include the non-exclusive right in perpetuity to include the Work in any collection, or compilation produced or authorized by<em> A Contracorriente</em>, and containing at least 75% material that has appeared in <em>A Contracorriente</em>, for distribution throughout the world, in all languages and formats, by print or any electronic means, including, without limitation, the internet and other public and proprietary intranets and computer networks and on CDROMs, DVDs and other discs;</p> <p>(b) further, the non-exclusive right to authorize, reproduce and distribute reprints of the Work throughout the world, in all languages and formats, by print or any electronic means, after the Work appears in a publication produced or authorized by<em> A Contracorriente</em>; the right to permit subscribers and other users of the services and publications in which the Work may appear electronically to download, reproduce, and otherwise utilize the Work for their personal, non-commercial use throughout the universe; and the non-exclusive perpetual right, throughout the world, to use the Work, in whole or in part, and Author’s name, likeness, or biography in promoting, advertising, and/or publicizing any publication in which the Work is authorized to appear consistent with this Agreement.</p> <p>2. <em>A Contracorriente</em> reserves the right to publish the Work with illustrations and other graphic materials. Nothing contained herein shall obligate <em>A Contracorriente</em> to exploit any of the rights granted to <em>A Contracorriente</em> hereunder. All rights not granted to <em>A Contracorriente</em> are reserved to Author for Author’s own use and/or transfer, assignment, or disposition.</p> <p>3. Author represents and warrants: the Work is original to Author, has not been copied in whole or in part, and does not infringe upon the copyright or any other rights of any person or entity; Author has the right to grant the rights granted to<em> A Contracorriente</em> under this Agreement free of any and all claims and encumbrances; Author has not granted or transferred any rights in or to the Work to any third party; and Author has not done and will not do anything that has impaired, might impair or will impair in any way any of the rights granted to<em> A Contracorriente</em> hereunder.</p> <p>4. Author shall defend, indemnify, and hold harmless the NC State and its employees, agents, affiliates, successors, licensees, and assigns from and against all claims, damages, liabilities, losses, costs, and expenses, including, without limitation, attorney’s fees and costs, arising out of any breach or alleged breach of any of Author’s representations, warranties, or agreements. Any remedies that Author may have against <em>A Contracorriente</em> for breach of this Agreement shall be limited to the right to recover damages, if any, in an action at law. Author hereby waives any right or remedy in equity, including any right to terminate this Agreement, to rescind<em> A Contracorriente</em>’s rights in the Work, or to enjoin, restrain, or otherwise impair in any manner the production or distribution of any publication that is authorized or produced by <em>A Contracorriente</em>.</p> <p>5. <em>A Contracorriente</em> shall have the right to assign this Agreement, either in whole or in part, to any entity affiliated with <em>A Contracorriente</em> or to any party that acquires all or substantially all of <em>A Contracorriente</em>'s assets. Author shall not have the right to further assign any of the rights conferred pursuant to this Agreement, either in whole or in part, or any of the rights granted to Author herein.</p> <p>6. This Agreement is intended by the parties hereto as the final expression of their understanding with respect to the subject matter herein, as a complete and exclusive statement of the terms herein, and supersedes any and all prior or contemporaneous negotiations, understandings, and agreements between the parties relating thereto.</p> <p>7. The Agreement may be modified only by a writing signed by both parties to the Agreement. The laws and courts of the State of North Carolina shall govern and control the resolution of any and all conflicts and disputes that may arise hereunder.</p>Introduction to Latin American Women Nurturing Memories
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2442
<p><strong>Introduction to Dosser: Latin American Women Nurturing Memories</strong></p> <p><strong>Eds. Ana M. Fernández, Ludmila da Silva Catela & Luis Torres</strong></p> <p><strong>Dedicatoria: </strong></p> <p><em>A Domitila Barrios de Chungara, de parte de Moema Viezzer. </em></p> <p><em>A Sonia Catela, de parte de Ludmila da Silva Catela. </em></p> <p><em>A Maritza Sotelo de Rojas, de parte de Miguel Rojas Sotelo</em><strong><em>.</em></strong><em> </em></p> <p><em>A ellas y a todas aquellas mujeres que van nutriendo nuestras memorias</em><strong><em>.</em></strong><em> </em></p>Ana M. FernándezLudmila da Silva CatelaLuis Torres
Copyright (c) 2024 (C) Editorial A Contracorriente
2024-02-162024-02-1621214Mujer-es, memoria y activismo social. Entrevista con Elizabeth Jelin
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2444
<p>Entrevista con Elizabeth Jelin</p>Ana M. FernándezLudmila da Silva Catela
Copyright (c) 2024 (C) Editorial A Contracorriente
2024-02-162024-02-16212510Un recorrido sobre “Si me permiten hablar….” Testimonio de Domitila, una mujer de las minas de Bolivia
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2445
<p style="font-weight: 400;">En este artículo me apoyo en el concepto de “emprendedores de la memoria,” de Elizabeth Jelin (2003). Desde esta perspectiva reflexiono sobre mi labor social junto la activista boliviana Domitila Barrios de Chungara (1937–2012). Retomo nuestra contribución en el proceso de memorización latinoamericana a partir de su testimonio, recogido en mi libro <em>“Si me permiten hablar...” Testimonio de Domitila, </em><em>una mujer de las minas de Bolivia</em> (Viezzer 1976), versión complementada por un nuevo testimonio de Domitila en 2002.</p> <p style="font-weight: 400;">En la primera parte, me concentro en la contextualización y nacimiento de la obra, trayendo a colación nuestro encuentro en la Primera Conferencia Mundial sobre Mujer, Desarrollo y Paz (Naciones Unidas, México, 1975). En la segunda parte, aclaro la metodología utilizada para la confección de la obra, fundada en la pedagogía freiriana. Examino el camino de las distintas ediciones, desde la primera hasta la más reciente (2020). En la tercera parte, reflexiono sobre mis experiencias académicas y no académicas. Concluyo con cuatro ideas sobre el testimonio: su carácter dialogal y su validez como fuente histórica; el reconocimiento de la voz del pueblo; la “ley del espejo,” con la cual defino la comunicación y el aprendizaje en el testimonio; y la metodología enfocada en los conceptos de “Rescatar-Aprender-Construir.”</p>Moema L. Viezzer
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2024-02-162024-02-162121132When Silenced Language Sings: Poetry, State Violence, and the Mapuche Memory-Making of Liliana Ancalao
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2446
<p style="font-weight: 400;">In her essay, “The Silenced Language,” the Mapuche poet Liliana Ancalao writes from Puel Mapu, or what is perhaps more commonly known today as territorial Argentina, that “Mapuzungun is the language of the recovery of pride, the language of the reconstruction of memory” (2022, 165). With that statement, Ancalao is proposing a crucial link between language, identity, and memory. That link is so meaningful to her that it in fact founds her poetics. More precisely, for Ancalao, Mapuzungun, which means “the language of the Land” (“Memory of the Sacred Land,” 2022, 29), is a rich and vital conduit for the people of Puel Mapu to reconstruct Mapuche memory and recover Mapuche pride. And she has developed a mode of creating poetry in Mapuzungun that partakes in that symbiotic process of reconstructing memory and recuperating pride. Moreover, projects like Ancalao’s that aspire to reconstruct Mapuche memory and recover Mapuche pride are especially important because the Mapuche people have been genocidally targeted and oppressed since Conquest, and their suffering continues to this day. Thus, Ancalao’s poetics functions as both a means and a metonym for the broader, crucial project of Mapuche cultural reclamation and (re)circulation.</p>Seth Michelson
Copyright (c) 2024 (C) Editorial A Contracorriente
2024-02-162024-02-162123358Embodied Memory, Spaces of Action
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2447
<p style="font-weight: 400;">The increasing visibility of victim organizations and social leaders in Colombia allows micro-narratives of the long and complex conflict to challenge official records. Most of the suffering has been experienced by women, making them not only repositories of pain, grief, and suffering, but at the same time “memory entrepreneurs” (Jelin 2003). For the past several decades, Gloria Luz Gómez Cortés has led women collectives in search of their forced disappeared loved ones; visual artist Doris Salcedo has worked on a committed aesthetic of grief. Both of these activists have shone a light upon victims of the Colombian conflict. They have been collaborating on producing embodied objects and archives, relics, portraits, counter-monuments, and evento/actions, re-signifying spaces to preserve the sacredness of life under the worst conditions of violence.</p>Miguel Rojas Sotelo
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2024-02-162024-02-162125984Redes de memoria (femenina) contra el olvido y otras formas de resistencia en Hoy y no mañana (Josefina Morandé 2018) y Me duele la memoria (Iara Heredia Lozar y Bastien Genoux 2018)
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2448
<p style="font-weight: 400;">Durante la dictadura chilena y desde el tránsito a la democracia se han producido un buen número de documentales que tienen como objetivo denunciar los abusos y las violaciones de los derechos humanos llevados a cabo por el régimen de Pinochet. Dentro de esta línea reivindicativa se sitúan los dos trabajos en los que se centra el presente estudio: <em>Hoy y no mañana</em> (2018) de María Josefina Morandé y el documental suizo <em>Me duele la memoria</em> (2018), dirigido por Iara Heredia Lozar y Bastien Genoux en 2018. Este artículo explora cómo se manifiestan en estos documentales los vínculos afectivos (Ahmed 2004) y los patrones de las desigualdades sociales y de género que perviven actualmente. Para ello se aborda el estudio de estas manifestaciones culturales desde una perspectiva feminista atendiendo a la estructura organizativa y las características emocionales y narrativas empleadas para desnaturalizar el discurso patriarcal hegemónico. Asimismo, a partir del concepto de los “emprendedores de la memoria” (Jelin 2002), se analiza la dimensión “pedagógica” de estos proyectos que, como propuestas que reconstruyen las memorias de una generación de mujeres diversa y plural, ligan estas experiencias colectivas a otros relatos actuales e intervenciones desde un posicionamiento feminista y en defensa de los derechos humanos.</p>Carmen Herrero
Copyright (c) 2024 (C) Editorial A Contracorriente
2024-02-162024-02-1621285104La desobediencia en femenino: por la memoria, la verdad y la justicia
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2432
<p style="font-weight: 400;">A partir del concepto de “emprendedores de memoria” propuesto por Elizabeth Jelin, el objetivo de esta contribución es profundizar en los modos de funcionamiento del colectivo <em>Historias desobedientes. Familiares de genocidas por la memoria, la verdad y la justicia</em>, poniendo en evidencia las especificidades de la “desobediencia en femenino”. Para ello, en la primera parte se considera el principio estructural que vincula a la desobediencia con el feminismo, explicitando las condiciones de transformación de lo personal en político. En la segunda parte, se analiza el cuestionamiento de la “función paterna” como otro punto más de convergencia entre ambos movimientos. En la tercera parte, retomando las reflexiones en torno a la inscripción del género en el lenguaje (Violi 1986), se identifican algunos rasgos característicos de las obras testimoniales, literarias y artísticas realizadas por las desobedientes (Analía Kalinec, Bibiana Reibaldi, María del Pilar Funes, Alegría González Planás, entre otras), que las distinguen tanto de otras creaciones de la “posmemoria” (Hirsch 1996) como de los discursos producidos por varones. La hipótesis que orienta esta reflexión se refiere a la implicación de la subjetividad y a la afirmación de la diferencia a través de aquello que es lo más singularizante: el cuerpo.</p>Verónica Estay Stange
Copyright (c) 2023 (C) Editorial A Contracorriente
2024-02-162024-02-16212105126Literaturas alteradas, anomalías y nuevas señales de ruta en la construcción autorial de la obra (póstuma) de Juan Luis Martínez
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2456
<p style="font-weight: 400;">En este artículo se propone analizar las distintas anomalías presentes en cuatro obras de Juan Luis Martínez: <em>La nueva novela</em>, <em>Aproximación del Principio de Incertidumbre a un proyecto poético</em>, <em>El poeta anónimo</em> y <em>La nueva novela</em> (anotada). Estas anomalías se recogen como parte de lo que aquí se ha llamado “literaturas alteradas”, con este concepto se busca establecer nuevas señales de ruta en la lectura de estas obras de Juan Luis Martínez, las cuales se establecen a partir de las fallas en las soluciones de continuidad entre la obra publicada en vida y su obra póstuma.</p>Marcelo Rioseco
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2024-02-162024-02-16212127159Neruda: Crepusculario en su Año 100
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2438
<p>Artículo dedicado al centenario de la publicación de <em>Crepusculario</em>, de Pablo Neruda.</p>Hernán Loyola
Copyright (c) 2023 (C) Editorial A Contracorriente
2023-12-222023-12-22212160167Tiburcio’s Sense of Place: An Ecocritical Analysis of Rafael Muñoz’s ¡Vámonos con Pancho Villa!
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2120
<p>This ecocritical analysis reads northern Mexico’s natural environment as a complex protagonist in Rafael Muñoz’s 1931 novel <em>Vámonos con Pancho Villa</em>. I explore the representation of key characters who are swept away by war and uprooted from the land. Yet, they harbor an implicit longing to be understood as individuals bound to communities situated in valued natural spaces. Joined with nature they are capable of rebirth, invincibility, and triumph. They defy forces of war, modernity, and capitalist exploitation that perceive them as insufficient or expendable. Muñoz's representation of the men's oneness with nature as a means to resist colonialist antagonists is suggestive of a decolonial alternative to Western paradigms. </p>Amy Robinson
Copyright (c) 2023 (C) Editorial A Contracorriente
2024-02-162024-02-16212168194Dormir para despertar: la canción de cuna como espacio de resistencia y creación de conciencia colectiva en la América negra
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2135
<p>La canción de cuna ha constituido un espacio de resistencia y creación de conciencia colectiva en la América negra, desde la esclavitud hasta la afrodescendencia contemporánea. Como parte de la tradición oral, por lo general anónima y popular, permiten una forma concreta de resistencia cultural de un pueblo dominado alrededor de un espacio de identidad y memoria, desde donde puede canalizarse la lucha contra la opresión y la formación de un “nosotros”. Las nanas infantiles se unen, así, a la imaginación/ficción desplegada en cancioneros y relatos populares, como una vía alternativa para la comprensión del mundo y para la manifestación de sentires comunes a través del legado de un origen y la herencia de una problemática. Las nanas han persistido en el imaginario de la comunidad afrodescendiente como un medio para canalizar lazos, aspiraciones de liberación y vínculos de protección desde una perspectiva doblemente vulnerable: por un lado, el cuidador subalterno que busca ofrecer seguridad al niño y, por el otro, el infante que escucha y absorbe mientras despierta al mundo desde una posición adversa. La esperanza, en tanto resistencia, es la función última de la canción de cuna, especialmente si se trata de una comunidad subalterna.</p>Armando Bustamante Petit
Copyright (c) 2023 (C) Editorial A Contracorriente
2024-02-162024-02-16212195216La teatralidad de las parodias del carnaval: El caso de Terraja (2020) de Parodistas Los Muchachos
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2143
<p>Partiendo de la premisa de la necesidad de estudiar la "escena plebeya" en tanto constituyente pivotal de la esfera pública popular en Uruguay, se argumenta la ampliación del objeto de los estudios teatrales de modo de abarcar e incluir formas de teatralidad popular de la actualidad, en particular distintos géneros de teatro de carnaval, y especialmente un conjunto de géneros no estudiados, como son las parodias, las humoradas, las revistas, las sociedadades de negros y lubolos, entre otras. El trabajo aporta una breve historia del género, los rasgos actuales del mismo y se enfoca en algunos aspectos del espectáculo Terrajas (2020), de parodistas Los Muchachos, incluidos su estructura, su poética y algunos de sus recursos teatrales.</p>Gustavo Remedi
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2024-02-162024-02-16212217246Locos de atar o de expulsar: la inversión de la locura en La ciudad que el diablo se llevó
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2141
<p>This article analyzes the motif of the ship of fools as represented in <em>La ciudad que el diablo se llevó </em>by David Toscana. In this novel, the conventional connotations associated with the motif are reversed. The representations of ships of fools have an extensive tradition that can be traced back to Plato’s <em>Republic</em> and are, generally, depictions of foolishness. The main characters in David Toscana’s novel still drink, sing, and celebrate, but they embody sensibility, rationality, and judgement, which sets them apart. This unconventional depiction is sustained by the constant humor of the novel.</p>Jose Alfredo Contreras
Copyright (c) 2022 (C) Editorial A Contracorriente
2024-02-162024-02-16212247264Henry Kissinger, Watergate, the CIA, and the Latin American Connection
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2454
<p>Excerpt from Martin Edwin Andersen's forthcoming book, <em>Changing Sides: Henry Kissinger and the Nuremberg Legacy </em>(2025)</p>Martin Edwin Andersen
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2024-02-162024-02-16212265293A Tribute to David Rosenmann-Taub (1927-2023)
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2441
<p>An obituary of the Chilean poet, painter, and pianist David Rosenmann-Taub.</p>Ken Gorfkle
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2024-02-162024-02-16212294298Review of Foss, Sarah. On Our Own Terms: Development and Indigeneity in Cold War Guatemala. University of North Carolina Press, 2022. 334 pp.
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2439
<p>Review of Foss, Sarah. On Our Own Terms: Development and Indigeneity in Cold War Guatemala. University of North Carolina Press, 2022. 334 pp.</p>Ilan Palacios Avineri
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2024-02-162024-02-16212299303Reseña de Straccali, Eugenia, compiladora. Iluminado artificio. Ensayos sobre la obra de Mercedes Roffé. Córdoba, Argentina: EDUVIM (Editorial Universitaria de Villa María) 2023. 385 pp.
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2451
<p>Reseña de Straccali, Eugenia, compiladora. Iluminado artificio. Ensayos sobre la obra de Mercedes Roffé. Córdoba, Argentina: EDUVIM (Editorial Universitaria de Villa María) 2023. 385 pp.</p>Felipe Hugueño
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2024-02-162024-02-16212304307Review of Calirman, Claudia. Dissident Practices: Brazilian Women Artists, 1960s–2020s. Duke UP, 2023. 254 p.
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2449
<p>Review of Calirman, Claudia. Dissident Practices: Brazilian Women Artists, 1960s–2020s. Duke UP, 2023. 254 p.</p>Ana Fauri
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2024-02-162024-02-16212308311Review of Corinealdi, Kaysha. Panama in Black. Afro-Caribbean World Making in the Twentieth Century. Durham, NC: Duke University Press, 2022. 266 pp.
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2418
<p>Review of Corinealdi, Kaysha. Panama in Black. Afro-Caribbean World Making in the Twentieth Century. Durham, NC: Duke University Press, 2022. 266 pp.</p>José Baeza Zúñiga
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2024-02-162024-02-16212312315Review of Gyger, Helen. Improvised Cities: Architecture, Urbanization, and Innovation in Peru. Pittsburgh: University of Pittsburgh Press, 2019. 456 pp.
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2419
<p>Review of Gyger, Helen. Improvised Cities: Architecture, Urbanization, and Innovation in Peru. Pittsburgh: University of Pittsburgh Press, 2019. 456 pp.</p>Yuri Gama
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2024-02-162024-02-16212316319Reseña de Cámpora, Magdalena & Silva, Guadalupe. Literatura y legitimación en América Latina. Polémicas, operaciones, representaciones. Buenos Aires, Corregidor, 2023. 366 pp.
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2450
<p>Reseña de Cámpora, Magdalena & Silva, Guadalupe. Literatura y legitimación en América Latina. Polémicas, operaciones, representaciones. Buenos Aires, Corregidor, 2023. 366 pp.</p>Félix Terrones
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2024-02-162024-02-16212320324Review of Pensado, Jaime M. Love and Despair: How Catholic Activism Shaped Politics and the Counterculture in Modern Mexico. Oakland: University of California Press, 2023. 374 pp.
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2427
<p>Review of Pensado, Jaime M. Love and Despair: How Catholic Activism Shaped Politics and the Counterculture in Modern Mexico. Oakland: University of California Press, 2023. 374 pp.</p>Nathan Ellstrand
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2024-02-162024-02-16212325327Review of Echavarren, Roberto, Russian Nights. Autocracy and Testimony. Wilmington: Vernon Press, 2023, 388 pp.
https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/2452
<p>Review of Echavarren, Roberto, Russian Nights. Autocracy and Testimony. Wilmington: Vernon Press, 2023, 388 pp.</p>Alejandro Varderi
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2024-02-172024-02-17212328336