Arizona Journal of Hispanic Cultural Studies最新文献

{"title":"About the Artist: Adam Cooper-Terán: Multimedia Designer and Performer in the Time of Disaster Capitalism","authors":"Eva Karene Romero","doi":"10.1353/HCS.2020.0001","DOIUrl":"https://doi.org/10.1353/HCS.2020.0001","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132356252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Renacimientos en tiempos de crisis / Rebirths in Times of Crisis","authors":"Irene Domingo, Almudena Marín Cobos","doi":"10.1353/HCS.2020.0008","DOIUrl":"https://doi.org/10.1353/HCS.2020.0008","url":null,"abstract":"Resumen:la crisis se asienta como la modalidad de experiencia de la contemporaneidad. Inseparable del sistema político y económico del neoliberalismo, la crisis como constante es hoy una realidad que lo alimenta y que, a su vez, se ve fomentada por este. Es por ello que la crisis parece no tener fin. A pesar del derrotismo que tal statu quo podría despertar, dentro de su seno han ido apareciendo propuestas que hacen frente teórica, simbólica y materialmente a la precariedad sistemática que esta modalidad impone. Todas estas propuestas son, como la crisis en que surgen, paradójicas en el sentido de que combinan necesariamente la apertura y el cierre, lo nuevo y lo viejo, la ruptura y la conformidad. Son, en otras palabras, pregunta y respuesta frente a una situación que, en última instancia, encaran desafiantes como posibilidades de renovación. Partiendo de dicha premisa, esta sección especial analiza un conjunto diverso de prácticas artísticas—manifiestos, pósteres, textos cinematográficos, canciones, poemarios y performances—que se instauran como respuestas contingentes y liminales a dicha crisis. Definimos estas respuestas como “renacimientos” precisamente por su condición de umbral, es decir, por su función de clausura e inauguración, y porque, en definitiva, iluminan no sólo la crisis misma como temporalidad del neoliberalismo, sino también posibles futuros alternativos dentro y fuera de ella. El diálogo establecido entre estas aproximaciones es la aportación principal de esta sección, que pretende ser punto y seguido en la teorización sobre el paradigma de la crisis en la era neoliberal.Abstract:crisis is the contemporary modality of experience. Inseparable from the neoliberal political and economic system, constant crisis is today a reality that both feeds this system and is fed by it. As a consequence, crisis seems to have no end. Despite the defeatism that such a status quo might entail, there have always existed theoretical, symbolic, and material projects which have confronted the systematic precarity that this modality imposes. All these projects are, like the crisis in which they arise, paradoxical in that they necessarily combine opening with closure, new with old, break with conformity. They are, in other words, question and answer in the face of a situation which, ultimately, they confront defiantly as possibilities of renewal. Following this premise, this special section analyzes diverse artistic practices—manifestos, posters, cinematographic texts, songs, poems, and performances—that establish themselves as contingent and liminal responses to the aforementioned crisis. We define these responses as “rebirths” precisely because of their condition as a threshold; that is, because they function as closure and inauguration. Ultimately, these responses cast light on the crisis as the temporality of neoliberalism, and also imagine possible alternative futures both inside and outside of it. The main contribution of this special section i","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125739044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Revealing the Mask Behind the Face: Daniel Alonso Mallén’s Photomontage Satire","authors":"M. Arnold","doi":"10.1353/HCS.2020.0011","DOIUrl":"https://doi.org/10.1353/HCS.2020.0011","url":null,"abstract":"Resumen:Este artículo se centra en el prolífico visionario del montaje sonoro y gráfico, Daniel Alonso Mallén. Daniel Alonso es el cantante, tecladista y artista promocional de la banda indie de cuatro piezas con sede en Sevilla, Pony Bravo. En este artículo, examino los fotomontajes que Alonso crea para promover los conciertos de Pony Bravo en los que emplea una variedad de sistemas semióticos locales, nacionales e internacionales para lanzar una crítica a los impulsores de las crisis que ocurren en el vecindario y en todo el mundo. Alonso integra imágenes e íconos que pertenecen a diversas cadenas semánticas en una imagen narrativa coherente que aborda cuestiones tanto españolas como globales (específicamente, la política y retórica nacional de inmigración, la malversación real, la crisis climática global y la guerra de Irak), re-articulando subversivamente una serie de significantes nacionales e internacionales, tanto pasados como presentes. Estas crisis son provocadas por la adopción española de políticas económicas neoliberales internacionales y supranacionales que han socavado la soberanía de la población nacional. La captura corporativa del poder gubernamental ha creado una situación en la que un estado fallido se disfraza de legítimo. El renacimiento sugerido por Alonso comienza con el desenmascaramiento de los operativos matones y racistas que se han apropiado de las palancas del gobierno y una consideración de las consecuencias de sus acciones. A través de este artículo, espero agregar a esta colección un enfoque en torno a los tipos de expresión que son privilegiados frente a tiempos inciertos: cáustico en su sátira, el arte bricolaje de Alonso revela lo que Slavoj Zizek define como una especie de máscara detrás de la cara de la atrocidad encarnada.Abstract:This article focuses on the prolific sonic and graphic montage visionary, Daniel Alonso Mallén. Daniel Alonso is the lead singer, keyboardist, and promotional artist for the Seville-based four-piece indie band Pony Bravo. In this article, I examine the photomontages Alonso creates to promote Pony Bravo concerts in which he employs a range of local, national, and international semiotics to critique the drivers of crises occurring within the neighborhood and across the world. Alonso integrates images and icons which belong to diverse semantic chains into a cohesive narrative imagery that addresses both Spanish and global issues (specifically, national immigration policy and rhetoric, royal embezzlement, the global climate crisis, and the Iraq war) by subversively rearticulating an array of national and international signifiers both past and present. These crises are brought about by the Spanish embrace of international and supranational neoliberal economic policies which have undermined the sovereignty of the national populace. Corporate capture of government power has created a situation in which a failed state masquerades as legitimate. The rebirth suggested by Alonso begins with th","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129791000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Look with Thine Ears: Sonic Encounters and Eviction in Eduard Cortés’s Cerca de tu casa (2016)","authors":"Kathleen E Korcheck","doi":"10.1353/HCS.2020.0012","DOIUrl":"https://doi.org/10.1353/HCS.2020.0012","url":null,"abstract":"Resumen:Cerca de tu casa es una película musical de 2016 sobre los desahucios en la España de la crisis. Dirigida por Eduard Cortés y protagonizada por la cantante Sílvia Pérez Cruz, la película rompe con representaciones realistas de la crisis y narrativas centradas en la víctima que aíslan al individuo de lo colectivo y fomentan a espectadores pasivos. Cerca utiliza encuentros sonoros para crear una contra-narrativa a la crisis que enfatiza una experiencia afectiva y participativa mediante la escucha. Apelando al campo de los estudios de sonido, mi lectura de cuatro momentos musicales interdependientes demuestra cómo estrategias auditivas diversas funcionan en el espacio diegético y no diegético de la película para ubicar experiencias individuales de pérdida dentro de un trauma colectivo. En particular, analizo el papel de la música cinematográfica, el baile, la protesta popular y el canto y el performance público para sugerir la necesidad de una escucha participativa y receptiva que invita y apoya encuentros auditivos dialógicos, a veces con interlocutores inesperados o invisibles. En definitiva, la película propone forjar una nueva práctica relacional en la democracia poscrisis. Al retratar la búsqueda de una red de experiencias y alianzas con otros, la película sugiere una movilización musical que es participativa, colectiva y animada por la escucha.Abstract:Cerca de tu casa (At Your Doorstep) is a 2016 musical film about eviction in crisis-era Spain. Directed by Eduard Cortés and starring the singer Sílvia Pérez Cruz, the film breaks with realist portrayals of the crisis and victim-oriented narratives that alienate the individual from the collective and encourage passive spectatorship. Cerca uses sonic encounters in order to create a counter-narrative for the crisis featuring an affective, participatory audience experience through listening. In a close reading of four interdependent musical moments, I draw from scholarship in sound studies to demonstrate how diverse auditory strategies operate in the diegetic and non-diegetic space of the film in order to locate individual experiences of loss as part of a collective trauma. In particular, I analyze the role of film music, dance, popular protest, and song and public performance to suggest the need for engaged, responsive listening that invites and supports dialogical aural encounters, often with unexpected or unseen interlocutors. Ultimately, the film is about forging a new relational practice in post-crisis democracy. In its portrayal of the search to locate a network of experiences and alliances with others, the film posits what we might conceive of as a musical mobilization, one that is participatory, collective in nature and driven by listening.","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128849254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"La Sección Femenina 1934–1977. Historia de una tutela emocional por Begoña Barrera (review)","authors":"Iria Ameixeiras-Cundíns","doi":"10.1353/HCS.2020.0020","DOIUrl":"https://doi.org/10.1353/HCS.2020.0020","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132829735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Awkan epupillan mew: dos espíritus en divergencia por Antonio Calibán Catrileo (review)","authors":"","doi":"10.1353/hcs.2020.0019","DOIUrl":"https://doi.org/10.1353/hcs.2020.0019","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123875616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Real Political Arena: Juana Bignozzi’s Poetry","authors":"L. Eglin","doi":"10.1353/HCS.2020.0014","DOIUrl":"https://doi.org/10.1353/HCS.2020.0014","url":null,"abstract":"Resumen:debido a la disputa continua y actual con respecto a la narrativa sobre lo que sucedió durante la dictadura argentina de 1976–1983, entendemos que la crisis radica en el discurso. Es decir, las narrativas opuestas constituyen un escenario político, donde las versiones conflictivas del pasado luchan en su interpretación. En el análisis de este campo de batalla nos damos cuenta de que ciertos discursos buscan dominar la memoria y la realidad. Las tensiones creadas por las disputas sobre la articulación y, por lo tanto, el dominio de la memoria es una gran parte del trabajo de la poeta argentina Juana Bignozzi. Exploro su trabajo en La ley tu ley, una compilación compuesta por cinco de sus poemarios escritos entre 1967 y 2000. Específicamente, examino cómo es una contestación del relato unívoco e imposiciones de la narrativa oficial. La poesía se revela como una herramienta poderosa en la formación del discurso, las percepciones y las formas de cuestionar y desestabilizar el statu quo. Para profundizar en la importancia de la poesía en la desestabilización de una historia prevaleciente y para dimensionar las ideas socioculturales de la memoria en relación con las dictaduras militares, incluí la \"defensa de la poesía\" de Martin Heiddeger, Alfredo Bosi y Carlos Bousoño, poniéndola en diálogo con los conceptos de dinámica de poder de Foucault, así como con las discusiones sobre memoria y dictaduras de Elizabeth Jelin y Carina Perelli, entre otros. La poesía, entonces, se materializa como un discurso particular que tiene la posibilidad de resolver esta crisis en el discurso.Abstract:The continued and present contention regarding the narrative over what happened during Argentina’s 1976–1983 dictatorship leads to the understanding that the ongoing crisis lies in discourse. That is, it is opposing discourses that constitute a political arena, where conflicting versions of the past struggle in their interpretation, and thus, creation of reality. In the analysis of this battlefield we become aware that certain discourses seek to dominate memory and reality. The tensions created by the disputes over the articulation and, thus, domination of memory is a large part of the work of the Argentine poet Juana Bignozzi. I explore her work in La ley tu ley, a compilation comprised of five of her poetry collections written between 1967 and 2000. Specifically, I examine how it is a contestation of the univocal story and impositions of the official narrative. Poetry is revealed as a powerful tool in the shaping of discourse, perceptions, and ways of questioning and destabilizing the status quo. In order to delve in the importance of poetry in the destabilization of a prevalent story and so as to dimension the socio-cultural ideas of memory as related to military dictatorships, I put Martin Heiddeger, Alfredo Bosi and Carlos Bousoño’s “defense of poetry” into dialog with Foucault’s concepts of power dynamics, as well as with Elizabeth Jelin and Carina Perelli’s, a","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114617665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Embodiment Against Borders: Discourses of Crisis and Collaborative Performance Art on the U.S.-Mexico Border Wall","authors":"Brittani Anderson","doi":"10.1353/HCS.2020.0009","DOIUrl":"https://doi.org/10.1353/HCS.2020.0009","url":null,"abstract":"Resumen:Me aproximo al muro existente de 700 millas entre los Estados Unidos y México como el eje y como la materialización de prácticas más amplias de vigilancia antiinmigrante en ambos países. Al trazar la retórica de crisis generada por el estado, que construye a los migrantes como una amenaza nacional, identifico una crisis de afecto subyacente, que funciona para distanciar emocionalmente a los ciudadanos estadounidenses de los impactos humanos de la violencia estatal perpetuada contra los migrantes. Basándome en una historia del arte de performance fronterizo, delineo una nueva épica de performance concentrada en el sitio específico del muro, que responde a la hipervisibilidad de la retórica anti-inmigratoria. Demuestro las formas en que tres performances recientes colaborativas y binacionales realizan protestas y generan solidaridad transnacional a través de un repertorio afectivo de alegría, juego, vulnerabilidad, dignidad e intimidad. Analizo Borrando la frontera (2012, 2015) de Ana Teresa Fernández, que consistió en el acto de pintar azul secciones del muro de Tijuana-San Diego y Nogales; Boundless Across Borders (2017), en el que las mujeres de Ciudad Juárez y El Paso se trenzaron el cabello en una cadena humana durante la inauguración presidencial; y Teeter-Totter Wall (2019), creado por Ronald Rael y Virginia San Fratello. Al involucrar la imaginación, la participación directa de co-creadores y la intimidad transnacional, estas performances simultáneamente revelan la violencia del muro y trabajan para desarmarlo, desafiando la percepción social de la migración como crisis.Abstract:In this article, I approach the existing 700-miles of wall between the United States and Mexico as an axis and materialization of broader practices of anti-immigrant policing throughout both countries. By tracing the state-generated rhetoric of crisis, which constructs migrants as a national threat, I identify an underlying crisis of affect, which functions to emotionally distance U.S. citizens from the human impacts of state violence perpetrated against migrants. Drawing on a history of border performance art, I delineate a new era of site-specific performance that responds to the hypervisibility of anti-immigration rhetoric. I demonstrate the ways in which three recent collaborative, binational performances enact protest and transnational solidarity through an affective repertoire of joy, play, vulnerability, dignity, and intimacy. I analyze Ana Teresa Fernández’s Borrando la frontera (2012, 2015) which involved painting sections of Tijuana-San Diego and Nogales wall sky blue; Boundless Across Borders (2017), through which Ciudad Juárez and El Paso women braided their hair together in a human chain across the border during the presidential inauguration; and Teeter-Totter Wall (2019), created by Ronald Rael and Virginia San Fratello. By engaging the imagination, directly involving co-creators, and generating transnational intimacy, these performances simult","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124486384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Con el franquismo en el retrovisor: Las representaciones culturales de la dictadura en la democracia (1975–2018) ed. por Elizabeth Amann et al (review)","authors":"Iker González-Allende","doi":"10.1353/HCS.2020.0016","DOIUrl":"https://doi.org/10.1353/HCS.2020.0016","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129857981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Intersections of Race, Class, Gender, and Nation in Fin-de-siècle Spanish Literature and Culture ed. by Jennifer Smith and Lisa Nalbone (review)","authors":"Nuria Morgado","doi":"10.1353/HCS.2020.0018","DOIUrl":"https://doi.org/10.1353/HCS.2020.0018","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124169145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}