STUDIES IN LATIN AMERICAN POPULAR CULTURE最新文献

{"title":"Shift in Social Character: Charro Cultural Representations in Mexican Popular Culture","authors":"B. Márquez","doi":"10.7560/SLAPC3603","DOIUrl":"https://doi.org/10.7560/SLAPC3603","url":null,"abstract":"Abstract:David Riesman's The Lonely Crowd can be applied to the transformation of Mexican popular culture in regard to the representation of the traditional charro community. Despite the fact that Western countries consider Mexico a developing country, Mexico's social character is undergoing a cultural change. A once primarily rural and agricultural community, rapid urbanization and industrialization have affected rural traditions such as that of the charro. Mexican mass media have demonstrated the charro as an inner-directed man, oriented by a metaphorical gyroscope and unscathed by criticism. The modern charro as portrayed in mass media is demonstrated to have more other-directed characteristics than ever before. These changes in the cultural representations of the charro community indicate that the cultural changes in Mexico's social character are departing from rural cultural productions to a more Western and urban cultural production. Ultimately, the charro image in Mexico's popular culture will be cautiously marginalized and replaced by a more modern image of the Mexican corporate man.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43413903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"Entre campo y grabación\": Violeta Parra y las tecnologías migrantes","authors":"Gonzalo Montero","doi":"10.7560/SLAPC3608","DOIUrl":"https://doi.org/10.7560/SLAPC3608","url":null,"abstract":"Abstract:This study analyzes the uses of technology—tape recorder, radio, television—by the Chilean folklorist Violeta Parra (1917–1967). Instead of conceiving her work as a preservation of traditional forms, this article proves that Parra assumed a mobile positionality, from which she transformed the cultural status of the Chilean canto popular campesino, and technology played a key role in that process of transformation. In the first section of the article, I define the locus from which Parra works, shaped by mobility and migration. Then, I focus on the uses of the recorder in her compilations, describing the reactions of cantores populares when facing this new technology. Finally, I analyze Parra's involvement with mass media outlets during the 1950s and 1960s. She strategically used media to reach broader audiences, and this process of registration and circulation drastically modified the oral status of Chilean canto popular. Violeta Parra not only preserved a highly valuable corpus of Chilean popular culture but also was an active agent in the transformations of these songs.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45915714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Representations of Black Womanhood in Mexico","authors":"Selfa A. Chew","doi":"10.7560/SLAPC3607","DOIUrl":"https://doi.org/10.7560/SLAPC3607","url":null,"abstract":"Abstract:Popular narratives ambiguously recognize the presence of Black women in Mexico. While registering the existence of Afro-descendants on the American Continent, Mexicans simultaneously deny the genetic, cultural, and economic contributions of Black women, subduing their voices. The refusal to incorporate the perspective of African and Afro-Mestiza women into popular and academic narratives has consequently resulted in a distorted view of Afro-Mexican populations and of the elements that compose Mexican national identities. If Francisco Rojas Gonzalez's novel La negra Angustias tells the story of a complex protagonist, countering stereotypes of Black womanhood, most other popular representations cancel the multidimensional subjectivities of women of African descent in Mexico. This article discusses La negra Angustias and other images of women of African descent in twentieth-century Mexican popular culture. Film, music, and literature productions are discussed through the analysis of rumbera films, Gabilondo Soler's lyrics, and Café Tacuba's performance of \"Rarotonga,\" originally a comic character. The study of these images supports the idea that Mexican popular culture has adopted globalized forms of racism and sexism, strengthening an already-exclusive whitened national identity. Although there is no uniform adoption of racist and sexist approximations in Mexico to Black women representations, the persistence of Eurocentric models is potentiated by the rapid and wide coverage of hegemonic ideas through globalization projects.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71340104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Migration Genre in La jaula de oro: Voids and Virtues","authors":"Richard K. Curry","doi":"10.7560/SLAPC3604","DOIUrl":"https://doi.org/10.7560/SLAPC3604","url":null,"abstract":"Abstract:Between October 2013 and June 2014, some fifty-two thousand undocumented, unaccompanied Central American adolescents were detained at the US-Mexico border, a phenomenon indexed by the focus of La jaula de oro, a 2013 Mexican-Spanish coproduction. The film's title is important for its pre-viewing suggestivity. In terms of the filmic discourse vis-à-vis the overall migration phenomenon, the film contains \"voids,\" but La jaula de oro's invocation of the migration genre through intermedial relationships with preexisting texts helps fill some gaps. Two apparent discursive \"voids\" are the lack of specificity of motivation or destination for four adolescents' traversal and the lack of dialogue. Among its compensating \"virtues,\" the film focuses on human relationships and some of the difficulties faced by migrants, and the \"bad\" is nuanced in different agents of ill doing. Primary among the film's virtues is the privilege granted to the image. It is at these levels of intermediality and discourse focus on human relationships that the award-winning film is to be appreciated.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44582147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Entren los que quieran: Calle 13 y la construcción de lo latino(americano)","authors":"Jack D. Martínez Arias","doi":"10.7560/SLAPC3511","DOIUrl":"https://doi.org/10.7560/SLAPC3511","url":null,"abstract":"Resumen: Este artículo se propone identificar las estrategias discursivas empleadas en las canciones de Calle 13 para la construcción de la figura de Residente (vocalista del grupo puertorriqueño) como un intelectual que intenta hablar en representación de los sujetos subalternos. Al mismo tiempo, las canciones muestran una imagen idealizada de una armonía cultural latinoamericana. Es más, la población latina en los Estados Unidos también es representada a través de esa misma estrategia de homogeneización. Al analizar las letras de las canciones de Calle 13, sugiero que la unificación de los latinoamericanos es imaginada en contraste con la figura de un enemigo común, los Estados Unidos. Ya que las canciones proponen una invasión latinoamericana silenciosa en los Estados Unidos, considero que la configuración de Residente no es solo la de un intelectual, sino también la de un líder guerrillero. En ese sentido, la representación de Residente relocaliza la posición de Puerto Rico como un espacio latinoamericano que estaría a la vanguardia de la supuesta y masiva invasión. Abstract: This article aims to identify discursive strategies of Calle 13’s songs in its construction of the figure of Residente (the group’s Puerto Rican singer) as an intellectual who attempts to speak on behalf of subaltern subjects. At the same time, the songs show an idealized image of a culturally harmonious Latin America. Furthermore, the Latino population in the United States is also represented adopting the same strategy of homogenization. By analyzing the lyrics of Calle 13’s songs, I suggest that the unification of Latin Americans is imagined in contrast to the figure of a common enemy, the United States. Because the songs encourage a Latin American silent invasion of the United States, I consider the configuration of Residente not only as an intellectual but also as a guerrilla leader. In this way, the representation of Residente relocates the position of Puerto Rico as a Latin American space that is becoming the vanguard of the supposed massive invasion.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49229796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"La voz de los protagonistas: Juan Justino Judicial (1996) de Gerardo Cornejo y la novela-corrido","authors":"A. Fonseca","doi":"10.7560/SLAPC3512","DOIUrl":"https://doi.org/10.7560/SLAPC3512","url":null,"abstract":"Resumen: Las narco-narrativas mexicanas han logrado representar el complejo mundo del narcotráfico desde diferentes modalidades y técnicas literarias. Juan Justino Judicial de Gerardo Cornejo utiliza la estructura del corrido, que históricamente ha servido como plataforma ideológica de seres contestatarios, para aproximarnos a la realidad cambiante del tráfico de drogas. Con la historia de un serrano que cuenta su transformación de judicial en narcotraficante, Cornejo logra dotar a la narco-narrativa Mexicana de una hibridez formal e ideológica que responde desde el norte al centro cultural del país. Con la inclusión de la estructura del corrido, el texto de Cornejo ilustra magistralmente la tensión que existe entre oralidad y escritura, entre quién controla la voz y la significación en la narco-narrativa norteña.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45449161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El discurso nacionalista mexicano en el cómic Águila Solitaria de Víctor Fox","authors":"Ross Swanson","doi":"10.7560/SLAPC3505","DOIUrl":"https://doi.org/10.7560/SLAPC3505","url":null,"abstract":"Resumo: Este artículo examina las maneras en las cuales el cómic mexicano Águila Solitaria, publicado en la segunda mitad de la década de los 1970 y durante los años 80, incorpora temáticas relacionadas con el discurso nacionalista mexicano de la época posrevolucionaria (especialmente como se expone en las obras de José Vasconcelos y Manuel Gamio) para evitar la censura potencial relacionada con la representación de sexo y violencia en la obra y, al mismo tiempo, asegurar el éxito económico de la serie. Esto se hace principalmente a través de una alegoría que relaciona al héroe (un indígena norteamericano que da título al cómic) con la historia prehispánica de México y lo establece como representante de su país tanto en su oposición al imperialismo estadounidense como en su encarnación de las políticas mexicanas de mestizaje. Se discuten la apropiación e hibridación de paisajes panamericanos y de los géneros estadounidenses del wéstern y el cómic de superhéroes en relación con la “expresión autoetnográfica” de Mary Louis Pratt. Tanto los elementos nacionalistas como los híbridos del cómic habrían contribuido a las ventas del mismo y sus posibilidades de esquivar la censura. Aunque el cómic puede considerarse anti-imperialista y anti-capitalista de acuerdo con la teoría de Pratt, también se distance de la misma puesto que los elementos mencionados se incluyen sobre todo por fines prácticos y económicos. This article examines how the Mexican comic Águila Solitaria, published in the second half of the 1970s and throughout the 1980s, incorporates themes related to the Mexican postrevolutionary nationalist discourse (especially as presented in the works of José Vasconcelos and Manuel Gamio) to avoid censorship related to the representation of sex and violence and, at the same time, to achieve economic success. This is done first and foremost through an allegory that links the hero (an indigenous North American who gives the comic its name) to Mexico’s pre-Hispanic past and establishes him as the representative of the country both in his opposition to US imperialism and his embodiment of Mexico’s policies of mestizaje. The appropriation and hybridization of pan-American settings and the United States western and superhero genres are discussed in relation to Mary Louise Pratt’s “auto ethnographic expression.” Both nationalist and hybrid elements of the comic may have contributed to the comic’s sales and ability to avoid censorship. Although the comic can be considered anti-imperialist and anticapitalist, in line with Pratt’s theory, it also departs from Pratt since the previously mentioned elements are largely present for practical and economic ends.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48928031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Through the Wall of Words: The Ruinous Cuban Body in Fernando Pérez’s Film La pared de las palabras (2014)","authors":"G. Severiche","doi":"10.7560/SLAPC3509","DOIUrl":"https://doi.org/10.7560/SLAPC3509","url":null,"abstract":"Abstract: This article analyzes the politics of embodiment in Fernando Pérez’s latest film La pared de las palabras. By observing the use of certain formal elements, it is possible to refer to the film’s corporeal dimension, which plays an important role for both the fictional world and the film’s relationship with the audience. The characters are confronted with their inability to connect with each other because of emotional conflicts and physical limitations, but they later find a way to understand each other through affective and corporeal means. Pérez also displays several cinematographic techniques to make this process perceivable by the audience (appealing to corporeal senses like sight, smell, and touch). Without clear references and through the use of images of Havana ruins, the film extrapolates this familial conflict to broader social framework. Pérez’s films are characterized by their ambivalence regarding political and social conflicts in contemporary Cuban society. I observe the political embodiment of the film through a close reading of some important shots and scenes and a confrontation with criticism regarding Pérez’s filmography. Resumen: Este artículo analiza la política de la corporización (embodiment) en la última película de Fernando Pérez La pared de las palabras. A través de la observación de ciertos elementos formales, es posible referir a la dimensión corporal que el film despliega y que tiene un rol importante tanto para el mundo ficticio dentro de la película como para su relación con la audiencia. Los personajes se confrontan con su inhabilidad para conectarse los unos con los otros debido a conflictos emocionales y limitaciones físicas; pero ellos luego descubren una manera de entenderse a través de medios afectivos y corporales. Pérez hace uso de varias técnicas cinematográficas para hacer este proceso perceptible a los espectadores (apelación a los sentidos corporales como la vista, el olfato y el tacto). Sin referencias directas y a través del uso de imágenes de ruinas de La Habana, el film extrapola el conflicto familiar a un marco social más amplio. Las películas de Pérez se caracterizan por su ambivalencia respecto a conflictos sociales y políticos de la sociedad cubana contemporánea. Observo la corporización política del film a través de una lectura detenida de algunas tomas y escenas importantes y de una confrontación con la crítica respecto a la filmografía de Pérez.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47845730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"White Skin, Black Slavery: Bernardo Guimarães’s A escrava Isaura and the Global Telenovela","authors":"Raquel Kennon","doi":"10.7560/SLAPC3508","DOIUrl":"https://doi.org/10.7560/SLAPC3508","url":null,"abstract":"Abstract: This article presents a comparative analysis of A escrava Isaura, the Brazilian romance written by Bernardo Guimarães, published in 1875, and the eponymous popular telenovela launched more than one hundred years later in 1976–1977, in the context of abolitionist discourses about slavery in Brazil, the role of gender, and the sexual vulnerability of enslaved women. Moreover, it interrogates the global popularity of the telenovela and explores the complex reasons for the popularity of this antislavery narrative, specifically the story of the “almost white” enslaved woman Isaura. Resumo: Este artigo apresenta uma análise comparativa de A escrava Isaura, o romance brasileiro escrito por Bernardo Guimarães, publicado em 1875, e a epônima telenovela popular lançado mais que cem anos depois nos 1976–77, no contexto dos discursos abolicionistas sobre a escravidão racial no Brasil, o papel do gênero, e a vulnerabilidade sexual das mulheres escravizadas. Além disso, interroga a popularidade global da telenovela e explora as razões complexas pela popularidade desta narrativa antiescravista, especificamente uma historia da escrava “quase branca” Isaura.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43364462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Escorts afrolatinos en la era digital, o el arte de los masajistas","authors":"Sebastián Reyes Gil","doi":"10.7560/SLAPC3503","DOIUrl":"https://doi.org/10.7560/SLAPC3503","url":null,"abstract":"Resumen: Este artículo explora imágenes del hombre afrolatino aparecidas en aplicaciones telefónicas de citas para gays en el año 2015. Se analizan autoretratos fotográficos y perfiles de escorts que viajan a Chile para ofrecer sus servicios. El artículo aborda, entre otras materias, la estructura ambivalente de las representaciones culturales del hombre afrolatino en Chile considerando el cambio del soporte impreso al digital. Son parte del estudio las formas de interacción que estos dispositivos y plataformas telefónicas promueven, las construcciones de lo afro y lo masculino que hacen los escorts de sí mismos para promocionarse, y las reproducciones de los prejuicios sobre el hombre africano o el mulato. Al mismo tiempo, se argumenta que en la construcción de perfiles virtuales podemos reconocer cierta autonomía en las estrategias y modos de autorepresentación. This article explores images of Afro-Latin men that appeared in gay dating phone applications during 2015. Photographs and profiles of escorts traveling to Chile are analyzed to discuss, among other themes, the ambivalent structure of African cultural representations in Chile, considering the change from printed to digital media, their respective contents, modes of production, and circulation. The article studies the forms of interaction that these devices and platforms encourage, the constructions of the Afro-Latin as stereotype, as well as other methods that escorts use to promote themselves. These profiles reveal how the prejudices of the African man or mulatto are reproduced. At the same time, the article argues that in these virtual profiles we can find autonomous strategies of self-representation.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47673098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}