Suchergebnisse

The diaspora experience is defined, not by essence or purity, but by the recogni tion of a necessary heterogeneity and diversity; by a conception of "identity" which lives with and through, not despite, difference; by hybridity. Diaspora identities are those which are constantly producing and reproducing them selves anew, through transformation and difference. -Stuart Hall

Arguments about whether the concept of "diaspora" can legitimately be extended to describe the situation of homosexuals as a persecuted minority group are weighed, focusing on the notion of exile & whether, in the case of gays, it matters if it is self-imposed. In Latin America, it is contended that homosexuals have a long history of forced flight & exile as a result of persecution & oppression solely on the basis of their sexual orientation. The centrality of the experience of exile to the Latin American homoerotic experience is demonstrated here in an overview of seven prominent novelists who encompass this theme in their work (often because they have experienced exile as homosexuals themselves): Hector Bianciotti, Reinaldo Arenas, Daniel Torres, Luis Rafael Sanchez, Virgilio Pinera, Fernando Vallejo, & Jaime Bayly. 41 References. K. Hyatt Stewart

Les rapports entre la littérature et l'histoire, entre la fiction littéraire et son contexte social et historique, à propos d'un grand texte de la Révolution mexicaine. Le roman de Martin Luis Guzman comme un texte culturel qui relie le lecteur et les faits historiques et qui est une sorte de lecture rhétoricienne des données de l'Histoire.

It was inevitable that after the demise of the series of military dictatorships that ruled Argentina so violently between 1976 and 1983, the return to democratic institutions would occasion an outpouring of the kinds of writing and cultural activities banned or censored by the generals. Movie distributors in Argentina today cannot keep up with the demand for films that could not be seen during these years (or were seen only with extensive and capricious cuts). Theaters are competing with each other to present works dealing with human rights violations and related themes. Television programming, which the military assiduously controlled, has now begun to evince some social consciousness. Meanwhile, the print media have filled bookstores and kiosks with myriad publications bearing witness to the attempt to recover a cultural tradition altered and fragmented by the so-called Proceso de Reorganización Nacional.

Mafalda, the acutely sensitive little girl well‐known to both Argentinian and other Latin American readers, has been used by Quino, her creator, as the vehicle to comment on national foibles and pretentions. David Foster analyzes several strips to show how Mafalda's cleverness is based on literary strategems of what he calls "judicious inuerosimilitude." While he asserts that Quino's work is a remarkably accurate representation of the details of Argentine bourgeois daily life, the dominant Buenos Aires sociodialect, and patterns of behavior that underlie social and ethic values, the strip is also singularly inverosimilar in its handling of sociological types. The object o f the strip thus is artful verbal and visual representation. Readers familiar with literary criticism will be interested in Foster's employment o f some general semiological principles to highlight the complex ironies which pervade Quino's work and to show how much of the strip's worth derives from contrasting Mafalda's unique perceptions and the stereotypic behavior of those around her.

Twenty years ago the first publications began to appear in Argentina of a loosely confederated group of writers, leftist in political persuasion, who took strident exception in culture to both the old oligarchic tradition and to the parvenu peronista establishment. During the years of the peronista government, the writers and intellectuals who supported Perón had been successful in imposing their own persuasions on the universities and publishing media at the expense of the old guard, represented by the literary supplements, Sur, the Academia Argentina de Letras, and the Jockey Club. The young leftists born around 1920 had been snubbed by the old-time writers and persecuted by the peronista regime. Their emergence as a loosely unified assertion of leftist political and cultural values, supported by a similar affirmation in postwar Europe, is a major literary phenomenon in mid-century Argentia.

"At first glance, this book might appear to be yet another study on anti-Semitism in Argentina, supplementing those portraying this Southern Cone country as a Nazi shelter and perpetrator of anti-Jewish acts. Accounts of the last military dictatorship (1976-1983), which was responsible for the disappearance of thousands of people of Jewish origin, have contributed to this image. Memories that Lie a Little, however, challenges this view, shedding new light on Jewish experiences during the military dictatorship. Based on extensive archival research, it maps the positions of a wide range of Jewish organizations toward the military regime, opening the way for a better understanding of this complex historical period. If, then, the dictatorship was not actually anti-Semitic in the strictest sense of the term, why is it remembered as such? Historical research is complemented here by a reconstruction of the ways in which the notion of the regime's anti-Semitism was crafted from early on, and an examination of its uses, as well as the changes that this narrative underwent in the following years."--