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This paradigm-shifting work examines the new ways colonized peoples resist subjugation and reclaim rights and political power--Provided by publisher

None of the Above is a state-of-the-art volume about current debates regarding Puerto Rico and Puerto Ricans, both in the United States and on the Island. The title simultaneously refers to the results of a non-binding 1998 plebiscite held in San Juan to determine the Island's political status, the ambiguities that have historically characterized Puerto Rican political agency, and the complexities of Puerto Rican ethnic, national, and cultural identifications

Boricua Pop is the first book solely devoted to Puerto Rican visibility, cultural impact, and identity formation in the U.S. and at home. Frances Negrón-Muntaner explores everything from the beloved American musical West Side Story to the phenomenon of singer/actress/ fashion designer Jennifer Lopez, from the faux historical chronicle Seva to the creation of Puerto Rican Barbie, from novelist Rosario Ferré to performer Holly Woodlawn, and from painter provocateur Andy Warhol to the seemingly overnight success story of Ricky Martin. Negrón-Muntaner traces some of the many possible itineraries o

Boricua Pop is the first book solely devoted to Puerto Rican visibility, cultural impact, and identity formation in the U.S. and at home. Frances Negrón-Muntaner explores everything from the beloved American musical West Side Story to the phenomenon of singer/actress/ fashion designer Jennifer Lopez, from the faux historical chronicle Seva to the creation of Puerto Rican Barbie, from novelist Rosario Ferré to performer Holly Woodlawn, and from painter provocateur Andy Warhol to the seemingly overnight success story of Ricky Martin. Negrón-Muntaner traces some of the many possible itineraries o

In 2013, the young philologist Yoani Sánchez was "possibly the most famous living Cuban not named Castro" and one of the world's most famous bloggers. Although, at the time, very few people in Cuba had access to the internet, a legion of volunteers worldwide translated her Generation Y blog into eighteen languages, reaching millions of internauts globally every month. In many parts of the world, the press and political figures viewed Sánchez with awe, describing her as a "girl genius" and a "rock star." This view was not unreasonable—a thirty-four-year-old woman who built her computer from scratch in a country ruled undemocratically by old military men—Sánchez's writing constituted a daily defiance of the Cuban state. Yet, questions remained: What made Sánchez different? Why did so much attention flow to Sánchez rather than the numerous hunger strikers in and out of Cuban jails during this period? Why did global media pick Sánchez to speak for and translate Cuba to the world and with what effects? Here, Frances Negrón-Muntaner investigates how multiple forms of translation, of language but also of form, education, ideology, color, and gender, in a context of capitalist and technological change allowed Sánchez to play a pivotal and mediating role that changed her, Cuba, and beyond.

This essay explores how the 2009 confirmation of Judge Sonia Sotomayor once again transformed the process to become a Supreme Court Justice as new political fault lines reached the nation's highest court. Although the majority of political supporters emphasized Sotomayor's individual and professional qualifications as the crucial factors that made her confirmable, what ultimately became confirmed through her appointment was the increasing, if uncomfortable, weight of Latino identity as a relevant category of social difference in contemporary American politics. This essay engages with the confirmation process's discarded and expanded plotlines to produce an acceptable story, in order to understand Sotomayor's appointment not simply as the culmination of Latino achievement or collective empowerment but as a way to assess the current price of the ticket for Latino political incorporation.

Nacido en los barrios pobres de Puerto Rico, el reggaetón fue combatido en sus inicios, acusado de corruptor y de promover el perreo, un baile considerado soez. Pero con el tiempo se ha ido expandiendo y sofisticando hasta convertirse en un éxito mundial y en el principal producto de exportación musical de Puerto Rico. El género pone en evidencia la centralidad de las diásporas africanas en la cultura local y sugiere que lo local está compuesto de culturas globalizadas. (Nueva Soc/GIGA)