ALBERT

Description: Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polémica de la Revolución, 1951-1962 examina la historia estética y las relaciones entre la producción cinematográfica cubana y el neorrealismo italiano. El recorrido histórico comienza en 1951, antes del triunfo de la Revolución, y termina en 1962, año que marca la ruptura entre los cineastas cubanos y la estética neorrealista italiana. Las colaboraciones principales sucedieron entre los directores de cine Tomás Gutiérrez Alea y Julio García Espinosa y el cineasta neorrealista italiano Cesare Zavattini. Las circunstancias que llevaron al fin de las relaciones entre Zavattini y los cineastas cubanos están conectadas a la película El joven rebelde, dirigida por García Espinosa y estrenada por primera vez en 1961. La ruptura se dio por divergencias creativas e ideológicas sobre la manera en que se quería retratar al protagonista del largometraje. Este detalle, que aparentemente puede parecer de menor importancia, tuvo repercusiones importantes que llevaron a un distanciamiento de García Espinosa, de Gutiérrez Alea, así como del resto de los cineastas cubanos que estaban trabajando en el Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) a partir de 1959, para buscar sus propias estrategias creativas con el fin de moldear una producción cinematográfica nacional. Sin embargo, cabe señalar que los cineastas cubanos no habrían encontrado la gramática necesaria para reescribir su cine revolucionario sin las colaboraciones y sobre todo sin la ruptura con Zavattini. Este nuevo lenguaje cinematográfico no habría podido existir sin las varias pausas y distancias que caracterizaron la relación cubana con el neorrealismo. En otras palabras, el intercambio fragmentado entre García Espinosa, Gutiérrez Alea y Zavattini creó nuevos espacios dentro de los cuales los cubanos pudieron encontrar oportunidades creativas para expresar su propia visión cinematográfica. Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polémica de la Revolución, 1951-1962 [Neorealism and Cinema in Cuba: History and Discourse on the First Polemic of the Revolution, 1951-1962] examines the aesthetic history and relations between Cuban film production and Italian Neorealism. The historical framework begins in 1951 before the triumph of the Cuban Revolution and ends in 1962, a year that marks a rupture between Cuban filmmakers and the Italian neorealist aesthetic. The main collaborations happened between Cuban directors Tomás Gutiérrez Alea and Julio García Espinosa and Italian neorealist filmmaker Cesare Zavattini. The circumstances that led to the end of the relationship between Zavattini and the Cuban filmmakers are connected to the film El joven rebelde [The Young Rebel], directed by García Espinosa and screened for the first time in 1961. The rupture centered on creative and ideological differences regarding the way in which the protagonist was to be portrayed in the movie. This seemingly minor disagreement had considerably larger repercussions, the end result of which was that García Espinosa and Gutiérrez Alea, as well as the rest of the Cuban filmmakers who worked within the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) after 1959, were driven to find their own creative strategies to craft a national film production. However, the Cuban filmmakers would not have found the necessary grammar to rewrite their own revolutionary cinema without the rupture with Zavattini. This new cinematographic language could not have existed without the various pauses and the distances that characterized the Cuban relationship with Neorealism. In other words, the fragmentary interchange between García Espinosa, Gutierrez Alea, and Zavattini created new spaces in which the Cubans could find creative opportunities to express their own cinematic vision.

Description: ArteletrA analyzes the Sixties in Latin America in order to revisit the core claim of literary and cultural studies to political relevancy in the contemporary world: the task of making visible the invisible. Though visibility can secure rights for the disenfranchised, it also risks subjecting them to the biopolitical and capitalist arrangements of space. What is at stake in this book is a series of aesthetic and ethical tools for engaging in politics-defined here as the potential to disagree-without first passing through visibility. These tools cohere around a practice Bartles calls "the politics of going unnoticed," which he derives from an archive of three noteworthy, though under-appreciated, authors who wrote during the Sixties: Calvert Casey (1924-69), Juan Filloy (1894-2000), and Armonía Somers (1914-94). For the first time ever, Casey, Filloy, and Somers are put in dialogue with one another to further demonstrate the unique contributions of Latin American writers to contemporary debates about the crossroads of literatures and politics. What unites them is their shared investment in stories about those who go unnoticed. As a practice, going unnoticed creates space and opportunities for queer, rural, and female subjects, among others, to step back from unjust institutions. As a political discourse, going unnoticed deactivates the binary structures of biopolitics (e.g., visible/invisible, pure/filthy, friend/enemy) that divide humans from one another in the service of power and economic inequality. Though the politics of going unnoticed was ignored during the Sixties for its apparent individualism, these three writers work through alternatives to the politics of visibility that has animated political discourse on the left for the last half-century. More than a self-interested critique, going unnoticed opens new possibilities for engaging in the messy business of politics while imagining and creating better communities.

Description: Tradición literaria y cartografías cosmopolitas: la poesía de León de Greiff is an in-depth study of the literary production of the mid-20th century Colombian writer León de Greiff. This book analyses his poetic works as a complex manifestation of literary cosmopolitanism and a challenging elaboration of cultural cartographies. The study of these elements offers a novel approach to an unexplored aspect of De Greiff’s poetry. Through a careful reading of De Greiff’s seemingly disorganized assimilation of French, Spanish, English, Middle Eastern, East Asian, and Northern European literary traditions, Ramírez Rojas understands his literature as a capricious self-fashioning of a poetic genealogy. This practice challenges the classical notion of tradition and displays an alternative practice of self-creation of a literary lineage that goes beyond the borders of national affiliation, linguistic proximity, and historical continuity. This book proposes to read León de Greiff’s poems as cultural maps that reveal both a desire of connectivity with the world and a need for reorganizing the imaginary library of world literature. Ramírez Rojas contends that the haphazard collection, accumulation, and rearrangement of elements derived from various cultural sources challenges the logics of local versus global affiliations. Similarly, as León de Greiff builds a worldwide network of connections from a self-assumed position of eccentricity, his works dispute the binary division of cultural centers and peripheries, revendicating marginality as a productive condition. The study of this alternative cosmopolitanism brings de Greiff’s writings into current debates about Latin American’s cultural positionality within the frame of cosmopolitanism and world literature.Tradición literaria y cartografías cosmopolitas: la poesía de León de Greiff es un estudio de la producción poética de este escritor colombiano de mediados del siglo XX. En este libro se estudian sus textos como complejas manifestaciones de un cosmopolitismo literario y como arriesgadaa elaboraciones de cartografías poéticas. El análisis de estos elementos ofrece una nueva perspectiva de acercamiento a una temática todavía inexplorada en la obra de León de Greiff. Por medio de una cuidadosa lectura de su aparentemente caprichosa asimilación de fuentes francesas, españolas, inglesas, de medio y lejano oriente, así como también de sus fuentes escandinavas, Ramírez Rojas propone comprender la literatura greiffiana como una tarea de elaboración de una genealogía poética propia. Esta práctica cuestiona las nociones clásicas de tradición y pone en marcha un ejercicio alternativo de autoconstrucción de un linaje literario que no está limitado por fronteras nacionales, proximidad lingüística ni continuidad histórica. Este estudio plantea la posibilidad de leer los poemas de León de Greiff como mapas culturales que revelan tanto un deseo de conectividad con el mundo como una necesidad de reorganizar la biblioteca imaginaria de la literatura mundial. Ramírez Rojas propone que la azarosa acumulación y reestructuración de elementos derivados de distintas cuentes culturales pone en cuestión las lógicas de afiliación global vs. afiliación local. De igual forma, dado que de Greiff construye una red de conexiones a partir una posición de auto-asumida excentricidad, sus trabajos poéticos disputan las divisiones binarias entre centros y periferias culturales, reivindicando la marginalidad como una condición productiva. El estudio de esta manifestación de cosmopolitismo alternativo inscribe su poesía en los debates actuales sobre el posicionamiento cultural de Latinoamérica dentro del espacio cosmopolita y los círculos de la literatura mundial.

Description: Advancing U.S. Latino Entrepreneurship examines business formation and success among Latinos by identifying arrangements that enhance entrepreneurship and by understanding the sociopolitical contexts that shape entrepreneurial trajectories. While it is well known that Latinos make up one of the largest and fastest growing populations in the U.S., Latino-owned businesses are now outpacing this population growth and the startup business growth of all other demographic groups in the country. The institutional arrangements shaping business formation are no level playing field. Minority entrepreneurs face racism and sexism, but structural barriers are not the only obstacles that matter; there are agentic barriers and coethnics present challenges as well as support to each other. Yet minorities engage in business formation, and in doing so, change institutional arrangements by transforming the attitudes of society and the practices of policymakers. The economic future of the country is tied to the prospects of Latinos forming and growing business. The diversity of Latino experience constitutes an economic resource for those interested in forming businesses that appeal to native-born citizens and fellow immigrants alike, ranging from local to national to international markets. This book makes a substantial contribution to the literature on entrepreneurship and wealth creation by focusing on Latinos, a population vastly understudied on these topics, by describing processes and outcomes for Latino entrepreneurs. Unfairly, the dominant story of Latinos-especially Mexican Americans-is that of dispossession and its consequences. Advancing U.S. Latino Entrepreneurship makes clear the undiminished ambitions of Latinos as well as the transformative relationships among people, their practices, and the political context in which they operate. The reality of Latino entrepreneurs demands new attention and focus.

Description: Este libro intenta mostrar la representación textual de las islas Galápagos desde su descubrimiento hasta nuestros días. El argumento principal sugiere que la descripción de este espacio crucial para la modernidad, dada la retórica de los escritores de viajes y ficción, transforma el área insular para concebir formas alternativas del proyecto de construcción nacional en América Latina. Como resultado de las empresas coloniales, excursiones científicas, crónicas periodísticas o expediciones, la escritura de viaje de las Galápagos condiciona la formación del estado y su imaginario nacional. Esto ocurre por el capital simbólico que posee archipiélago y por el deseo de los intelectuales latinoamericanos de pertenecer a un territorio cosmopolita. El espacio insular funciona como un significante vacío donde los viajeros pueden comunicar su propio significado al narrar las experiencias de sus viajes. Este fenómeno crea una división conceptual y política entre la identidad de las islas y la nación ecuatoriana. Dichas ambigüedades narrativas crearon una ruptura que condujo a variaciones fundamentales en la forma en que los habitantes locales y entidades extranjeras interpretan las Galápagos hoy en día, ya que su literatura refleja una tensión particular de cara a las tendencias migratorias en las islas, así como los intereses globales que prevalecen en la apropiación del espacio. This book, written in Spanish, takes a literary and cultural studies model to explain the textual representation of the Galápagos Islands since their discovery until present day. The main argument suggests that the depiction of this crucial space for modernity in Western thought, given the rhetoric of travel and fiction writers, transforms the insular area with the intention of conceiving disparate forms of political displacement. Specifically, these depictions show several conflicts that arose from the seeking of identity in Ecuador during the nation-building project that took place at the time. As a result of colonial enterprises (scientific excursions, exile, tourism, journalistic pieces, expeditions, etc.), travel writings of the Galápagos condition the formation of the state and its national imagery because of the extreme symbolic capital of the archipelago and the desire of Latin American intellectuals to belong to a cosmopolitan territory.

Description: In The Ripple Effect: Gender and Race in Brazilian Culture and Literature, Barbosa adopts a comparative, multilayered, and interdisciplinary line of research to examine social values and cultural mores from the first decades of the twentieth century to the present. By analyzing the historical, cultural, religious, and interactive space of Brazil’s national identity, The Ripple Effect surveys expressive cultures and literary manifestations. It uses the martial art-dance-ritual capoeira as a lynchpin to disclose historical ambiguities and the negotiation of cultural and literary boundaries within the context of the ideological construct of a mestizo nation. The book also examines laws governing gender in Brazil and discusses honor killings and other types of violence against women. The Ripple Effect appraises the contributions that some iconic female figures have made to the development of Brazil’s distinctive cultural and literary production. Drawing on more than fifteen years of field, archival, and scholarly research, this work offers new interpretative venues, and broadens the critical focus and the methodological scope of previous scholarship. It reveals how literature and other arts can be used to document cultural norms, catalog life experiences, and analyze complex constructions of social values, ideas, and belief systems.