Latin American Languages and Societies Commons^™

From Locus Amoenus To Locus Horribilis: Provincial And Urban Spaces Of Cultural (Re)Assertion And Hegemony In Yates And Sigel’S When The Mountains Tremble And Bustamante’S Ixcanul, Katrina Abad

Views from Below: The Underdog in Contemporary Latin American and Spanish Film

The trope of locus amoenus, or the idyllic representation of heaven on earth, and its counterpart locus horribilis, or the mundane incarnation of hell, was first critically defined by Ernst Robert Curtius in 1953 and identified in religiously influenced literature as early as Latin and medieval European works. Since then, the locus theory has appeared in numerous secular texts and films, such as Marcelo Ferrari’s Sub Terra (2004), as a means of distinguishing the once-pristine ‘purity’ of provincial spaces from the physically and metaphorically cramped mines and buildings produced by an urbanized modernity. This essay seeks to translate …

The Anti-Hero Perspective Of Sebastián Silva’S The Maid, Amber Bradley

Views from Below: The Underdog in Contemporary Latin American and Spanish Film

Many contemporary Latin American films portray a character or a protagonist that strives to bring in an audience to emphasize the “underdog” and their role in society. In Sebastián Silva’s Chilean film, The Maid (2009), Raquel is a maid and nanny, who achieves the exact opposite throughout the movie. This servant’s societal perspectives concerning distinct classes and gender roles are shown through her photographs and passive aggressive actions towards some of the family members and the other women, who are hired to help her lighten the housework of the home. Raquel’s attitude, mistreatment and tricks demonstrate her apparent desire to …

Cinematographic Resources As Meaningful Affordances In A Foreign Language Class, Denise Osborne

Views from Below: The Underdog in Contemporary Latin American and Spanish Film

Cinematographic resources as meaningful affordances in a foreign language class.” In this presentation, Osborne will discuss a proposal for use of films as works of art in foreign languages classes. She will show how cinematographic features (e.g., sound, color, lighting, camera angles, mise-en-scène) and their implication for film narrative − rarely emphasized in foreign language classrooms − can be a powerful tool to engage students in a dialogical and ecological construction of knowledge. Consideration of cinematographic features in scenes from the Brazilian Portuguese films Abril Despedaçado (Cohn & Salles, 2001) and Raízes e Asas (Cabral & Pimenta, 2011), and …

Scapegoating In The Films By Alejando Fernández Almendras, Ilka Kressner

Views from Below: The Underdog in Contemporary Latin American and Spanish Film

Chilean filmmaker Fernández Almendras has examined the processes of victimization of the “poor man” in several of his feature films, most prominently Matar a un hombre [To Kill a Man] (2014, Winner of the World Cinema Grand Jury Price at Sundance Festival) and Aquí no ha pasado nada [Much Ado About Nothing] (2016). Both works exemplify processes of victimization through verbal performative acts: words in the form of humiliations, menaces and blackmail become the fatal weapons of scapegoating.

The Gospel Of Colonization: The U.S. Colonization Of Puerto Rico As A Protestant Missionary Projec, Jorge Juan Rodriguez V

Latin American, Caribbean, and U.S. Latino Studies Symposium

One year after the Spanish-American War, representatives from nine major Protestant denominations* met in New York City to discuss the “new mission field” of Puerto Rico. While they were eager to “evangelize” these “un-churched” Puerto Ricans, Protestant leaders shared concern about “stepping on each-others toes” in this new religious marketplace. As a result, representatives established a Committee Agreement that carved the island and set parameters on where each particular denomination could evangelize and establish institutions. Presbyterians took the West, Disciples the Mid-North, Baptists parts of the island’s center, etc. Their mission was clear: “to inaugurate a work that assures the …

Artistic Film Interpretation Of Literary Piece: Yo Fumo Puros Como Mi Abuela, Katrina Abad

Latin American, Caribbean, and U.S. Latino Studies Symposium

The 10-minute short film described below is narrated in Spanish but will also be available with English subtitles by the end of production.

Yo fumo puros como mi abuela

Inspirado por “Mi abuela fumaba puros” de Sabine Ulibarrí

or

I Smoke Cigars Like My Grandmother

Inspired by Sabine Ulibarrí’s “My Grandmother Smoked Cigars”

Written and produced by Katrina B. Abad and Inés García-Rojas

The moving short story “Mi abuela fumaba puros” (1992) by Mexican-American author Sabine Ulibarrí depicts the fortitude of a matriarchal grandmother from the eyes of her grandson at different stages of tragedy in their life. In this …

Bilingual Spanish Vowels: The Case Of Heritage Speakers, Megan E. Solon, Nyssa Knarvik, Joshua Declerck

Languages, Literatures, and Cultures Other Graduate Student Scholarship

Previous research on heritage Spanish vowel production has revealed consistent and systematic differences—including asymmetry in the vowel space, condensing and fronting of back vowels, and reduction and centralization of unstressed vowels—as compared to traditional descriptions of the monolingual Spanish vowel triangle. The present study takes another look at heritage Spanish vowels (both quality and quantity), using a group of “homeland” native Spanish-speaking late Spanish-English bilinguals for comparison purposes. Data for both groups were collected via a dyadic, meaning-focused task. Results revealed significant differences between heritage and homeland groups in front and mid-vowel quality, but no differences in vowel quantity. Additionally, …

Cruise Lines, Christine Vassallo-Oby

Latin American, Caribbean, and U.S. Latino Studies Faculty Scholarship

Cruise lines are companies that operate cruise ships. Carnival Corporation & plc, the world’s largest cruise ship corporation, operates nine cruise lines globally with four headquartered in the United States. These four U.S.-headquartered cruise lines represent Carnival Corporation & plc’s North American segment: Holland America Line, Carnival Cruise Lines, Princess Cruises, and Seabourn Cruise Line. As the example of Carnival Corporation & plc’s North,American market illustrates, cruise lines operate in geographical segments, each segment consisting of its own unique branding. This branding schema is tailored to fit unique socioeconomic markers of these geographical segments. Cruise lines function directly with the …