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Full-Text Articles in Latin American Literature
Miguel Arnedo-Gómez. Uniting Blacks In A Raceless Nation: Blackness, Afro-Cuban Culture And Mestizaje In The Prose And Poetry Of Nicolás Guillén. Bucknell University Press, 2016., Cecily Raynor
Studies in 20th & 21st Century Literature
Review of Miguel Arnedo-Gómez. Uniting Blacks in a Raceless Nation: Blackness, Afro-Cuban Culture and Mestizaje in the Prose and Poetry of Nicolás Guillén. Bucknell UP, 2016. 274 pp.
Undying (And Undead) Modern National Myths: Cannibalism And Racial Mixture In Contemporary Brazilian Vampire Fiction, Jacob C. Brown
Undying (And Undead) Modern National Myths: Cannibalism And Racial Mixture In Contemporary Brazilian Vampire Fiction, Jacob C. Brown
Alambique. Revista académica de ciencia ficción y fantasía / Jornal acadêmico de ficção científica e fantasía
Contemporary cultural media illustrates the vampire as an important symbolic figure in the Brazilian imaginary. For example, in twentieth and twenty-first century Brazilian fiction, television, and political discourse, vampires have risen from their supposedly European origins as expressions of urban decay, comic excess, and government corruption in Brazil. Beyond these representations, I focus on three contemporary novels in which the vampire also plays a starring role. O vampiro que descobriu o Brasil (1999) by Ivan Jaf, Aventuras do vampiro de Palmares (2014) by Gerson Lodi-Ribeiro, and Dom Pedro I Vampiro (2015) by Nazarethe Fonseca stand out from other creative reimaginings …
Seeing (As) The Eroticized And Exoticized Other In Spanish Im/Migration Cinema: A Critical Look At The (De)Criminalization Of Migrants And Impunity Of Hegemonic Perpetrators, Maureen Tobin Stanley
Seeing (As) The Eroticized And Exoticized Other In Spanish Im/Migration Cinema: A Critical Look At The (De)Criminalization Of Migrants And Impunity Of Hegemonic Perpetrators, Maureen Tobin Stanley
Studies in 20th & 21st Century Literature
This article examines cinematic perspective in six Spanish im/migration films to show that by resituating the identification from an alignment with that of a hegemonic character (who accepts the systematic bias that confers impunity to perpetrators) to identification with a criminalized migrant subject, these films 1) denounce systemic intersectionality that confers impunity to perpetrators and criminalizes the racialized and/or feminized other and 2) aim at fostering empathy in the hegemonically identified viewer. Parameters for the selection of the six films are: immigration to Spain, African (whether geographic or ethnic) origins, eroticization of the migrant, objectification/(ab)use/commodification/victimization of the Other, criminalization of …