Leonardo García-Pabón, Professor of Spanish, has published a book entitled El cuento sentimental romántico en Bolivia (siglo XIX) (La Paz, Bolivia: Plural Ediciones, 2017). This book is a 400 pages anthology of short stories of the romantic period in Bolivia (19th century). The anthology is preceded by an extensive introductory study (100 pages) that analyses the articulations of love, nation building, and narratives in the short stories. This anthology recuperates six representative short stories of the so-called sentimental romantic mode, which had been thus far overlooked by scholars and historians. These texts were originally published in journals, magazines, and newspapers in Bolivia and Peru, and this is their first modern edition.
In the introduction, Professor García-Pabón proposes a new classification of Bolivian narrative of the 19th century, separating short stories from novels (and other narratives). Moreover, his study examines each one of the six short stories in the anthology, showing the historical shift from romantic idealism predominant in the middle of the century to social realism being prevalent at the end of the century. His reading also highlights the different notions of nation, gender, love, and subjectivities that appear in these texts.
“Mongo Beti and his Critic” derives from Djiffack’s three-volume edition published by Gallimard, ‘Mongo Beti: Le Rebelle I, II and III (2007, 2008), an anthology of Beti’s non-fiction writing. This two-volume book involves the compilation, annotation and editing of texts responding to Mongo Beti. This publication aims to serve as reference book for scholars interested in more comprehensive and contrasted views on colonial and postcolonial studies, gender issues and democracy, African studies and ethnicity, third-world problems and international studies, cultural identities and poverty in Africa.”Mongo Beti and his Critic” is a unique data base for a sound analysis of Mongo Beti, both as a writer and an activist. Thanks to Editions CLE (Yaounde), this sum of responses to Beti’s provocative ideas is currently available as a whole body of texts, and, Djiffack hopes, will stimulate new thinking in the field of colonial and postcolonial studies.
Professor of Spanish David Wacks has published an essay entitled “An Interstitial History of Medieval Iberian poetry” in The Routledge Companion to Iberian Studies Companion to Iberian Studies. (Javier Muñoz-Basols, Laura Lonsdale, and Manuel Delgado, London: Routledge, 2017)
Medieval Iberian literature shows us a poetic culture that drew on several linguistic and regional traditions, and that was characterized far more by bilingualism, diglossia, and artistic crossings than by anything approaching a monolingual sense of national culture. In this essay Wacks examines the interstices of these crossings in a series of examples of the poetic cultures of medieval Iberia: the adaptation of popular Romance and colloquial Andalusi Arabic lyric by poets working in Classical Arabic and Hebrew (10th-13th c.), the adaptation of classical Arabic poetics by Andalusi Hebrew poets (10th-14th c.), the diffusion of Provençal and Galician-Portuguese poetics throughout the Peninsula (12th-13th c.), Jewish authors’ adaptations of Romance language poetics (14th-15th c.), and the phenomenon of Aljamiado poetry, Ibero-Romance verses written in Arabic characters by crypto-Muslim writers in the 15th and 16th centuries.
The essay is available Open Acess here.
Prof. Amalia Gladhart has published “Teaching Latin American Migrations Through Theatre” in Latin American Theatre Review 50.1 (Winter 2016. The article examines how the concept of migration offers a useful organizing principle for an introduction to Latin American theatre, as it encompasses multiple theatre styles and practices. Issues of migration are often in the news (in Latin America and beyond), thereby offering a point of entry for students who may not have studied theatre in the past. Migration in its multiple forms (immigration, emigration, exile, return) has a long history in the theaters of the Americas, including not only contemporary plays set on the US-Mexico border but also Puerto Rican and Argentine theater from the first half of the twentieth century and recent theater from Ecuador, Chile, and Argentina. As a liminal space, the stage offers unique possibilities for the representation of migration. The theatre is a privileged space for the consideration of the migrant’s experience of displacement, an intrinsically provisional space, continually redefined. Theatrical techniques used to evoke the displacements of immigration, exile, and return include: narrative and temporal disruption; multiple characters played by a single actor; the mixing of languages, with and without translation; the evocation of the absent or the disappeared; and satirical or grotesque exaggeration.
Program for LALISA and Conference registration available here!
CALL FOR PAPERS: 2nd LALISA CONFERENCE: April 13-15 2017 (already closed)
From Catalonia to California, Cuba, Chile, to all the many areas impacted by the long Iberian expansion that started in the 15th century, the foundational divisions of center and periphery have constituted cultural and social spaces where languages, bodies, ethnicities, and alternate mappings have resisted colonial hegemonic practices and institutions. According to Mexican philosopher Leopoldo Zea (1912-2004) the peripheral mappings within which Spain and Portugal were placed in the early modern period positioned their colonial territories at “the periphery of a periphery.” Decolonial movements and theoretical discussions have critically revisited the concept of periphery and problematized the discussion with new terms such as Gloria Anzaldúa’s “nepantilism” (“being between crossroads”) and her post-binary discussion of mestizo/a identities. Following on the fruitful discussions of our inaugural conference at Reed College in the spring of 2016, our Second Conference of LALISA at the University of Oregon aims to investigate the validity and contemporary currency of the center-periphery model as a way to understand Latin American, Latino/a, and Iberian cultural productions and social formations. We expect to receive papers from various disciplines across the humanities and the social sciences that will deal with issues related to the central themes of the conference:
Center/periphery; Peripheral knowledges and identities; Colonial and postcolonial cartographies; Spatial identifications; Walls, borders, and the end of globalization; Eurocentrism, white supremacist geographies of exclusion; Environmental humanities; Global/local; Postcoloniality in the post-Hispanic world; Gender formations in the peripheries of modernity; Virtual borders, zones of influence, divisions; Regionalism and nationalism, postnationalism, and neonationalism; Space and the modern/premodern/postmodern debate; Latinidad/hispanidad/indigenismo; Enrique Dusell’s concepts “underside of modernity, Transmodernity”; Marginalization and economic oppression; Racial peripheries, racialized bodies and places; Transatlantic crossings, hemispheric displacements, migrations, diasporas.
Abstracts should include a full title, a 300-word description of the paper, and the institutional affiliation of the presenter. Papers will be accepted in Spanish, Portuguese, and English. Please direct your enquiries and abstract submissions to email@example.com
Social and Cultural Geographies from the Underside of Modernity
Deadline for receipt of abstracts is January 30th.
Confirmations and a full program will be made available in February. A selection of revised papers presented at the conference will be published in the new UO-based online journal Periphērica: Journal of Social, Cultural, and Literary History in 2017/18.
The conference fee ($50 for faculty, $25 for graduate students) will include light breakfast and lunches on Friday and Saturday; a conference dinner ($45) on Friday will be available for those wishing to attend. Presenters will need to be members of the LALISA association at lalisa.org in order to attend the conference and the business meeting on Saturday, April 15th.
Sylt Foundation Invites Jesús Sepúlveda to South Africa
Chilean poet and senior instructor Jesús Sepúlveda just returned from a three-week writer’s residency in Johannesburg where he met South African writers, poets, and artists.
Sponsored by the Sylt Foundation, Sepúlveda visited renowned poet Vonani Bila and his wife Gudani Ramikosi, an author of children’s books, at the Timbila Writers’ Village in the Northeastern province of Limpopo. Bila completed in 2016—in collaboration with poet Max Makisi Marhanele—the edition of the first comprehensive monolingual Xitsonga dictionary, Tihlungu ta Rixaka. Xitsonga is one of the ten vernacular languages in South Africa and the 920-page dictionary represents a great recognition of the importance of South African native languages. Sepúlveda will donate his personal copy to the UO library, so the dictionary can be available in the Pacific Northwest library system.
While in Johannesburg—also known as Joburg or Jozi, the two most common abbreviations for this city, the largest one in South Africa—Sepúlveda met with Aragorn Eloff, a member of the bolo’bolo collective and responsible for the publication of his book The Garden of Peculiarities reprinted in Cape Town in 2016. On the occasion of Sepúlveda’s visit to South Africa, Eloff published an interview, “A Mockingbird in the Garden,” in the online publication Medium on December 15, 2016.
Indra Wussow, art critic and collector, translator, writer and director of the Sylt Foundation, organized several literary tertulias to connect Sepúlveda with local writers and poets such as Xoli Norman, Charl-Pierre Naudé, Phillippa Yaa de Viliers as well as pianist Jill Richards and painter Jaco van Schalkwyk. Wussow also organized visits to sites of cultural, historical, and political interest. Tumi Mokgope, project manager of the Sylt Foundation, guided Sepúlveda through these sites: the Township of Soweto, home of Nelson Mandela and Desmond Tutu where the uprising of 1976 triggered the social movement that ended apartheid in 1990; the Cradle of Humankind and the Sterkfontein Caves in the outskirts of Johannesburg, where the finds of ancient hominin fossils are exhibited. Sepúlveda also visited the Apartheid Museum in Joburg and the Freedom Park Museum in Pretoria to learn about the systematic and hideous regime of racial segregation installed in the country from 1948 to 1990.
During his stay, Sepúlveda also met with writers Zaide Harneker and Frank Meintjies, active members of the South African literary and political milieu, and discussed the development of the Abantu Book Festival, activism in Johannesburg, and the social and educational crisis in the country, with a 26.6% unemployment rate in 2016. Sepúlveda also discussed the current situation with Angie Kapelianis, broadcast journalist of SABC National Radio, who has been covering political news since Mandela’s presidential election in 1994.
While writing about the Soweto uprising, Sepúlveda found intriguing similarities between Chile and South Africa. “I was surprised to realize how close the recent political history of both countries are. Chile and South Africa ended their cruel regimes through massive demonstrations and civil disobedience at the end of the 1980’s, while transitioning toward modern, stable and yet neoliberal democracies. Rampant neoliberalism produces abyssal social gap and class segregation, which is the cause of huge problems in both countries. Another similarity is the nature of the extractive economies based on mine exploitation—with its negative ecological impact on the natural environment and people’s health. Another parallel is how South Africa and Chile have become in the last decade magnetic poles that attract economic immigration. While Chile has the fastest growing immigrant population in South America, receiving people from neighbor countries as well as from Colombia, Haiti, and Spain; South Africa is the second African country after Ivory Coast to receive people, making the immigrant population 4% of the total inhabitants in the country. After this residency, I have learned a great deal about South Africa, helping me to reflect with a wider perspective on Chile as well as the US, and reaffirming my conviction to honor linguistic diversity and cultural differences as the only way to build up tolerant societies for a harmonious world. I’m extremely grateful to the Sylt Foundation and Indra Wussow for this great opportunity.”
Professor Emeritus of Spanish Juan Epple has just published the article “El microcuento en los Estados Unidos” (microfiction in the United States) in the journal Quimera 386, Barcelona, January 2016. This article describes the evolution of US microfiction from nineteenth century writers Mark Twain, Ambrose Bierce, Kate Chopin to modern and contemporary authors Ernest Hemingway, Patricia Highsmith and Lydia Davis
Brown Walker Press just published Poets on the Edge: Vicente Huidobro, César Vallejo, Juan Luis Martínez, and Néstor Perlongher by Senior instructor Jesús Sepúlveda in a 200-page edition on January 2016 with cover art by Chilean artist Ivo Vergara.
Poets on the Edge critically explores the relationship between poetry and its context through the work of four Latin American poets: Chilean Vicente Huidobro (1898-1948), Peruvian César Vallejo (1893-1938), Chilean Juan Luis Martínez (1943-1993), and Argentine Néstor Perlongher (1949-1992). While Huidobro and Vallejo establish their poetics on the edge in the context of worldwide conflagrations and the emergence of the historical avant-garde during the first half of the twentieth century, Martínez and Perlongher produce their work in the context of the Chilean and Argentine dictatorships respectively, developing different strategies to overcome the panoptic societies of control installed throughout the 1970’s and 1980’s. Martínez recreates the avant-garde tradition in a playful manner to avoid censorship and also proposes a philosophical poetics to stage a utopian project oriented toward redesigning the house of civilization that has fallen apart. Perlongher unfolds his peculiar Neobaroque sensitivity in order to reshape the complex Latin American identities, culminating his poetic project with two collections written under the influence of ayahuasca-based ceremonies. Poets on the Edge offers the reader a new understanding of the hybrid and edgy nature of Latin American poetics and subjectivity as well as of the evolution of poetry written in Spanish during the twentieth century.
The book is available at the UO bookstore, Amazon, as well as at the publishing house website. Stay tuned for a book party!
For more information, see http://www.brownwalker.com/book/1627345760
Professor of Spanish David Wacks has published “Popular Andalusi Literature and Castilian Fiction: Ziyad Ibn ‘Amir Al-Kinani, 101 Nights, and Caballero Zifar” in Revista de Poética Medieval 29 (2015): 311–335. A self-archived postprint is available at: http://hdl.handle.net/1794/19484
As it turns out, the popular literature of Muslim Spain was an important influence on early Spanish fiction. There is very little manuscript evidence of the popular (non-courtly) literature of al-Andalus (Muslim Spain). For this reason it is difficult to assess its importance for the development of Spanish literature. Two recently discovered Arabic texts written in Muslim Spain, Ziyad ibn ‘Amir al-Kinani (Granada, ca. 1250) and the 101 Nights (Granada, 1234) are two examples of popular Arabic fiction that provide important information for our understanding of works of early Spanish fiction such as the Libro del Caballero Zifar (ca. 1300). The two Arabic works provide evidence of a bilingual culture of storytelling that nourished both Arabic and Spanish literary texts. In particular, the inclusion of themes from the medieval legends of King Arthur and the Knights of the Round Table in Ziyad that predates the earliest translations of Arthurian texts into Spanish forces us to rethink both the sources of Zifar as well as the Iberian adaptation of Arthurian material in general.
Professor of Spanish David Wacks has been selected to receive the National Jewish Book Award in the category of Sephardic Culture for his 2015 book publication, Double Diaspora in Sephardic Literature: Jewish Cultural Production Before and After 1492 (Indiana University Press).
From the publisher’s website:
The year 1492 has long divided the study of Sephardic culture into two distinct periods, before and after the expulsion of Jews from Spain. David A. Wacks examines the works of Sephardic writers from the 13th to the 16th centuries and shows that this literature was shaped by two interwoven experiences of diaspora: first from the Biblical homeland Zion and later from the ancestral hostland, Sefarad. Jewish in Spain and Spanish abroad, these writers negotiated Jewish, Spanish, and diasporic idioms to produce a uniquely Sephardic perspective. Wacks brings Diaspora Studies into dialogue with medieval and early modern Sephardic literature for the first time.