Ingrid Brioso Rieumont | Dartmouth College (original) (raw)

Edited Volume | Literary Criticism by Ingrid Brioso Rieumont

Fondo Editorial Casa de las Américas, 2020

Winner of the prestigious Casa de las Américas Prize, this work spins a heartfelt story of an im... more Winner of the prestigious Casa de las Américas Prize, this work spins a heartfelt story of an improbable relationship between an anthropologist and her charismatic Indigenous father. When Aparecida Vilaça first traveled down the remote Negro River in Amazonia, she expected to come back with notebooks and tapes full of observations about the Indigenous Wari' people--but not with a new father. In Paletó y yo, Vilaça shares her life with her adoptive Wari' family, and the profound personal transformations involved in becoming kin. Paletó--unfailingly charming, always prepared with a joke--shines with life in Vilaça's account of their unusual father-daughter relationship. Paletó was many things: he was a survivor, who lived through the arrival of violent invaders and diseases. He was a leader, who taught through laughter and care, spoke softly, yet was always ready to jump into the unknown. He could shift seamlessly between the roles of the observer and the observed, and in his visits to Rio de Janeiro, deconstructs urban social conventions with ease and wit. Begun the day after Paletó's death at the age of 85, Paletó y yo is a celebration of life, weaving together the author's own memories of learning the lifeways of Indigenous Amazonia with her father's testimony to Wari' persistence in the face of colonization. Speaking from the heart as both anthropologist and daughter, Vilaça offers an intimate look at Indigenous lives in Brazil over nearly a century. -- Provided by publisher.

Awards: Premio Literario Casa de las Américas 2020.

Peer-reviewed Journal Articles by Ingrid Brioso Rieumont

Revista Casa de las Américas, 2024

En este artículo, analizo las películas ‘La ciénaga’ (2001) y ‘La niña santa’ (2004) de la direct... more En este artículo, analizo las películas ‘La ciénaga’ (2001) y ‘La niña santa’ (2004) de la directora argentina Lucrecia Martel, enfocándome en la composición sonora y táctil que trasciende la trama. Propongo considerar ese mundo que la crítica especializada ha calificado como ilegible en Martel, pero eliminando su carácter asignado de ilegibilidad. En estas películas, Martel crea diversas posibilidades sensoriales para los cuerpos pero interrumpe la capacidad de los personajes de comprender su contexto y resolver sus conflictos. Esta composición, lejos de ser inaccesible, revela múltiples percepciones al espectador. A través de esta estrategia, sugiero que Martel promueve un abandono de la conciencia moderna individual, renunciando a la búsqueda de legibilidad en el cine a través de la trama y proponiendo una exploración de lo que queda en la intemperie del sentido. Este desbordamiento genera formas de percepción tan legítimas como la propia trama, permitiéndonos reflexionar sobre lo real. Este texto responde a la pregunta sobre cómo la forma inscribe maneras de concebir la realidad con igual intensidad que la trama de un filme. Lo político de estas dos películas es que a través de esta multiplicidad de percepciones Martel sugiere un abandono de la conciencia individual. Este abandono de la conciencia se muestra en cómo el mundo no se revela como una experiencia fenomenológica ante la conciencia de los personajes. Siempre ocurre fuera de la perspectiva individual de la conciencia humana, del sujeto ante el cual deberían aparecer los fenómenos. Sus personajes nunca terminan de entender la realidad en que viven. Con esto, Martel se aleja de la vocación política militante centrada en el individuo que a menudo caracteriza el cine latinoamericano del siglo XX, proponiendo una visión que descentra la figura del individuo frente al mundo apocalíptico en el que vivimos. Su mensaje es que debemos reconocer que este mundo no está hecho a nuestra medida, y que la conciencia humana, que había sido el anclaje de la modernidad, ya no es suficiente para percibir este mundo en su totalidad.

Revista Brasileira de Literatura Comparada, 2023

An invitation to literary and cultural critics to conduct a comparative analysis of the Caribbean... more An invitation to literary and cultural critics to conduct a comparative analysis of the Caribbean across linguistic barriers. This article shows that the concepts of creolization of the Francophone Caribbean and transculturation of the Hispanophone Caribbean share important similarities and differences. It argues that when using these concepts, scholars should consider not only their similarities and differences, but also their deformations. Thus, it shows how literary criticism can trace these complex deviations.

Cuban Studies, 2020

Prior to 2013, the year in which Raul Castro implemented a migratory reform, leaving Cuba meant m... more Prior to 2013, the year in which Raul Castro implemented a migratory reform, leaving Cuba meant making a definitive departure and losing Cuba’s citizenship. The following article tells the story of two trips: one, a “definitive departure” from Cuba to the United States, and another, a “return” trip to the island. The article poses the question of whether the second trip could be considered a visit or a return. The visit-return form that it is sculpted throughout the text allows the reader to explore a series of problems and personal experiences related to the concepts of departure, emigration, distance and belonging. The text also proposes a dialogue with two relevant figures who lived outside Cuba, the writers Reinaldo Arenas and Severo Sarduy.

Resumen

Antes del año 2013, fecha en que Raúl Castro implementa una reforma migratoria, salir de Cuba significaba hacer una salida definitiva y perder la ciudadanía cubana. El siguiente artículo narra la historia de dos viajes: un viaje de “salida definitiva” de Cuba para los Estados Unidos, y otro de “regreso”. El artículo postula la pregunta de si el segundo viaje podría ser considerado un viaje o un regreso. La forma viaje-regreso que se esculpe a lo largo del texto, permite explorar una serie de problemáticas y vivencias personales relacionadas a los conceptos de salida, emigración, lejanía y pertenencia. El texto también propone un diálogo con dos figuras importantes que vivieron fuera de Cuba, los escritores Reinaldo Arenas y Severo Sarduy.

Book Chapter | Travel Writing | Literary Criticism by Ingrid Brioso Rieumont

Ediciones Hypermedia, 2020

This volume —the first book-length publication by the Cuba Research Network of Princeton Universi... more This volume —the first book-length publication by the Cuba Research Network of Princeton University— collects the essays written by the writers and scholars who participated in two Havana trips organized in 2018 and 2019. It offers a wide spectrum of perspectives on Havana’s cultural scene, including theater and literature. By Antón Arrufat, Luis Felipe Fabre, Juan Carlos Bautista, Rubén Gallo, Oswaldo Gallo-Serratos, Pablo Soler Frost, Daniel Saldaña París, Andy Alfonso, and Ingrid Brioso Rieumont. Editor: Rubén Gallo. Assistant editor: Ingrid Brioso Rieumont.

Back cover

En una de sus conferencias, Alejo Carpentier recordaba que en los años 20 del siglo pasado surgió, de la nada, una pequeña ciudad mexicana en el barrio de Centro Habana. Sus pobladores habían llegado a la Isla huyendo de la Revolución mexicana y entre ellos había varias yucatecas que —asegura el novelista— le enseñaron a hablar maya cuando era niño. La memoria de esa curiosa colonia desapareció hasta que hace un par de años Rubén Gallo decidió invitar a un grupo de poetas, escritores y filósofos mexicanos a pasar unos días en La Habana para luego escribir crónicas de lo que habían visto y vivido en un momento complejo, cuando ya había pasado la euforia disparada por el acercamiento de Obama y comenzaban a sentirse los efectos de la nueva Guerra Fría declarada por Trump. En estas crónicas, los escritores mexicanos — y sus contrapartes cubanos — narran sus impresiones de una Habana plural y compleja marcada por la vida gay, la santería, los cambios políticos y la vida cultural. Al contar sus experiencias, estos autores han recreado, en papel, esa pequeña ciudad mexicana en La Habana que tanto añoraba Carpentier.

Exhibition & Edition of Literary Catalogue by Ingrid Brioso Rieumont

Liquid La Habana: Ice Cream, Rum, Waves, Sweat and Spouts (1901-1961) curated with Beatriz Colomina, Ivan L. Munuera and Bart-Jan Polman. Princeton University School of Architecture, Media + Modernity Program, Mellon Initiative, and Program in Latin American Studies, Princeton, 9 April-11 May, 2018.

Princeton-Mellon Initiative in Architecture, Urbanism & the Humanities, 2018

The exhibition was commissioned by Beatriz Colomina, Bart-Jan Polman and Iván L. Munuera, with sc... more The exhibition was commissioned by Beatriz Colomina, Bart-Jan Polman and Iván L. Munuera, with scientific advising from myself, Ingrid Brioso Rieumont. We carried out field work, interviews, project reconstruction, and newspaper and archival work, which led to the production of two simultaneous publications designed by Fru*Fru: one with texts, credits, and maps of the exhibition and the projects it examines, and another that functions as a reader, edited and translated by myself, which contained selected texts on Cuban architecture and urbanism in Havana, taken from various literary sources.

When does the Cuban republic end and when does the revolution start when thinking about Havana's architecture? Might architecture challenge our sense of endings and beginnings? The exhibition proposes to think through five different case studies from Havana that are associated with different types of fluids, and that invoke more fluid and less rigid perceptions. Architecture in La Habana, Cuba is usually understood from the point of view of colonialism, Cold War politics, tourist economies, and ideologies. Liquid La Habana presents five different case studies from the late 19th century until today that challenge these interpretations. The show features a series of exchanges examined through five architectural projects that redefined (and continue to shape) Havana’s urban ecosystem and the discipline of architecture at large, in terms of the social contracts these projects laid out, the ideas about modernity that they radically confronted, their impact on the economy as well as gender and sexuality, in addition to diverse notions of privacy, diplomacy, aesthetics, geopolitics, race, and development. Coppelia, the Bacardi Building, the Malecón, the Tropicana Club, and the National Art Schools comprise the architectural projects examined in the show.

Princeton-Mellon Initiative in Architecture, Urbanism & the Humanities, 2018

Select texts on architecture and urbanism in Havana taken from various literary sources.

Interview by Ingrid Brioso Rieumont

Fórum de Literatura Brasileira Contemporânea, 2018

Entrevista com o escritor Ricardo Lísias, realizada em 2016 na Universidade de Princeton, onde Lí... more Entrevista com o escritor Ricardo Lísias, realizada em 2016 na Universidade de Princeton, onde Lísias comenta a turbulência que atingiu o Brasil e sua própria obra, os nexos entre ética e estética e a relação dos escritores brasileiros com o restante da América Latina.