Reseña de "Entre héroes, fantasmas y apocalípticos: Testigos y paisajes en la crónica mexicana" de Anadeli Bencomo (original) (raw)
Related papers
Espacios urbanos y naturales como escenarios opuestos en la literatura distópica
Ángulo Recto. Revista de estudios sobre la ciudad como espacio plural, 2015
Most scholarly studied dystopias show that in dystopian literature the action takes place in urban space. Some authors, nonetheless, portray, together with an undesirable metropolis, an outer environment in which characters usually see features opposed to those of the city. This can be seen in some of the major titles included in the genre. The purpose of this research is to verify if this aspect is a recurrent element in the dystopian genre, first in a choice of well-known titles of the 20 th century and, secondly in some examples of dystopias published in the 21 st. Should it be the case, the need to analyze in which ways will arise, with the aim of setting up a theoretical description in order to undertake a further study on a wider range of texts of the genre. As they are parodies of actual totalitarian policies, they might shed some light on urban patterns that have had a reflection on literature and has turned into an influence.
Miguel Rio Branco and the Curse of Cities (Maldicidade 2014)
Matlit Revista do Programa de Doutoramento em Materialidades da Literatura , 2021
This essay will discuss the book Maldicidade (2014) by the Spanish-Brazilian photographer Miguel Rio Branco with a special attention to its organization as a narrative and poetic unity as a photobook. In focus is the book’s composition as an implicit dialogue between text and image and the use of modernist avantgarde techniques of montage and collage aiming at the expression of a contemporary reality of misery and hardship in the big cities of the Americas. The overarching argument is that the unity of the book as a photobook sur-passes the referential nature of photography through visual narrativity in the effort to reveal the common condition of its posthuman urbanity.
Miguel Rio Branco and the Curse of Cities (Maldicidades 2014)
Matlit Revista do Programa de Doutoramento em Materialidades da Literatura, 2021
This essay will discuss the book Maldicidade (2014) by the Spanish-Brazilian photographer Miguel Rio Branco with a special attention to its organization as a narrative and poetic unity as a photobook. In focus is the book’s composition as an implicit dialogue between text and image and the use of modernist avantgarde techniques of montage and collage aiming at the expression of a contemporary reality of misery and hardship in the big cities of the Americas. The overarching argument is that the unity of the book as a photobook surpasses the referential nature of photography through visual narrativity in the effort to reveal the common condition of its posthuman urbanity.
Studies in Travel Writing, 2003
That major physical displacements constituting travel within an ever-expanding megalopolis such as Mexico City are not only possible but daily necessities for the vast majority of the resident population is something which has already been adequately established by sociologists and anthropologists, chroniclers and historians, novelists and poets. An overview of the multiple faces of travel in the Federal District is provided by Néstor García Canclini et al.'s recently published book, La ciudad de los viajeros: travesías e imaginarios urbanos, México, 1940-2000 (1996). In the introduction, García Canclini makes it clear that, "La ciudad moderna no es sólo lugar de residencia y de trabajo. Se ha hecho también para viajar: a ella, desde ella y a través de ella". 1 In fact, Mexico City has been the site of intensive chronicling and travel-chronicling since the time of the Conquest onwards. The city itself has had an official chronicler since the midsixteenth century, and the role is currently fulfilled by the Consejo de la Crónica de la Ciudad de México, a whole committee of chroniclers. Even in the early days of the Colonia, Mexico City was a place where travel to, from, and across the city was an important daily concern. One of the earliest chronicles of the city, written in 1554 by the Spaniard Francisco Cervantes de Salazar, took the format of a tour given by two locals to a visitor from Spain. Almost four centuries later, Salvador Novo's prize-winning Nueva grandeza mexicana (1946) gave new vigour to Cervantes de Salazar's format-once again, the narrator was a local giving a tour of the city to a friend from the provinces. Since 1946 there have been an infinite number of chroniclers who have situated their narratives in contemporary Mexico City. There are those who seek to recreate lost images of the city through memory (Octavio Paz, Gonzalo Celorio, José Emilio Pacheco and many of the
The Routledge Companion to Literary Urban Studies, 2022
Over the past decades, the growing interest in the study of literature of the city has led to the development of literary urban studies as a discipline in its own right. The Routledge Companion to Literary Urban Studies provides a methodical overview of the fundamentals of this developing discipline and a detailed outline of new directions in the field. It consists of 33 newly commissioned chapters that provide an outline of contemporary literary urban studies. The Companion covers all of the main theoretical approaches as well as key literary genres, with case studies covering a range of different geographical, cultural, and historical settings. The final chapters provide a window into new debates in the field. The three focal issues are key concepts and genres of literary urban studies; a reassessment and critique of classical urban studies theories and the canon of literary capitals; and methods for the analysis of cities in literature. The Routledge Companion to Literary Urban Studies provides the reader with practical insights into the methods and approaches that can be applied to the city in literature and serves as an important reference work for upper-level students and researchers working on city literature.
Boletín de la Asociación de Geógrafos Españoles, 2022
Through this article we will analyze a corpus of Mexican fiction films of its classic-industrial period, produced by Pedro and Guillermo Calderón, Palabras de mujer (José Díaz Morales, 1946) and Maternidad imposible (Emilio Gómez Muriel, 1955), that have as a common nexus the interurban transfers, based on the migration phenomenon, the exploitation of a transnational cast and the influences of differentiated urban spaces in the narrative conflicts. Those characteristics will be delineated studying the configuration of urban spaces represented on them, its interference in the dramatic structure of these films and the identity translations presented consequently. The topic of migration and its entailments with the plots of these titles will allow us to elucidate the role awarded to the capital cities as spaces of cultural exchange, as also as essential elements for the achievement of the purposes of their characters, promoting a (des)centralizing vision of those types of territories.