Books in the Bucknell Studies in Latin American Literature and Theory series

Beyond Civilization and Barbarism examines how various cultural forms promoted competing political projects in Argentina during the decades following independence from Spain. This turbulent period has long been characterized as a struggle between two irreconcilable forces: the dictatorship of Juan Manuel de Rosas (1829-1852) versus a dissident intellectual elite. Most famously, Domingo Faustino Sarmiento described the conflict in his canonical Facundo (1845) as a clash between civilization and barbarism, which has become a catchphrase for the experience of modernity throughout Latin America. Against the grain of this durable script, Beyond Civilization and Barbarism examines an extensive corpus to demonstrate how adversaries of the period used similar rhetorical strategies, appealed to the same basic political ideals of republican government, and were preoccupied with defining and interpellating the pueblo, or people. In other words, their collective struggle was fundamentally modern and waged on a mutually intelligible discursive terrain.

Explores Colombia's violent colonial history by examining three seventeenth-century historical accounts of the New Kingdom of Granada (modern-day Colombia and Venezuela), each of which reveals the colonizing elite's reliance on a constant threat of violence for sustaining colonial order.

Analyses literary constructions of locality from the early 1990s to the mid-2010s. Raynor reads work by Luiz Ruffato, Wilson Bueno, Roberto Bolano, Joao Gilberto Noll, Joao Gilberto Noll, and Bernardo Carvalho to reveal representations of the human experience that unsettle conventionally understood links between locality and geographical place.

Revises established readings of the avant-gardes in Peru and Bolivia as humanizing and historical. By presenting fresh readings of canonical authors and through analysis of newer artist-activists, Daly argues that avant-gardes complicate questions of agency and contribute to theoretical discussions on vital materialisms.

Ricardo Palma's Tradiciones is the first full-length account of Ricardo Palma informed by theories of cultural criticism. Elisa Sampson Vera Tudela sheds new light on important aspects of Palma's work. She offers a fresh interpretation of the relations between history and literature perhaps the most discussed aspect of Palma's work engaging with new critical thinking on historicism and examining the significance of the marginal and the anecdotal in Palma's work. By using the tools of postcolonial cultural criticism, Vera Tudela considers Palma's encounter with modernity, arguing that his recuperation of colonial history plays a crucial part in imagining the modern future. Most innovatively, Vera Tudela examines the multiple and contradictory notions of femininity in nineteenth-century Latin America and in Palma's writing, showing how a historical consideration of the sexual politics of cultural production transforms our understanding of many of the assumptions about this period. Finally, by applying the insights of cultural geography in analysing the racial, sexual and political identity of domestic, urban and national space in Palma's writing, Vera Tudela demonstrates that Palma's literary maps and topographies are uniquely revelatory of questions of power and agency. In its exploration of sexual politics and nationhood, Ricardo Palma's Tradiciones presents Palma as a proto-modernist who paved the way for many of the experiments of twentieth-century Latin American narrative fiction.

This book explores practices of recollection in contemporary Argentina that helped define the nation's approach to transitional justice in the first decades of the twenty-first century and enhances the critical literature on historical memory and trauma in Latin America by integrating affect theory to cultural representations of state violence.

Every major Peruvian author of the twentieth century has written a narrative focused on childhood or coming of age. Mining Memory argues that Peruvian narratives of the twentieth century re-imagine childhood not only to document personal pasts, but also to focus on national identity as a dynamic and incomplete process. Mining Memory shows how 20th-century narratives and films reimagine the self and the nation by representing child and adolescent protagonists and their evolution, using the remembrance of childhood as part of a nation-making project. The book demonstrates how, in the context of Peru, fictions focusing on childhood become vehicles for the national reimagining and collective remembering central to much of Latin American literature. The figure of the child, as emblem of both a collective memory and an always deferred utopian project, holds special promise for twentieth-century Peruvian writers as they write from a national context rife with cultural, racial and political conflict. The book intervenes in debates internal to Peruvian cultural studies as well as wider conversations in Latin American Studies and post-colonial studies. Mining Memory provides a new understanding to both the Latin American and Anglo-American traditions regarding the representations of national subjectivities through the voices of the child and adolescent. Such a representational strategy performs a very particular kind of hybridity and temporal balancing act capable of addressing the very issues of cultural memory and fractured identities so relevant to multi-cultural, post-colonial cultural contexts.

Masculinity is not a monolithic phenomenon, but a historically discontinuous onea fabrication as it were, of given cultural circumstances. Because of its opacity and instability, masculinity, like more recognizable systems of oppression, resists discernibility. In Macho Ethics: Masculinity and Self-Representation in Latino-Caribbean Narrative, Jason Cortes seeks to reveal the inner workings of masculinity in the narrative prose of four major Caribbean authors: the Cuban Severo Sarduy; the Dominican American Junot Daz; and the Puerto Ricans Luis Rafael Snchez and Edgardo Rodrguez Juli. By exploring the relationship between ethics and authority, the legacies of colonial violence, the figure of the dictator, the macho, and the dandy, the logic of the Archive, the presence of Oscar Wilde, and notions of trauma and mourning, Macho Ethics fills a gap surrounding issues of power and masculinity within the Caribbean context, and draws attention to what frequently remains invisible and unspoken.

The Cuban writer Nicols Guillen has traditionally been considered a poet of mestizaje, a term that, whilst denoting racial mixture, also refers to a homogenizing nationalist discourse that proclaims the harmonious nature of Cuban identity. Yet, many aspects of Guillen's work enhance black Cuban and Afro-Cuban identities. Miguel Arnedo-Gomez explores this paradox in Guillen's pre-Cuban Revolution writings placing them alongside contemporaneous intellectual discourses that feigned adherence to the homogenizing ideology whilst upholding black interests. On the basis of links with these and other 1930s Cuban discourses, Arnedo-Gomez shows Guillen's work to contain a message of black unity aimed at the black middle classes. Furthermore, against a tendency to seek a single authorial consciousnessbe it mulatto or based on a North American construction of blacknessGuillen's prose and poetry are also characterized as a struggle for a viable identity in a socio-culturally heterogeneous society.

How did it happen that whole regions of Latin AmericaAmazonia, Patagonia, the Caribbeanare named for monstrous races of women warriors, big-footed giants and cannibals? Through history, monsters inhabit human imaginings of discovery and creation, and also degeneration, chaos, and death. Latin America's most dynamic monsters can be traced to archetypes that are found in virtually all of the worlds sacred traditions, but only in Latin America did Amazons, cannibals, zombies, and other monsters become enduring symbols of regional history, character, and identity. From Amazons to Zombies presents a comprehensive account of the qualities of monstrosity, the ways in which monsters function within and among cultures, and theories and genres of the monstrous. It describes the genesis and evolution of monsters in the construction and representation of Latin America from the Ancient world and early modern Iberia to the present.

Anchoring her work in archival sources in film technology, economy, and education, Naida Garcia-Crespo argues that Puerto Rico's position as a stateless nation allows for a fresh understanding of national cinema based on perceptions of productive cultural contributions rather than on citizenship or state structures.

This book provides a detailed analysis of the core concepts of national identity articulated by Iberian writers during the period between 1900 and 1925. It is centered on four pedagogical essays written in these decades previous to the onset of authoritarian dictatorships in Spain and Portugal, works that are absolutely central to understanding the discursive architecture of collective identity in these same places today. They are as follows: Enric Prat de la Ribas La Nacionalitat Catalana (1906), Teixeira de Pascoaes Arte de Ser Portugus (1915),Vicente Riscos Teora do Nacionalismo Galego (1920), and Jose Ortega y Gassets Espaa invertebrada (1921). The study consists of a discussion of some of the more important theoretical issues connected to social articulation of cultural identities, four chapter-long analyses of the textual manifestations of national identity within the major Romance-language communities of the Iberian peninsula, and a conclusion which underscores the key function played by these public intellectuals in establishing the parameters of the ';Imagined Communities' with which they felt primarily identified. On the most basic level, the study of these ';catechistic' visions of national individuality provides a heightened sense of both the differences and commonalities inherent in the cultural traditions of these core nationality groups of the Iberian Peninsula. On another level, the study reminds us of the important pedagogical function of literature (understood here in the broadest possible sense) in the formation and maintenance of nationality identities then, as well as now.

Transatlantic Travels in Nineteenth-Century Latin America: European Women Pilgrims retraces the steps of five intrepid ';lady travelers' who ventured into the geography of the New WorldMexico, the Southern Cone, Brazil, and the Caribbeanat a crucial historical juncture, the period of political anarchy following the break from Spain and the rise of modernity at the turn of the twentieth century. Traveling as historians, social critics, ethnographers, and artists, Frances Erskine Inglis (180682), Maria Graham (17851842), Flora Tristan (180344), Fredrika Bremer (180165), and Adela Breton (18491923) reshaped the map of nineteenth-century Latin America. Organized by themes rather than by individual authors, this book examines European women's travels as a spectrum of narrative discourses, ranging from natural history, history, and ethnography. Women's social condition becomes a focal point of their travels. By combining diverse genres and perspectives, women's travel writing ushers a new vision of post-independence societies. The trope of pilgrimage conditions the female travel experience, which suggests both the meta-end of the journey as well as the broader cultural frame shaping their individual itineraries.

In Counterfeit Politics, David Kelman reassesses the political significance of conspiracy theory. Traditionally, political theory has sought to banish the ';paranoid style' from the ';proper' domain of politics. But if conspiracy theory lies outside the sphere of legitimate politics, why do these narratives continue to haunt political life? Counterfeit Politics accounts for the seemingly ineradicable nature of conspiracy theory by arguing that all political statements ultimately take the form of conspiracy theory.Through careful readings of works by Ernest Hemingway, Ricardo Piglia, Thomas Pynchon, Don DeLillo, Jorge Luis Borges, Ishmael Reed, Jorge Volpi, Rigoberta Mench, and ngel Rama, Kelman demonstrates that conspiracy narratives bear witness to an illegitimate or ';counterfeit' secret that cannot be fully recognized, understood, and controlled. Even though the secret is not authorized to speak, this ';silence' is nevertheless precisely what gives the secret its force. Kelman goes on to suggest that all political statementseven those that do not seem ';paranoid'are constitutively illegitimate or counterfeit, since they always narrate this unresolved play of legitimacy between an official or authorized plot and an unofficial or unauthorized plot (a ';complot'). In short, Counterfeit Politics argues that politics only takes place as ';conspiracy theory.'

This study explores how Spanish American modernista writers incorporated journalistic formalities and industry models through the cronica genre to advance their literary preoccupations. Through a variety of modernista writers, including Jose Mart, Amado Nervo, Manuel Gutierrez Njera and Ruben Daro, Reynolds argues that extra-textual elements such as temporality, the material formats of the newspaper and book, and editorial influence animate the modernista movement's literary ambitions and aesthetic ideology. Thus, instead of being stripped of an esteemed place in the literary sphere due to participation in the market-based newspaper industry, journalism actually brought modernismo closer to the writers' desired artistic autonomy. Reynolds uncovers an original philosophical and sociological dimension of the literary forms that govern modernista studies, situating literary journalism of the movement within historical, economic and temporal contexts. Furthermore, he demonstrates that journalism of the movement was eventually consecrated in book form, revealing modernista intentionality for their mass-produced, seemingly utilitarian journalistic articles. The Spanish American Cronica Modernista, Temporality, and Material Culture thereby enables a better understanding of how the material textuality of the cronica impacts its interpretation and readership.

On the Dark Side of the Archive examines nineteenth-century nation building through narratives that are not part of the romantic or realist traditions, specifically those associated with the critique of traditional ideas often portrayed in Decadentism and modernismo. The study focuses on the "non-canonical" works of turn-of-the-century authors-including José María Vargas Vila, Horacio Quiroga, Clemente Palma, and José Martí-and concludes with a study that compares the literary portrayal of doomed societies in the nineteenth century with the work of contemporary authors, such as Fernando Vallejo. González Espitia establishes a critique of the concept of nation building in the romantic narratives of South America. These narratives are generally characterized by underlying erotic discourses meant to set the recently liberated countries of Latin America on a path toward class harmony, racial integration, socially beneficial marriage, and demographic expansion. An analysis of nation-building narratives understood as erotic discourses must also consider novels that manifest a dynamics of self-destruction. The authors included in this book subvert the idea of "nation" as a clear, positive, and fruitful space, bringing a dose of reality to this elusive concept. These authors design alternative futures for Latin America, futures that were seen as fruitless, obscure, contemptible, or doomed.

Elena Garro and Mexicos Modern Dreams uses Elena Garro's eccentric life and work as a lens through which to examine mid-twentieth-century Mexican intellectuals desire to reconcile mexicanidad with modernidad. The famously scandalous first wife of Nobel Prize winner poet Octavio Paz, and an award-winning author in her own right, Garro constructed a mysterious and often contradictory persona through her very public participation in Mexican political conflicts. Herself an anxious and contentious Mexican writer, Elena Garro elicited profound political and aesthetic anxiety in her Mexican readers. She confused the personal and the public in her creative fictions as well as in her vision of Mexican modernity. This violation of key distinctions rendered her largely illegible to her contemporaries. That illegibility serves as a symptom of unacknowledged desires that motivate twentieth-century views of national modernity. Taken together, Garros public persona and critical perspective expose the anxieties regarding ethnicity, gender, economic class, and professional identity that define Mexican modernity. Blending cultural studies and detailed literary analysis with political and intellectual history, Mexicos Modern Dreams argues that, in addition to the intriguing gossip she elicited in literary and political circles, Garro produced a radical critique of Mexican modernity. Her critique applies as well to the nations twenty-first-century crisis of globalization, state power, and pervasive violence.

Offering an assessment of how the work of Alfonso Reyes helped to create the role of the writer as a public intellectual in Latin America, this study reconstructs Reyes's model of intellectual community, showing how Reyes was influential in forging a sense of unity among the Latin American writers of his generation.

Illuminates the poetic interactions between Octavio Paz (1914-1998) and Haroldo de Campos (1929-2003) from three perspectives - comparative, theoretical, and performative. The book offers a discussion of the role of poetry and translation from a global perspective.

Argues that Machado de Assis, hailed as one of Latin American literature's greatest writers, was also a major theoretician of the modern novel form. Had the Brazilian master written not in Portuguese but English, French, or German, he would today be regarded as one of the true exemplars of the modern novel, in expression as well as in theory.