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A meditation on freedom-making in the academy for women scholars of
color. Weaving personal narrative with political analysis,
Community as Rebellion offers a meditation on creating liberatory
spaces for students and faculty of color within academia.
Much like other women scholars of color, Lorgia García Peña has
struggled against the colonizing, racializing, classist, and
unequal structures that perpetuate systemic violence within
universities. Through personal experiences and analytical
reflections, the author invites readers—in particular Black,
Indigenous, Latinx, and Asian women—to engage in liberatory
practices of boycott, abolition, and radical community-building to
combat the academic world’s tokenizing and exploitative
structures. García Peña argues that the classroom is key to
freedom-making in the university, urging teachers to consider
activism and social justice as central to what she calls
“teaching in freedom”: a progressive form of collective
learning that prioritizes the subjugated knowledge, silenced
histories, and epistemologies from the Global South and Indigenous,
Black, and brown communities. By teaching in and for freedom, we
not only acknowledge the harm that the university has inflicted on
our persons and our ways of knowing since its inception, but also
create alternative ways to be, create, live, and succeed through
our work.
A meditation on freedom-making in the academy for women scholars of
color. Weaving personal narrative with political analysis,
Community as Rebellion offers a meditation on creating liberatory
spaces for students and faculty of color within academia.
Much like other women scholars of color, Lorgia García Peña has
struggled against the colonizing, racializing, classist, and
unequal structures that perpetuate systemic violence within
universities. Through personal experiences and analytical
reflections, the author invites readers—in particular Black,
Indigenous, Latinx, and Asian women—to engage in liberatory
practices of boycott, abolition, and radical community-building to
combat the academic world’s tokenizing and exploitative
structures. García Peña argues that the classroom is key to
freedom-making in the university, urging teachers to consider
activism and social justice as central to what she calls
“teaching in freedom”: a progressive form of collective
learning that prioritizes the subjugated knowledge, silenced
histories, and epistemologies from the Global South and Indigenous,
Black, and brown communities. By teaching in and for freedom, we
not only acknowledge the harm that the university has inflicted on
our persons and our ways of knowing since its inception, but also
create alternative ways to be, create, live, and succeed through
our work.
This volume presents fifteen short stories by acclaimed
Dominican-American writer Kianny N. Antigua. She belongs to an
emerging generation of new authors with transnational identities
and a broad scope in their subjects and interests. This collection
includes a variety of stories always intriguing and involving.
Antigua is not afraid of calling things by their names, her writing
is bold and fearless. Este volumen reune quince cuentos escritos
por la aclamada escritora dominico-americana Kianny N. Antigua.
Ella hace parte de una generacion emergente de nuevos autores con
identidades transnacionales y una amplia gama de intereses y temas
por tratar. Esta coleccion incluye una variedad de historias que
siempre son intrigantes y envolventes para el lector. Kianny no le
tema a llamar las cosas por su nombre, su escritura es atrevida y
valiente. Kianny N. Antigua es una de las escritoras dominicanas
mas premiadas. Nacio en San Francisco de Macoris, R.D., en 1979. Ha
publicado cinco libros: Mia, Esteban y las nuevas palabras, ed.
bilingue (Lit. infantil, Alfaguara 2014), Cuando el resto se apaga
(poesia, Proyecto Zompopos 2013), 9 Iris y otros malditos cuentos
(Editora Nacional 2010) y El expreso (cuento, Argos 2004); y muchos
de sus relatos, ensayos y poemas han sido seleccionados para formar
parte de antologias, revistas y libros de texto en Republica
Dominicana, Colombia, EE.UU. e Italia. kiannyantigua.blogspot.com
En esta coleccion de cuentos, Kianny Antigua desempana ventanas
para retratar los sotanos interiores del caracter humano. Sin
pestanar, su prosa exhala un mundo a la vez brutal y jocoso, agudo
y obtuso, fragmentado y entero. El tragaluz del sotano insiste en
penetrar el ojo del lector con astillas de vidrio que resisten
parpadeo. Antigua usa la amplia brevedad de poeta para explorar el
impulso primitivo de personajes que muerden la oscuridad para
probar el mas minimo rayo de luz. Nelly Rosario Kianny N. Antigua
se crece hasta una altura de cenaculo cuando trata el aspecto
erotico, pues lo hace de forma fina y sin dejar de revelar el
detalle descarnado de las escenas que asi lo ameritan. De igual
manera atrae a lo largo de El tragaluz del sotano cuando muestra
una prosa que nos va sorprendiendo con rafagas poeticas de sumo
encanto. Aqui la autora trata las historias tal y como las ve y
logra, como senalan los especialistas, que con el punto de vista
del narrador aquiescente, en sus personajes se perciba el azar
perdiendo verosimilitud y disolviendose en la sensacion de destino.
Avelino Stanley En El tragaluz del sotano los personajes estan por
encima de los artificios, de las tecnicas y la retorica. Son entes
cotidianos que logran revelarnos libremente su mundo interior. La
voz de la narradora con su intensidad y pasion nos provoca y nos
deleita. Como dice Borges: hay estilos que no permiten al autor
hablar en voz baja. Osiris Mosquea
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