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Though primarily known for his haunting, enigmatic novel Pedro
Paramo and the unrelenting depictions of the failures of
post-revolutionary Mexico in his short story collection, El Llano
en llamas, Juan Rulfo also worked as scriptwriter on various
collaborative film projects and his powerful interventions in the
area of documentary photography ensure that he continues to inspire
interest worldwide. Bringing together some of the most significant
names in Rulfian scholarship, this anthology engages with the
complexity and diversity of Rulfo's cultural production. The essays
in the collection bring the Rulfian texts into dialogues with other
cultural traditions and techniques including the Japanese Noh or
"mask" plays and modernist experimentation in the Irish language.
They also deploy diverse theoretical frameworks that range from
Roland Barthes' work on studium and punctum in photography to Henri
Lefebvre's ideas on space and spatiality and the postmodern
insights of Jean Baudrillard on the nature of the simulacrum and
the hyperreal. In this way, innovative approaches are brought to
bear on the Rulfian texts as a way of illuminating the rich
tensions and anxieties they evoke about Mexico, about history,
about art and about the human condition.
Though primarily known for his haunting, enigmatic novel Pedro
Paramo and the unrelenting depictions of the failures of
post-revolutionary Mexico in his short story collection, El Llano
en llamas, Juan Rulfo also worked as scriptwriter on various
collaborative film projects and his powerful interventions in the
area of documentary photography ensure that he continues to inspire
interest worldwide. Bringing together some of the most significant
names in Rulfian scholarship, this anthology engages with the
complexity and diversity of Rulfo's cultural production. The essays
in the collection bring the Rulfian texts into dialogues with other
cultural traditions and techniques including the Japanese Noh or
"mask" plays and modernist experimentation in the Irish language.
They also deploy diverse theoretical frameworks that range from
Roland Barthes' work on studium and punctum in photography to Henri
Lefebvre's ideas on space and spatiality and the postmodern
insights of Jean Baudrillard on the nature of the simulacrum and
the hyperreal. In this way, innovative approaches are brought to
bear on the Rulfian texts as a way of illuminating the rich
tensions and anxieties they evoke about Mexico, about history,
about art and about the human condition.
Since the early 1990s, the repeated murders of women from Ciudad
Juarez, Mexico have become something of a global cause celebre.
Cultural Representations of Feminicidio at the US-Mexico Border
examines creative responses to these acts of violence. It reveals
how theatre, art, film, fiction and other popular cultural forms
seek to remember and mourn the female victims of violent death in
the city at the same time as they interrogate the political, legal
and societal structures that produce the crimes. Different chapters
examine the varying art forms to engage with Ciudad Juarez's
feminicidal wave. Finnegan discusses Alex Rigola's theatrical
adaptation of Roberto Bolano's novel 2666 by Teatre Lliure in
Barcelona as well as painting about the victims of feminicidio by
Irish painter Brian Maguire. There is analysis of documentary film
about Ciudad Juarez, including Lourdes Portillo's acclaimed
Senorita Extraviada (2001). The final chapter turns its attention
to writing about feminicide and examines testimonial and crime
fiction narratives like the mystery novel Desert Blood: The Juarez
Murders by Alicia Gaspar de Alba, among other examples. By drawing
on a range of artistic responses to the murders in Ciudad Juarez,
Cultural Representations of Feminicidio at the US-Mexico Border
shows how art, film, theatre and fiction can unsettle official
narratives about the crimes and undo the static paradigms that are
frequently used to interpret them.
Since the early 1990s, the repeated murders of women from Ciudad
Juarez, Mexico have become something of a global cause celebre.
Cultural Representations of Feminicidio at the US-Mexico Border
examines creative responses to these acts of violence. It reveals
how theatre, art, film, fiction and other popular cultural forms
seek to remember and mourn the female victims of violent death in
the city at the same time as they interrogate the political, legal
and societal structures that produce the crimes. Different chapters
examine the varying art forms to engage with Ciudad Juarez's
feminicidal wave. Finnegan discusses Alex Rigola's theatrical
adaptation of Roberto Bolano's novel 2666 by Teatre Lliure in
Barcelona as well as painting about the victims of feminicidio by
Irish painter Brian Maguire. There is analysis of documentary film
about Ciudad Juarez, including Lourdes Portillo's acclaimed
Senorita Extraviada (2001). The final chapter turns its attention
to writing about feminicide and examines testimonial and crime
fiction narratives like the mystery novel Desert Blood: The Juarez
Murders by Alicia Gaspar de Alba, among other examples. By drawing
on a range of artistic responses to the murders in Ciudad Juarez,
Cultural Representations of Feminicidio at the US-Mexico Border
shows how art, film, theatre and fiction can unsettle official
narratives about the crimes and undo the static paradigms that are
frequently used to interpret them.
This book takes as its starting point the boom femenino or the
explosion in publishing by women in Mexico since the 1980s.
Powerful changes in women's roles in Mexico over the last three
decades have resulted in women occupying a position of profound
ambivalence with regard to the processes of modernisation. The boom
femenino constitutes an integral part of this process of change. By
incorporating a variety of critical approaches within a feminist
framework, the author argues that Mexican women writers participate
in a crucial project of unsettling dominant discourses as they
strive for new ways of capturing the ambivalent position of the
Mexican women in their texts. The author offers close readings of
work by Silvia Molina, Sara Sefchovich, Susana Pagano, Brianda
Domecq, Guadalupe Loaeza and Rosamaria Roffiel. She also considers
the reactions to and reception of best-selling author, Angeles
Mastretta, with an assessment of the different vested interests in
the world of literature, including those of critics, writers,
readers and publishers.
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