Late in the summer of 2019, Gary Hall gave a series of talks hosted by the Philosophy Department at Universidad Iberoamericana, Mexico City. One of them was titled ‘Liberalism Must be Defeated. On the Obsolescence of Bourgeois Theory in the Anthropocene’. As the organizer of this event, I was curious about the reception of this argument in a con…[Read more]

Late in the summer of 2019, Gary Hall gave a series of talks hosted by the Philosophy Department at Universidad Iberoamericana, Mexico City. One of them was titled ‘Liberalism Must be Defeated. On the Obsolescence of Bourgeois Theory in the Anthropocene’. As the organizer of this event, I was curious about the reception of this argument in a con…[Read more]

Late in the summer of 2019, Gary Hall gave a series of talks hosted by the Philosophy Department at Universidad Iberoamericana, Mexico City. One of them was titled ‘Liberalism Must be Defeated. On the Obsolescence of Bourgeois Theory in the Anthropocene’. As the organizer of this event, I was curious about the reception of this argument in a con…[Read more]

It took Pedro Costa four feature films to get to “Horse Money” (“Cavalo Dinheiro”, 2014). In Down to Earth (Casa de Lava, 1994), a Portuguese nurse accompanies an immigrant worker in coma from Lisbon to his homeland, the Cape Verdean island of Fogo. “Bones” (“Ossos”, 1997), In “Vanda’s Room” (“No Quarto da Vanda”, 2000), and “Colossal Youth” (“Ju…[Read more]

It took Pedro Costa four feature films to get to “Horse Money” (“Cavalo Dinheiro”, 2014). In Down to Earth (Casa de Lava, 1994), a Portuguese nurse accompanies an immigrant worker in coma from Lisbon to his homeland, the Cape Verdean island of Fogo. “Bones” (“Ossos”, 1997), In “Vanda’s Room” (“No Quarto da Vanda”, 2000), and “Colossal Youth” (“Ju…[Read more]

It took Pedro Costa four feature films to get to “Horse Money” (“Cavalo Dinheiro”, 2014). In Down to Earth (Casa de Lava, 1994), a Portuguese nurse accompanies an immigrant worker in coma from Lisbon to his homeland, the Cape Verdean island of Fogo. “Bones” (“Ossos”, 1997), In “Vanda’s Room” (“No Quarto da Vanda”, 2000), and “Colossal Youth” (“Ju…[Read more]

It took Pedro Costa four feature films to get to “Horse Money” (“Cavalo Dinheiro”, 2014). In Down to Earth (Casa de Lava, 1994), a Portuguese nurse accompanies an immigrant worker in coma from Lisbon to his homeland, the Cape Verdean island of Fogo. “Bones” (“Ossos”, 1997), In “Vanda’s Room” (“No Quarto da Vanda”, 2000), and “Colossal Youth” (“Ju…[Read more]

Con “After the Nation: Postnational Satire in the Works of Carlos Fuentes and Thomas Pynchon”, Pedro García-Caro lleva a cabo una serie de intervenciones críticas necesarias para la articulación de un espacio hemisférico de indagación en lo postnacional. Es particularmente valiosa su reconstrucción del marco histórico del que surgen las sátira…[Read more]

In an essay on Latin American freaks, Susan Antebi warns, “The question of freakishness and freaks in Latin American contexts is fraught from the beginning by its decontextualized and translated quality; it is an imposition, even when embraced. To study freakishness in Latin America, or just to pay attention to it, necessarily involves an a…[Read more]

In an essay on Latin American freaks, Susan Antebi warns, “The question of freakishness and freaks in Latin American contexts is fraught from the beginning by its decontextualized and translated quality; it is an imposition, even when embraced. To study freakishness in Latin America, or just to pay attention to it, necessarily involves an a…[Read more]

Tras el análisis de las tres novelas que Carlos Gardini publica en este siglo, se observa que la característica formal más notable es una trama concebida para conducir a un instante de revelación plena sobre el mundo, re-conocido ahora en un momento de luminosa anagnórisis. Esta anagnórisis consiste en la comprensión por parte de un protag…[Read more]

Tras el análisis de las tres novelas que Carlos Gardini publica en este siglo, se observa que la característica formal más notable es una trama concebida para conducir a un instante de revelación plena sobre el mundo, re-conocido ahora en un momento de luminosa anagnórisis. Esta anagnórisis consiste en la comprensión por parte de un protag…[Read more]

En el caso de cierta CF escrita en México, hay una doble invasión: espacial y temporal. Ocurre así, por ejemplo, en La destrucción de todas las cosas (1992), de Hugo Hiriart, y en “La catástrofe” (1984), recogido en La sangre de Medusa de José Emilio Pacheco.211 En estos textos, se emplea un género que se percibe como ajeno para abordar la disloca…[Read more]

En el caso de cierta CF escrita en México, hay una doble invasión: espacial y temporal. Ocurre así, por ejemplo, en La destrucción de todas las cosas (1992), de Hugo Hiriart, y en “La catástrofe” (1984), recogido en La sangre de Medusa de José Emilio Pacheco.211 En estos textos, se emplea un género que se percibe como ajeno para abordar la disloca…[Read more]

No sólo la calidad une Trafalgar y Kalpa Imperial, o el hecho de que cierren un primer periodo de la obra de Gorodischer. En ambos libros la fi gura central es un narrador que relata aventuras y acontecimientos en lo que es, explícita o implícitamente, otro planeta, muchos en Trafalgar, uno solo en Kalpa Imperial. Estos planetas y estos ac…[Read more]