Indigenous Trauma in Mainstream Peru in Claudia Llosa’s The Milk of Sorrow.

Despite winning several international awards and being praised by the critics, the Peruvian film La teta asustada (The Milk of Sorrow, Claudia Llosa, 2008) was deemed racist by some blogospheres and critics. The indigenous peoples have not traditionally controlled their own representations, and thus have been subject to misrepresentations; exoticization, criminalization, infantilization, etc. This paper offers a nuanced multivalent analysis that regards not only images and stereotypes, but also voices, points of view, music and mise-en-scène, in order to argue that The Milk of Sorrow provides an ethnocentric view. Several trauma authors speak of the moral obligation of talking about trauma, to make the public “know,” to mobilize viewers’ responses and to give an opportunity for critical reflection. This last stance is more pressing in the case of indigenous trauma, as their anguish has been largely obliterated from public discourse. Llosa makes a decisive pro-indigenous move in denouncing the traumas, and the lack of citizenship rights suffered during and after the Peruvian Internal Armed Conflict (1980-2000). But, in the process, Llosa also places the path to recovery in the reconciliation between indigenous and “western” lifestyles, and in the necessity of looking forward to a hybrid society in order to recover from the inflicted trauma

Ensayo sobre la contradicción: Virginia Wolf en la pantalla.

Tesis doctoral inédita de la Universidad Autónoma de Madrid, Facultad de Filosofía y Letras, Departamento de Historia del Arte. Fecha de lectura:26-06-0

Nostalgia and the Dialectics of Contemporary Feminisms in The Handmaid's Tale

In this article, we turn our gaze to the television series The Handmaid's Tale to examine different critical aspects of nostalgia in relation to contemporary and previous feminist debates. Our purpose is to analyze not only the series' different approaches to nostalgia but also to question the type of feminism the female dystopia attempts to recuperate. We enquire into the political capacity of the show's nostalgia to advance the complex debate on the subject of feminism. In our opinion, the series articulates a conservative recuperation of old feminist debates centered on the female subject (motherhood, rape, pornography, prostitution, etc.) not only due to the threat of the recent misogynistic backlash but also in response to the growth of political power from the LGBTQI movement and the subsequent displacement of traditional feminist issues. Nevertheless, despite falling short of contributing to an intersectional and structural critique of gender injustices, the show constitutes a stimulating catalyst in the fight and debate regarding the improvement of women's lives against the advances of retrograde attitudes and policies in current times. Ultimately, the series defies any monolithic understanding of nostalgia as either amnesiac and regressive or as reflective, inspiring, and recuperative regarding gender

Finding Your “Spanish Voice” Through Popular Media: Improving Students’ Confidence and Fluency

This article shares an innovative course design that incorporates cultural connections and comparisons, interpersonal communication, and a relaxing classroom environment to facilitate learning and language development. By using authentic texts as the medium for learning, it provides a case example of an upper-division curriculum that focused on cognitive skills, elicited conversational dialogues, exposed and promoted the use of different registers, and tapped students’ existing schema around stimulating topics to foster engagement, reflection and enthusiasm. We advance that a curriculum that focuses on the affective domain over discrete academic or grammatical objectives can develop students’ sense of linguistic creativity and language ownership, thus improving their confidence and level of competency in the target language

Rabia blanca, Rabia negra: Las políticas de la rabia femenina en Little Fires Everywhere (HULU, 2020)

This article is part of the R+D project ‘Mediatization of Women’s Rage: Intelligibility Frameworks and Strategies of Politicizing Transformation’ (PID2020-113054GB-I00), funded by the Spanish Ministry of Science & Innovation, and also part of the Universitat Jaume I (Castellón, Spain) Research Programme projects UJI-B2019-13 and UJI-B2022-10 on hate speeches.This article examines the TV show Little Fires Everywhere through the operationalisation of the concept of “anger competence” (Chemaly, 2018). The interest in the series lies in its representation of female rage. We contend that its narrative approach both legitimizes its expression and unravels the structures and practices of subject(ificat)ion through the axis of class and race. To prove it, we tackle the construction of the enraged subject, what the mediatization unfolds and its effects.Este artículo propone el análisis de la serie de televisión Little Fires Everywhere a partir de la operacionalización del concepto de “competencia de la rabia” (Chemaly, 2018). Nuestro interés en la serie radica en su representación de la ira femenina. Sostenemos que su abordaje narrativo legitima su expresión y desvela las prácticas y estructuras de su(b)je(tiva)ción a través de los ejes de clase y raza. Para demostrarlo, abordamos la construcción del sujeto enfurecido, lo que la mediatización de la rabia revela y los efectos de esta.Ministerio de Ciencia e Innovación (MICIN) PID2020-113054GB-I00Universitat Jaume I UJI-B2019-13Universitat Jaume I UJI-B2022-1

White anger, Black anger: The politics of female rage in Little Fires Everywhere (HULU, 2020)

This article examines the TV show Little Fires Everywhere through the operationalisation of the concept of “anger competence” (Chemaly, 2018). The interest in the series lies in its representation of female rage. We contend that its narrative approach both legitimizes its expression and unravels the structures and practices of subject(ificat)ion through the axis of class and race. To prove it, we tackle the construction of the enraged subject, what the mediatization unfolds and its effects.Este artículo propone el análisis de la serie de televisión Little Fires Everywhere a partir de la operacionalización del concepto de “competencia de la rabia” (Chemaly, 2018). Nuestro interés en la serie radica en su representación de la ira femenina. Sostenemos que su abordaje narrativo legitima su expresión y desvela las prácticas y estructuras de su(b)je(tiva) ción a través de los ejes de clase y raza. Para demostrarlo, abordamos la construcción del sujeto enfurecido, lo que la mediatización de la rabia revela y los efectos de esta

Time’s Up, celebrities and the transformation of gender violence paradigms: The case of Oprah Winfrey’s Speech at the Golden Globes (2018)

In this paper we assess to what extent Oprah Winfrey’s speech during the Golden Globes 2018, situated in the new context of the #MeToo movement and the Time’s Up initiative, destabilizes the modes of recognition of gender violence, offering an example of the operationalization of the concept of ‘ethical witnessing’ in communication media brought about by celebrities. In order to do so we consider the connections she establishes between the fight for rights and other fights for recognition, redistribution and participation; the degree of transgression of the reified models of identification of the subjectvictim and the focus on the capacity of agency; and the type of relationship that develops between the subject who gives testimony and the witness. The paper concludes that Oprah’s intersectional approach to gender violence, her focus on agency and resistance (verging on heroism), her role as both witness of her own victimization and facilitator of others’ testimonies, and her activism and inspiration for others to engage socially and politically, comes close to transgressing the boundaries of the current mode of recognition and representation of gender violence. Nevertheless, the widely accepted image of Oprah as an authority assumes a hierarchical relation that contravenes an ethical dimension of witnessing. In addition, in line with a liberal position, Oprah reimagines the ‘good victim’ as an empowered individual who overcomes vulnerability, and she envisions the eradication of gender inequality as something that comes from the top down.</p

From Productivity to Process: Flipping the Writing Group

Although research productivity is the most important component in academic promotions, faculty are left on their own to excel, often without resources, sufficient support, or information. This isolated aspect of workloads can become oppressive and work against the outcome: scholarly productivity. This paper outlines the literature on writing groups, focusing on benefits in and outside of academia, and presents a case example of the authors’ own writing group. It discusses a paradigm shift in the writing process as the group worked together: they moved from accountability to establishing healthy habits, from surveillance and punishment to self-care, and from external validation to intrinsic motivation by finding identities as writers. DOI: 10.5901/ajis.2016.v5n3s1p54

Boards of directors in SMEs : an empirical evidence of board task performance

This paper seeks to provide a better understanding of what makes boards effective. We analyse the relationships between board demography and company performance and between working structures and board tasks in small and medium-sized enterprises (SMEs). We test our hypotheses on a sample of 307 Spanish SMEs. The main empirical result is the negative impact that the proportion of outside directors and the board size have on firm performance. We also find a negative impact of outsiders? presence and a positive impact of director tenure on the board?s service rol

Modos de habitar la rabia contra la misoginia en Vis a Vis (2015-2020)

This study examines the TV series Vis a Vis through the operationalization of the concept of anger competence (Chemaly 2018), which refers to the subject’s ability to express anger. But we put it into dialogue with Lorde’s (1981) consideration of anger as “productive” only when it transforms conditions of violence and/or injustice. In that sense, we contend that the narrative approach of the series does not reproduce the usual stigmatization of women’s rage but rather legitimizes its expression as a response to misogyny, and exposes the practices and structures of subjecti(ficati)on from an intersectional perspective. To demonstrate this, we analyze how the enraged subject is constructed through the axes of class and race, what the mediatization of anger reveals, and its effects.Este estudio examina la serie Vis a Vis a partir de la operacionalización del concepto de anger competence (Chemaly 2018), que remite a la capacitación de los sujetos para expresar la rabia. Pero la ponemos en diálogo con Lorde (1981), quien la considera “productiva” solo cuando transforma condiciones de violencia y/o injusticia. En ese sentido, sostenemos que la serie no reproduce la habitual estigmatización de la ira femenina, sino que legitima su expresión como respuesta a la misoginia y desvela las prácticas y estructuras de su(b)je(tiva)ción desde una perspectiva interseccional. Para demostrarlo, abordamos cómo se construye el sujeto enfurecido a través de los ejes de clase y raza, lo que la mediatización de la rabia revela y los efectos de esta.Este estudo examina a série Vis a Vis a partir da operacionalização do conceito de anger competence (Chemaly 2018), que se refere à capacidade dos sujeitos de expressar raiva, colocando-o em diálogo com Lorde (1981), que a considera “produtiva” apenas quando transforma condições de violência e/ou injustiça. Nesse sentido, argumentamos que a série não reproduz a estigmatização habitual da raiva feminina, mas legitima a sua expressão como resposta à misoginia e revela as práticas e estruturas de su(b)je(t)i(va)ção a partir de uma perspectiva interseccional. Para o demonstrar, abordamos o modo como o sujeito enfurecido é construído através dos eixos de classe e raça, o que a mediatização da raiva revela e os seus efeitos