To Touch a Story: Crisis and Textual Textures in Argentine Queer Writing

This essay examines two queer literary chapbooks published by art gallery/press Belleza y Felicidad (ByF) in the context of the Argentine 2001 social and economic crisis to show that these texts imagine reading as a performance which entails doing, touching, and being touched back. Through their visual, verbal, and material elements, these works imagine new relations between literature and everyday life and practices in a period in which those practices were dramatically altered. Offering a verbal/visual platform from where to reflect on the deployment of touch and the haptic beyond strictly visual or filmic disciplinary realms, these writings exploit their material dimensions to build specifically literary, historically located "textual textures". This article argues that textual textures contribute to shed light on how these works resonate with, register, and critically intervene in the crisis context

Feminismo, duelo y animalidad: comunidades no humanas en Bestiario de Gabriela Rivera

El presente artículo postula la importancia de las estéticas latinoamericanas emergentes que abordan la conexión entre formas de vida humana y no humana a la hora de dar cuenta de prácticas y nociones contemporáneas de comunidad. Mediante una lectura de la serie fotográfica Bestiario (2015) de Gabriela Rivera, se indaga en los modos en que el cuerpo femenino busca hoy en día repensarse en relación a paradigmas que exceden lo humano para imbricarse con otras políticas. Propongo que, desmantelando la jerarquía humano-animal bajo una política de legibilidad común, Bestiario visibiliza la filiación discursiva y material entre el animal y la mujer en tanto vidas sacrificables en nuestra urgente coyuntura social latinoamericana. Mi análisis sostiene que la obra de Rivera ofrece tanto al (cadáver) animal como al cuerpo femenino aquello de lo que carecen, es decir, un espacio común de duelo frente a las violencias físicas y discursivas a las que se ven constantemente sometidos. Enunciándolos desde la especificidad del campo de las artes visuales, Bestiario devuelve estos cuerpos y materialidades abyectas a un público/comunidad al que la pieza interpela tanto desde el particular lenguaje desplegado como desde la intensa respuesta sensorial y afectiva que suscita

La subjetividad femenina y lo viviente en la literatura y el arte contemporáneos

“¿Qué significaría ser verdaderos realistas en el teatro, esto es, entender el escenario como una red en la que los seres humanos y objetos inanimados están todos en el mismo plano?” En el texto de presentación de su obra teatral Realismo (2016), la dramaturga chilena Manuela Infante se pregunta acerca de la posibilidad de pensar en un teatro no antropocéntrico o, incluso, post-antropocéntrico. En esta línea, el montaje de sus últimas producciones, más que organizarse en torno al ser humano, ..

Feminismo, duelo y animalidad: comunidades no humanas en Bestiario de Gabriela Rivera

This article suggests the centrality of emerging Latin American aesthetic manifestations that address the connection between human and non-human life forms to account for contemporary practices and notions of community. Through a reading of the photographic series Bestiario (2015) by Gabriela Rivera, I investigate the ways in which the female body is being re-imagined in relation to paradigms that exceed the human to become enmeshed with other politics. I propose that, dismantling the human-animal hierarchy, Bestiario visibilizes the discursive and material filiation between animal and women’s lives, too often read as expendable and disposable in today’s urgent Latin American social context. This article argues that Rivera's work offers both the animal (cadaver) and the female body that which they lack: a communal space for mourning in the face of the physical and discursive violence to which they are constantly subjected. Articulating those bodies and abject materialities from the specificity of the visual arts field, Bestiario offers them to a public/community which the piece interpellates both on the basis of the particular language deployed and the intense sensory and emotional response it elicitsEl presente artículo postula la importancia de las estéticas latinoamericanas emergentes que abordan la conexión entre formas de vida humana y no humana a la hora de dar cuenta de prácticas y nociones contemporáneas de comunidad. Mediante una lectura de la serie fotográfica Bestiario (2015) de Gabriela Rivera, se indaga en los modos en que el cuerpo femenino busca hoy en día repensarse en relación a paradigmas que exceden lo humano para imbricarse con otras políticas. Propongo que, desmantelando la jerarquía humano-animal bajo una política de legibilidad común, Bestiario visibiliza la filiación discursiva y material entre el animal y la mujer en tanto vidas sacrificables en nuestra urgente coyuntura social latinoamericana. Mi análisis sostiene que la obra de Rivera ofrece tanto al (cadáver) animal como al cuerpo femenino aquello de lo que carecen, es decir, un espacio común de duelo frente a las violencias físicas y discursivas a las que se ven constantemente sometidos. Enunciándolos desde la especificidad del campo de las artes visuales, Bestiario devuelve estos cuerpos y materialidades abyectas a un público/comunidad al que la pieza interpela tanto desde el particular lenguaje desplegado como desde la intensa respuesta sensorial y afectiva que suscita

La subjetividad femenina y lo viviente en la literatura y el arte contemporáneos

“¿Qué significaría ser verdaderos realistas en el teatro, esto es, entender el escenario como una red en la que los seres humanos y objetos inanimados están todos en el mismo plano?” En el texto de presentación de su obra teatral Realismo (2016), la dramaturga chilena Manuela Infante se pregunta acerca de la posibilidad de pensar en un teatro no antropocéntrico o, incluso, post-antropocéntrico. En esta línea, el montaje de sus últimas producciones, más que organizarse en torno al ser humano, ..

Distant intimacies : queer literature and the visual in the U.S. and Argentina

This dissertation focuses on literary and visual works produced by queer/feminist Argentine press and art gallery ‘Belleza y Felicidad’ (1999-2007) and its encounter with ‘Belladonna*’ (1999-present), a U.S. reading series and publishing project. It seeks to describe the ways in which the precarious modes of production, circulation, and reception of the literary and visual artworks of ‘Belleza y Felicidad’ both enable and are enabled by local and hemispheric social networks grounded on embodied, affective approaches to aesthetic practices. I argue that those queer/feminist creative networks become embedded in works by authors such as Fernanda Laguna, Pablo Pérez, César Aira, and Roberto Jacoby. Bringing academic attention to the fragile materiality of the works produced by these authors, my research involves an effort to map, collect and register the ephemeral literary and visual archive of this crucial moment of Latin American queer cultural production. This dissertation crafts the notion of ‘distant intimacies’ to account for the formal, affective, and sensorial qualities of these works as well as for the local and hemispheric modes of queer relationality on which they are grounded. It shows that, through their investment in ‘distant intimacies,’ the literary and visual objects it studies consistently investigate experimental modes of community formation. That investigation of intimate bonds, in turn, grounds ‘Belleza y Felicidad’ chapbooks and visual artworks’ deployment of what I term ‘dystopian utopias’—queer imaginings, visuals, precarious materialities, and affectively charged performances which function to rethink radical politics at the moment of the Argentine neoliberal social crisis of the late 1990s and early 2000s. This dissertation claims that these works’ dys/utopian projections give account of the multiple ways in which recent and long histories of local and global economic, social, and political violence become enmeshed with queer affects and desires in the Argentine context.  Englis

Performing unreachable bodies : the politics of encounter in Alison Bechdel's Fun home

textReadings of Fun Home thus far have tended to focus on the representation of Alison Bechdel’s traumatic life experiences and on the ways in which the memoir bears witness to that trauma. While Jennifer Lemberg explores the role of drawing in overcoming the difficulty or impossibility of naming the traumatic experiences Alison undergoes (135), Ann Cvetkovich draws attention to the cultural and political work the memoir performs by making space for everyday life histories of trauma and for accounts of forbidden, pathologized desires (111). I would like to explore the ways in which Fun Home foregrounds those illicit desires, and performs that political work, not only through the telling of Alison’s story but, more specifically, by mobilizing the reader’s affective capabilities in the face of what may be read as surprising, emotionally charged objects and situations. I suggest that Bechdel’s memoir boldly sets the stage for an affective and cognitive encounter with out-of-bounds, unapproachable bodies and histories. Our assumptions about hetero and homonormativity, as well as our conception of home and the family as heterosexual, normative spaces, are interrogated in and through those encounters. I analyze the fundamental role of the graphic narrative form, and the employment of archival objects and elements of performance in particular, in setting the stage for the reader’s affective encounter with Alison’s family history.Comparative Literatur

A Relevância do Conhecimento Histórico das Ginásticas na Formação e Atuação do Profissional de Educação Física. doi: http://dx.doi.org/10.5016/1980-6574.2010v16n1p189

The Gymnastics, in its extensive historical background, were part of the reasoning in the area now known as Physical Education. Deepening the knowledge from the historical Gymnastics during his education is extremely important for professional performance in Physical Education, as this knowledge can serve as a tool for the current configuration of the Gymnastics. Thus, this study presents a review of the literature that you want the frontline of the importance of historical knowledge Gymnastics during his education, is looking ahead to fetch reflect the current format of the same from an informed historically built as it is from the preservation of the knowledge that will be legitimized new avenues for the development of Gymnastics.La gimnasia, en su contextualização histórico extensivo, era parte de el fundamentação de la zona hoy conocido como educación física. Hacer más profundo los conocimientos históricos próximos de la gimnasia durante la formación académica es de la importancia de adición para el rendimiento profesional en educación física, la medida de la que aquellos a quienes conocimientos pueden servir trabajan para la configuración en curso de la gimnasia. De este modo, ese estudio presenta una edición corregida de literatura que piensa destacarse para la importancia de los conocimientos históricos de la gimnasia durante la formación académica, perspectivando que busca to refleja el formato en curso de lo mismo que uno históricamente de arranque de unos conocimientos desarrollaron, por lo tanto está empezando de la preservación de haber enviado conocimientos de que los nuevos caminos serán legitimados al desarrollo de la gimnasia.As Ginásticas, em sua extensa contextualização histórica, fizeram parte da fundamentação da área hoje conhecida como Educação Física. Aprofundar os conhecimentos históricos provenientes das Ginásticas durante a formação acadêmica é de suma importância para a atuação profissional em Educação Física, a medida que esses conhecimentos podem servir de ferramenta para a configuração atual das Ginásticas. Destarte, esse estudo apresenta uma revisão de literatura que pretende primar pela importância do conhecimento histórico das Ginásticas durante a formação acadêmica, perspectivando que se busque refletir o formato atual das mesmas a partir de um conhecimento historicamente construído, pois é a partir da preservação de referido conhecimento que serão legitimados novos caminhos ao desenvolvimento das Ginásticas