Resumo em Inglês:

In this article, we use examples from contemporary Anishinaabe artist Rebecca Belmore and the works of the Spiderwoman Theater Troupe to explore how contemporary Indigenous artists in the Americas negotiate the representation of Indigenous identities, identities which are always performed and entangled in a mesh of geographical locations, cultural practices and ideological borders. Through their artistic productions, many Native artists and authors participate in a larger community of voices discussing what it means to be Indigenous in the Americas and what ethical responsibilities or commitments to community are entailed in and by their work.

Resumo em Português:

Partindo do questionamento das fronteiras de gênero textual (McKenzie 2006) como metodologia descolonial, este artigo considera a relevância de The Farming of Bones de Edwidge Danticat (1998) para descolonizar a cronopolítica linear do atraso na qual estão necessariamente imbricadas as narrativas de migração. Ao narrar a supressão historiográfica do genocídio de trabalhadores haitianos na República Dominicana, Danticat expõe a cronopolítica normativa que relega seu significado a um tempo obsoleto e exclusivo à realidade das margens geoculturais. Na esteira da controvérsia dos anos 2000 sobre o gênero testimonio, o texto migrante de Danticat tende a reconduzir a discussão iniciada por Rigoberta Menchú contra as estruturas geoculturais coniventes com a continuidade do militarismo e do genocídio, capturando a historiografia como um terreno de contestação descolonial.

Resumo em Inglês:

Framing genre trouble (McKenzie 1998) as a decolonial methodology, this paper considers the relevance of Edwidge Danticat's The Farming of Bones (1998) for reading migrant texts against the grain of straight temporality which sustains the coloniality of power (Lugones 2007). Scrutinizing historiographic suppression, Danticat's migrant text interrupts the chrononormative portrayal of the Trujillo genocide of Haitian workers in the Dominican Republic as a reality pertaining to an obsolete past and to the geocultural margins alone. Read in the aftermath of the testimonio controversy, it may thus decenter the ongoing deflection of attention from Rigoberta Menchú's impact on the geocultural structures that sanction ongoing military intervention and genocide by refocusing on historiography as a terrain of relentless decolonial contestation rather than prescriptive narrative closure.

Resumo em Inglês:

In this article I analyze how black music may be used to (re)interpret the legacy of slavery in Gayl Jones's literary works Corregidora (1975) and Song for Anninho (1981). I argue that female Classic Blues from the 1920s functions as a testimony of resistance and as a means to recount the stories featured in these two texts. The U.S. black author uses the cadences, themes, and tropes of the blues in order to decode female versions of the black diaspora in the Americas. In addition, by setting her literary work in Brazil, Jones establishes an inter-American dialogue and imagines polyphonic and syncretic spaces where the blues is the model for historical revision. Inscribing my study within the theoretical frame of black feminist cultural studies, I emphasize the importance of the first person enunciative voice in female blues, as well as in the texts selected.

Resumo em Português:

Este ensaio propõe-se a analisar a política de representação da identidade negra nos Cadernos Negros. Apresentam-se inicialmente reflexões teóricas sobre a noção de representação, o papel das narrativas na constituição de indivíduos e grupos sociais, e os efeitos da adoção de um paradigma globalizante único, uma revisão teórica que é embasada, sobretudo, no pensamento de Stuart Hall, Tomaz Tadeu da Silva e Boaventura de Souza Santos. Pensam-se, após, as estratégias adotadas pelos escritores dos Cadernos Negros ante o processo de marginalização, supressão e subversão dos saberes e da cultura negra, e suas opções para dar visibilidade a sua matriz cultural e produção literária. Ressalta-se o modo como o cotidiano negro, invisibilizado na produção hegemônica, é visibilizado pela asserção, repetição e poetização da vivência negra.

Resumo em Inglês:

This essay intends to examine the politics of representation of black identity in Cadernos Negros. Initially, theoretical reflections on the notion of representation, the role of narrative in the constitution of individuals and social groups, and the effects of the adoption of a single holistic paradigm are introduced, a literature review that is grounded primarily on the thought of Stuart Hall, Tomaz Tadeu da Silva and Boaventura de Souza Santos. The strategies adopted by black writers in Cadernos Negros due to the process of marginalization, suppression and subversion of black knowledge and culture are then analyzed, as well as their options to give visibility to their cultural and literary matrix. The findings highlight the way by which black everyday life, made invisible in the hegemonic production, is rendered visible through the assertion, repetition and poeticization of the black experience.

Resumo em Inglês:

As the title itself suggests, the present article aims at drawing a parallel between history and fiction in the novel Face of an Angel, a first person narrative by Mexican-American writer Denise Chávez. Therefore, it is the focus of the current essay to analyse how the intertextuality between Chávez's plot and the historical periods that work as backdrops to the narrative operate. In order to set the boundaries of this research, three phases were selected for their relevance to the development of the narrator/protagonist, Soveida Dosamantes, and also of the Chicanos' historical process: the period that followed the Mexican-American War, the boiling 1960's and the supposedly promising 1980's. For the purpose of carrying out this paper, works by Stuart Hall, María Antonia Oliver-Rotger, Ellen McCracken, among others, were used as its theoretical support.

Resumo em Inglês:

In the wake of multiculturalism, the canon began to make room for the literary production of several groups of immigrants. Arab-American writers, however, remained marginal. Based on the notion of diaspora and its implications, this paper intends to investigate the literary production by Arab immigrants and their descendants in the United States with a view to discussing, in particular, the representation of gender. Through a brief discussion of a few contemporary works, we intend to show that Arab-American writers operate a kind of deessentialization, that is, their works offer gender representations that virtually oppose disseminated stereotypes of Arab peoples. It is our contention that the figure of Scheherazade is revised so as to create alternatives for characters who wish to claim new roles for themselves without giving up their diasporic belonging.

Resumo em Português:

Este trabalho aborda a produção literária de Sergio Faraco, adentrando o estudo de fronteiras e de suas implicações nas esferas antropológica, cultural e identitária, valendo-se de ferramentas dos Estudos Culturais e dos Estudos de Tradução.

Resumo em Inglês:

This article aims at analyzing Sergio Faraco's short stories when it comes to the implications for the question of anthropologic, cultural and identitary boundaries. For that, we will articulate theoretical tools from Cultural Studies as well as from Translation Studies.

Resumo em Inglês:

Travel writing is often perceived as being inevitably informed by a colonial ethos, particularly since the authors of travelogues by necessity must discern differences between their homelands and the societies they describe. However, Priscila Uppal's 2013 memoir Projection: Encounters with My Runaway Mother illustrates that accounts of journeys to other countries are not always primarily motivated by global politics but rather by family dynamics. After all, sometimes one sees a country in a given manner simply because it happens to be the birthplace of people one has come to resent, such as the mother who abandoned you as a child.

Resumo em Português:

A questão da representação de sujeitos nas Américas sempre constituiu um ponto de (des)encontros, convergências. Representar indígenas, escravos e/ou trabalhadores assalariados era uma atividade que incorporava muito de atitude etnográfica e que, no entanto, podia compor a caracterização de uma localidade. Neste trabalho, apresento uma seleção de três fotógrafos, Marc Ferrez, Christiano Junior e Martín Chambi, que contribuíram para formar uma imagem pessoal de determinados locais da América Latina. Os exemplos desses três artistas são comparados com a produção contemporânea da fotógrafa equatoriana Lucía Chiriboga, que incorpora fotos e documentos antigos em sua composição, dialogando diretamente com o passado.

Resumo em Inglês:

The representation of subjects in the Americas has always generated points of convergences, or divergences. To represent Indians, slaves or employees was an ethnographic decision that ultimately helped compose a particular characterization of a specific place. In this paper, I present a selection from three photographers-Marc Ferrez, Christiano Junior and Martín Chambi-whose contributions helped shape a personal / particular view of certain regions of Latin America. In a second moment, I confront these photographs with the works of contemporary Ecuadorian photographer Lucia Chiriboga, who incorporates antique photographs and documents in her art, in a direct dialogue with the past.