Latin American Tobero Research Paper

For decades, the history of Latin America has been shrouded in a cover of Spanish glory and myth that misleads and complicates the views of historians everywhere. Myths such as the relationship between natives and conquistadors, and the individuality of the conquistadors themselves stand as only a few examples of how this history may have become broken and distorted. However, in Seven Myths of the Spanish Conquest Matthew Restall goes to great lengths to dispel these myths and provide a more accurate history of Latin American, in a readable and enjoyable book.

We often villainize the countries of Latin America, making them out as lands filled with violent, less civilized, poor people. Those who are uneducated about Latin America and the culture may apply the things they know about one culture in Latin America or the Caribbean to other countries in the area. We don’t realize that some of the stereotypes are directly influenced by the legacies left by European colonialism. Scholars studying colonialism have determined five colonial legacies that are seen in many post-colonial countries. These colonial legacies are authoritarian government, power of the Roman Catholic Church, a social hierarchy, economic dependency, and the large landed estate. In the film Pelo Malo, Junior, a young boy from a

This new way of thinking that Gutiérrez conveys the readers to this idea about Nepantla and conocimiento which she drew upon from writing by Gloria Anzalda. Conocimiento has multiple meanings in Spanish, but can be translated into knowledge, having a connection with others, and “in solidarity” (Gutiérrez 2012). She also presents the idea of existing in a state of Nepantla, which she described as a space with no solid ground, an uncomfortable state, and a new way of asking questions or approaching something (Gutiérrez 2012). I found this new idea compelling and an interesting new lens adapted to the idea of equity. The article discusses Nepantla as a state or something that can occur in phases. Starting with the phase of understanding one’s

I attended both days of the Borderlands: A Critical Graduate Symposium. On the first day, I attended Session 1 (B) Cultural Navigation of Identity. I was able to hear from Pauline Batista who spoke about raceless land of caicaras and quilomobolas; challenging notions of institutional paradigm of preservation and the UNESCO contributions to the emergence of wretched cinema through tale of the unwritten. Next, Jihan Asher’s presented her research titled, Navigating Bipolarity: The Generative Space of the In-between. The final person I was fortunate enough to listen to was Julian Cook, he shared his newly published paper called, Niggaz Wit Attitudes vs. BuKnas de Culiacan: Conceptualizing Otherness through the Imagery Created by the Rap and Narcocorrido Musical Genres. This session, personally, was very confusing to understand and follow, but I was able to enjoy and learn about the new research and concepts presented by these three very intellectual graduate students. The following day was also composed of many different graduate and PhD students excited to share their knowledge. I had the pleasure to listen to three different women present there own research, this session was titled; Inequalities in Education, Gender, and Intersectionality. I’ve decided to give a summary and reflection on two of the three speakers that I found very interesting with the Inequalities in Education, Gender, and Intersectionality section of the symposium.

Gonzalez also explains how he feels like there have been many ‘macroevents’ and ‘macroformations’ that are going on now in the 20th century, which can be tied back to the 16th century and the Protestant Reformation. He talks about how history has shaped where the Hispanic culture is today, and how that ties into how they view theology and the Word.

It is said that he has a “protobaroque” style that has its culmination in Rubens. This is, as De Tolnay believes, because his works that translate the passionate side of his temperament are composed by masses in constant moving; which are full of energy as the Centauri or the Prigioneri. The fact that he is considered to be the preconception of baroque style is easily understood as he juxtaposed various bodies on the same surface, be it sculpture or be it painting, as well as varying their portrayal.

In this book, he showed the good skill, which keeps touchy balance between modern and tradition, feeling it with his fingertips. The words ‘the true modern,’ he said is today of course and also the weight of tradition is past time,

Rafael Barrett`s essay is divided into 6 important chapters where he reveals a series of conflicts and contradictions in the Paraguayan society where he also shows the intimate relationship with the suffering of the slaves `el dolor Paraguayo` as in the first line of the first chapter `La Esclavitud y el Estado` he affirms: `Es preciso que sepa el mundo de una vez lo que pasa en los yerbales`(p7). This statement, `testimonio` demonstrates that Rafael Barrett wants his text to necessarily be reachable by the world so that they-the Paraguayan society find the truth of what is happening `en los yerbales` so that it can be used as a modern example of anything that can conceive and execute the human greediness; `Es preciso que cuando se quiera citar un ejemplo modern de todo lo que puede concebir y ejecutar la codicia humana, no se hable solo de Congo, sino del Paraguay`. (p7)

Above all it is a contemporary commitment to acknowledge an intellectual path which has contributed to a better understanding of Latin America’s own history and problems and also to project them into the future. These intellectual roots situate me in a particular scholarly, political, and epistemological vein and it also contributes to set up the foundations for further critical research on communication and cultural studies in Latin America. The commitment of the founders of the Latin American school of communication to engaging with their communities and their contemporary struggles should inspire our own work,

Francis Alÿs has startled and dumbfounded our contemporary art world time and again. As a Belgian architect turned artist, now residing in Mexico city, Alÿs is able to offer a multi-cultural approach to the problems and fallacies of today. Although Alÿs is clearly interested in themes of informal manual labor and homelessness in Mexico, failed promises to assist in the modernizing of Latin America, and society constructed limits in immigration and movement, his work tends to lend itself more towards poetic attitudes and moods of ephemera, instead of adopting a loud and violent feel. His projects rotate around ideas of magical absurdity, which leaves them open to interpretation and moves political and economic crises into landscapes of lyric, where they can be re-examined. “The most significant question he poses is whether such poetic acts, while underlining the ‘senselessness’ of particular real situations, can also create a space for new ways of thinking” (1). The way that Alÿs works reflects the fluidity of his ideas, he begins with a concept. He has spoken about being influenced by everything from fairy tales and children’s book to Belgian Surrealism and early Italian Renaissance painting, and Alÿs has even begun projects based entirely on an anecdote he has happened upon. Then come the projects themselves, which are mostly actions and events. Some of these actions require months of developing and financing, and others are modest and abrupt. Francis will

“Open Veins of Latin America” by Eduardo Galeano primarily focuses on historical events following the “discovery” and colonization of Latin America. This book however, unlike many others has very distinct and contrasting ideas. In his historical piece, Galeano incorporates many peculiar ideas that have since caused controversy following the publishing of the book in the year 1973. As we examine the cover, the subtitle (“Five Centuries of the Pillage of a Continent”) gives us an antecedent of our authors viewpoint on the subject and what’s to come later in the book. Without a doubt, one of the major themes and the books main purpose is to clarify the events that took place in Latin America involving the pillage of land and natural resources by foreigners. In his “Seven Years Later” segment of the book, Galeano claims that he wanted to uncover lies and things that have been hidden in the history books. Galeano also wants to uncover the social, economic, and political disparity that Latin American indigenous people were/are facing compared to and as a direct result of foreigners who were/are benefitting and prospering from Latin American land and people.

There is an immediate indication on the back cover of Theresa Alfaro-Velcamp’s So far from Allah, So close to Mexico that this is field-altering scholarship—the general topics of the book for classification purposes are listed as Middle Eastern Studies and Latin American Studies. The equating of these two Area Studies topics promises a re-examination of traditional approaches to the scholarship that exists on the Middle East and Latin America. This work is a valuable contribution to the growing number of works that link these two world areas not usually studied together and that strive to deepen our understanding of a world order too-often reduced to facile categorizations such as East/West or the developed world versus the developing world. A truer understanding of the world system is provided by studying issues such as international migration. This issue and others like it complicate a more basic understanding of the world which has gained much currency of late. Alfaro- Velcamp’s So far from Allah directly challenges approaches to international affairs that result in an ‘us versus them’ framework.

In The Motorcycle Diaries, Guevara’s discoveries of the devastating effects of US neo-colonialism in Latin America are only fully understood upon his rediscoveries of the equally harmful nature of not only tourism, but also his own vagabond traveling. Through their encounters with farm labourers, Guevara’s initial discovery of the Araucanian race’s “deep suspicion of the white man who… now continues to exploit them” is shown through the prominent motif of sharing mate, which highlights the early understanding between them. However, this understanding is expanded upon reaching Cuzco, where the symbolic juxtaposition of the three layers of the city emphasises his reassessment of how “a hesitant tourist [also] pass[es] over things superficially”. Even further, in Guevara’s encounter with the Chilean communist couple, graphic imagery accentuates his rediscovery of the “parasitic nature” of not

This work is not only a result of Martín Barbero’s erudition and his interdisciplinary approach, but it is also a product of his journey across Latin America and his meetings in several think tanks and universities in the continent in the mid-1980s. Martín Barbero was eager to know what communication scholars were doing in the field, “he interviewed them, asking what we were doing and how, and what were our models”, remembers

My proposal focuses on a particular set of cultural practices, organizations, productions, and identities, such as those mobilized by the performance of investigative journalism in Chile in a post-authoritarian moment. I am particularly acknowledging culture’s conception as a process and a set of practices and not a collection of things (Hall, cited by Rose, 2016: 2), constituted by “interworked systems of construable signs” by which culture is actually a context within which “social events, behaviors, institutions, or processes” can be intelligible, “thickly described”, and not an outcome of some measurable causes (Geertz, 2008: 36). In this vein, this proposal recognizes Martín Barbero’s perspective in which popular and