Contenu du sommaire : Autour de Manuel GONZÁLEZ PRADA (Lima, 5 janvier 1844 – Lima, 22 juillet 1918)
|Numéro||no 17, 2018|
|Titre du numéro||Autour de Manuel GONZÁLEZ PRADA (Lima, 5 janvier 1844 – Lima, 22 juillet 1918)|
|Texte intégral en ligne||Accessible sur l'internet|
- Éditorial - Joël Delhom, Néstor Ponce, Comité de rédaction d'Amerika
- Présentation du dossier sur M. González Prada - Joël Delhom
Textes de Manuel González Prada
Combat politique et innovation esthétique
- Los capitalistas - Manuel González Prada
- Manuel González Prada et le régime de la propriété. Idées radicales et esthétique d'une sémiotique intertextuelle de propagande - Joël Delhom L'utilisation récurrente par Manuel González Prada de citations et références est ici analysée comme une esthétique signifiante d'un point de vue sémiotique. L'article se concentre sur les modalités d'expression de l'opinion de l'auteur sur le thème de la propriété, d'abord la propriété intellectuelle puis celle des moyens de production, qui est finalement rapprochée de sa réflexion sur la question indienne au Pérou. Il met en évidence une évolution idéologique radicale qui s'exprime de manière privilégiée à travers des intertextes.The recurrent use by Manuel González Prada of quotations and references is analysed here as being a signifiant aesthetic from a semiotic point of view. This paper focuses on how the author expresses his opinion on the theme of property, first the intellectual property, second the ownership of means of production, which is finally related to his thoughts on the Indian question in Peru. It brings to the fore a radical ideological evolution that is preferentially expressed through intertexts.
- Abelardo Gamarra y un lugar llamado Pelagatos (o los extramuros de la modernidad) - Jannet Torres Espinoza In 1885, Abelardo Gamarra created Pelagatos, an imaginary town in the Peruvian sierra, with rough geographical details and marked social deficiencies. I propose Gamarra with Pelagatos tried to represent Lima's fears of not being a modern city.
- Cura y corregidor - Manuel González Prada
- La réflexion de Manuel González Prada et José Carlos Mariátegui sur l'intégration de l'Indien à la Nation : Aspects idéologiques et esthétiques - Nicole Fourtané Cet article met en lumière l'évolution de la réflexion des deux principaux penseurs radicaux sur la situation des Indiens dans le pays : véritables serfs, parias, chair à canon et pourtant cœur de la nationalité. Pour Manuel González Prada, ils sont le véritable Pérou. Il faut faire d'eux des citoyens, c'est-à-dire des hommes libres. Pour José Carlos Mariátegui (1894-1930), l'Indien est le ciment de la nationalité péruvienne en formation. Il veut construire l'État socialiste sur le modèle de l'ayllu incaïque et les Indiens eux-mêmes doivent être les artisans de cette construction. Les illustrations de la couverture de la revue Amauta (1926-1930), qui privilégient le monde andin et sa culture, se veulent au service de ce projet politique.This paper brings to light the evolution of the consideration of principal Peruvian radical thinckers about Indians's situation in the country : real serfs, outcasts, cannon fodders but heart of the Nation. To Manuel González Prada, they are the real Peru. It is necessary to make them citizens, indeed free men. To José Carlos Mariátegui (1894-1930), the Indian is the cement of the growing Peruvian nationality. He wants to build the socialist state on the model of Inca ayllu and Indians themselves must be architects of this construction. The cover-page illustrations of the review Amauta (1926-1930), that favour the Andean world and its culture, are meant to serve this political project.
- Manuel González Prada. Preguntas, respuestas y propuestas sobre la cuestión indígena durante un cuarto de siglo del Perú contemporáneo, 1871-1906 - Ivanna Margarucci In this article we aim to address Manuel González Prada's conception about the indigenous matter, analyzing through history, theory and literature, the piece of work in which he has referred to this subject during his intellectual trajectory.
- Civilização e barbárie no pensamento de Manuel González Prada - Ricardo Sequeira Bechelli This article aims to illustrate the importance of the thought of Manuel González Prada in the debate on the relationship between civilization and barbarism. González Prada sought to demonstrate and criticize in the works Páginas Libres and Horas de Lucha, the dichotomy between the imaginary constructed by the Peruvian elite of civilization, showing that the barbarism attributed to the Peruvian people represented nothing more than a form of social control. That only this through his struggle is that he could overcome the situation to which he was subjected.
- El himno de las mujeres - Manuel González Prada
- El feminismo liberal en el Perú decimonónico: Manuel González Prada y la Generación de escritoras de 1870 - Mónica Cárdenas Moreno In the last two decades of the nineteenth century, and in the context of national reconstruction following the Pacific War (1879-1883), a new thought influenced by liberalism and positivism emerges about the question of women. Manuel González Prada and others contemporary women writers of the generation of 1870 like Clorinda Matto and Mercedes Cabello criticized the role of the Church in the education of women, denounced the inequalities and the alienation of the woman in the institution of the wedding. Thus, they put in the middle of the debate the fate of the “angel of the home” exalted by the previous romantic generation. In this work, we will present a comparative analysis of the three writers cited around three key ideas: the function of women in the development of societies; the woman as agent of transformation of her own condition; and the visibility of women's work.
- Manuel González Prada's “The Slaves of the Church”: From exclusion to inclusion in the postcolonial debate1 - Thomas Ward The Peruvian poet and essayist Manuel González Prada deserves to be considered among the authors known worldwide as post-colonial theorists. Like José Carlos Mariátegui and José María Arguedas, González Prada is accorded a primary place in Peruvian decolonial thought, but mainly in Peru. In the international orbit of literary criticism or of cultural or postcolonial studies, however, he is only remembered in anthologies with the inclusion of a poem or his perceived-as-representative essay “Our Indians”; or with sporadic critical articles appearing on some aspect of his oeuvre. While authors such as Achebe (Nigeria), Ngũugĩ (Kenya), and Bhabha (India/UK/USA) are included in the category “postcolonial”, rarely are authors from Latin America or Latino authors from the United States included. This article attempts a small step toward rectifying the paradoxical colonialist exclusion of Hispanics from Anglophone Postcolonial Studies by studying González Prada's early twentieth-century writing that compared women's subordinate condition to men as “slavery”, a slavery resulting in part from the Church's view of women. The primary essay studied, “The Slaves of the Church”, dates from 1904.
- « Entre los dos crepúsculos del día » : Lo olvidamos todo (1967) de Fanny Rabel - Dina Comisarenco This paper studies some of the varied iconographic references that the Polish-Mexican artist Fanny Rabel (1922-2008) combined in her work Lo olvidamos todo (1967), in order to express very significant aspects of some of the parallels that exist between individual and collective memory. Rabel's characteristic gender perspective, used to take into consideration personal experiences and feelings, was most probably influenced in this case by observing the painful loss of personal memory suffered by his father a few years earlier, which opened the door to interpret the historical amnesia of her time, and the need to combat it. In her work, in correspondence with Freudian theory, Rabel gave visual shape to the indestructibility of the traumatic past, proving that this is incessantly repeated when it is apparently "forgotten," that is, not recognized or developed, both in personal and social levels.
- La poética de la frontera - Antonio Prieto Stambaugh When using the term “border poetics” I have in mind works of visual, literary and performing arts that hail from the US-Mexico border region, to address its complex social, political and intercultural issues. A pioneer in this field was Chicana writer Gloria Anzaldúa, who published her ground-breaking book Borderlands/La Frontera. The New Mestiza, in 1987. Also during the mid-80s the Tijuana/San Diego area saw the creation of the legendary Border Arts Workshop / Taller de Arte Fronterizo (BAW/TAF), a group of Latino, Mexican, and US artists that used conceptual art (especially site-specific performances along the border line) to denounce racist immigration policies and to address the hybrid border culture. Guillermo Gómez-Peña, a founding member of BAW/TAF, moved on to create solo performances such as Border Brujo, and during the mid-1990s co-founded La Pocha Nostra in San Francisco. With the current climate of increased xenophobia and anti-immigrant sentiment in the US, a new generation of artist-activists such as Lukas Avendaño are engaged in border poetics as a vehicle of affirmation and resistance.
- Travestismos folks en México - Gloria Luz Godínez Rivas Mexican nationalism has attempted to fix identities, firmly entrenched in music and popular dances, transforming them into folklore vignettes based on heterosexual couples —frugal men with strong movements, along with beautiful, smiling women dressed up in colourful dresses—, as the image of the fatherland. Each time that we see the typical Mexican folk ballet postcard, we should remember that, behind those dances and those bodies, lay the country's open wounds. In the following pages, we will dismantle the nationalist framework that implies the use of biological metaphors, such as race and gender. In order to question the staging of popular culture, we propose divergent images and folk cross-dressings, proving that gender is intentional and performative or, in Butler's words, that every gender implies cross-dressing.
- Buenos Aires 7 de agosto de 1980. Première photographie argentine de Samuel Rimathé - Diego Jarak The article aims to analyze the first shot made by the photographer Samuel Rimathé in Argentina, Buenos Aires 7 de agosto from 1890. The contribution of the Swiss photographer to the Argentine visual history is indisputable. Added to this is its extraordinary ability to observe, and the quality of its work, both in terms of their technical aspects and their compositions.
- Pensar Malvinas : José Hernández y Paul Groussac - Mónica Bueno On the Malvinas issue in Argentina, two well-known names that wrote little known texts on the subject. José Hernández and Paul Groussac, demand our reading. Their figures refer to different areas of Argentine culture and define historical references. They call us from the past to keep thinking.
- Un poeta latinoamericano en la Gran Guerra: Salomón de la Selva y El soldado desconocido (1922) - Katharina Niemeyer The Great War (1914-1918) has his effects also in latinamerican literature and culture. The book of poem El soldado desconocido (1922) by the then young nicaraguanian author Salomon de la Selva, who participated in the war for the last four weeks, is an important and illustrating example. The present work studies the way and the intentions of the poem in the european and latinamerican context.
- La mémoire de l'Afrique centrale chez les esclaves du Rosaire à Minas Gerais, Brésil - Larissa Oliveira e Gabarra This text is a study of social history on the memory of Brazilian congadeiros and on the material culture of some populational groups of the Democratic Republic of Congo. He proposes to understand the slave condition in the Minas Gerais (Brazil) in the nineteenth century by means of oral history instrumental. The researcher initially conducted interviews with followers of the Congado, an Afro-Catholic cultural. After, with apport the literature about theme, the researcher went to the Royal Museum of Central Africa to collect images representing ethnographic objects and dances of some populational groups of the DRC. In a second phase of the field, these images were shown to the congadeiros so that they could reflect with the researcher on the relations between these dances and the material culture of Congado. Thus, the history of congadeiros in Minas Gerais reconstructs the connections among the populations in central Africa, the slaves in Brazil, Kingdom Kongo in Africa and Kingdom Congo in Brazil.
- « Entre los dos crepúsculos del día » : Lo olvidamos todo (1967) de Fanny Rabel - Dina Comisarenco
Opinion / Varia
- ¡Que viene un ciclón! - Lorenzo Lunar
- “La necesidad de contar la dictadura argentina en palabras propias”. Una entrevista a Inés Garland, Mariana Eva Pérez y Julián López - Katharina Niemeyer, Victoria Torres
- Guido Boggiani: el amante anti racialista del otro indígena - Éric Courthès
- Silvia Rivera Cusicanqui, Zulema Lehm Ardaya, Lxs artesanxs libertarixs y la ética del trabajo - Joël Delhom
- Huascar Rodríguez García, La choledad antiestatal. El anarcosindicalismo en el movimiento obrero boliviano (1912-1965) - Joël Delhom
- Vilma Liliana Franco Restrepo, Orden contrainsurgente y dominación - Jonas Loquer
- Charles Wright Mills, L'imagination sociologique - Yves Laberge
- Andrés Reséndez, The Other Slavery : The Uncovered Story of Indian Enslavement in America - Yves Laberge
- Farid Ameur, Le Ku Klux Klan - Yves Laberge