Contenu du sommaire : Périphérie(s) dans les imaginaires et les récits latino-américains contemporains

 This article uses images to show how the city of Mexico-Tenochtitlán was rebuilt and developed in accordance with the Spanish will, creating specific urban areas frequented by the Spanish IIndians, Black and Mestizo populations. Although Hispanic laws were strict, this reality was not respected for the needs of trade and the spatial mechanism inherited by the local populations. Over the centuries, the representations bear witness to the preservation of the main axes of ancient Mexico-Tenochtitlán, and corroborate the accounts of the chroniclers and travellers who visited the city. The evolution of the representations reveals the disappearance of the lakes in favour of the inevitable urbanisation regulated by the laws of the various governments that used the authoritarian symbols of power over the centre of Mexico City. At the same time, however, recent representations reveal the sense of imperishable glory of the ancient Mexico-Tenochtitlán predicted by Mestizo chroniclers 500 years ago, to which has been added the ancient memory of the city associated with the projection of a fictitious city. The image rehabilitates the memory of the society of the ancient Mexicans from a modern perspective.

Proximity to the coast and exposure to climatic hazards, particularly flooding, are topical issues that raise questions about the habitability of the 'margins' of Montevideo. This theme began to emerge in the 1950s, but it was the reality of social and spatial marginality that particularly attracted the attention of social science disciplines. If the form that housing takes questions the architect, it questions all the more his ability to look at it from the point of view of space and the process of its formation. If the materiality of the habitat appears to be changeable, unfinished and constantly evolving, we are questioning how the particularity of geographical situations can be taken into account. Drawing and mapping these intertwined spatial, social and environmental processes becomes a key challenge before we can consider any transformation that might lead to new forms of exclusion. Our work reveals a gradual integration of the dimensions of the site, the nature of the soil, and an awareness of the presence of water and hazards. The beach at Cerro Montevideo is one of the situations that crystallizes these processes. A prime location for the meat industry in the 19th century, it then became a beach and leisure area. And while economic development showed signs of weakness and fractures, the beach was gradually taken over by informal housing in the second half of the 20th century, becoming denser and more extensive. While the current climate change situation raises questions about this situation with even greater force, the challenge is also to recognise these manufacturing processes.

In this article, it was essential for us to identify the distinctive characteristics of Patrick chamoiseau's pamphleteer speech and to understand how the autobiographer makes use of it on purpose to perform the argumentativeness by which his oratorical art is distinguished. Indeed, the fiery indictment that the writer has drawn up against the oppressors is inextricably linked to a plea made to defend cause of West Indian culture. In others terms, the writer tries to gain the widespread adherence of his readers that he intends to convince by his epistemological, cultural and poetic project, which also has to be ambitious on the political level.In his Autobiographic Essay, Écrire en pays dominé (1997), Patrick Chamoiseau also rethinks the dominant-dominated dialectic in the Caribbean area. Indeed, the writer harshly criticizes the standardizing universal because it aims to model the different cultures according to the Western model. At the same time, Chamoiseau join the Edouard Glissant's camp because he finds in his poetics the expression of insularity and antillanity. All in all, the writer blacklists the Centre-peripheries dichotomy and rehabilitates ‘‘Diversality'' within the objective of elaborating the aesthetics of the ‘‘World-Stone''.

This proposal is based on the analysis of initiatives of social organizations and victims in the processes of memory construction from the local level in Colombia, which shows us dynamics that go from the peripheries to the center, or in other words, social memories that prevail over institutional memory (Sanchez, 2020). The above in a context of implementation of the 2016 peace process and the transitional justice system.We will focus on the spatial, temporal and social limits of the construction of memory where we see porous and/or mobile borders between the periphery and the center, the past and the present, the private and the public. We will thus see examples of the participation of organizations and their memory practices that show the transition from the figure of the victim to the identity of a new political subject.Finally, we will try to demonstrate in these practices a broadening of democracy and of the political spectrum, based on ideas such as that of Rancière (1993) who argues that politics exists when the natural order of domination is interrupted by the institution of a part of those who have no part.

Historically, Brazilian documentaries were constituted as a discourse about the Other. In its early days, adventurous filmmakers, almost all of them European, traveled the country documenting provincial landscapes and families. In modernity, Brazilian documentaries, made by young middle-class intellectuals, pursuing national (or Latin American) identity, denouncing social ills and “giving voice” to the Other: illiterates, peasants, and residents of favelas, all considered peripheral. The contemporary documentary stands out from those manifestations for its relevant production of stories about class, gender, race of its director. This results from a double movement: the old social actors turn the camera towards themselves, while new actors start to make films. This change is rooted to historical circumstances that would have contributed to the both movements, which were also mutually influenced: the advent of new technologies (allowing democratization of production while providing a more intimate approach, a central mark of the so-called Subjective Turn verified by Beatriz Sarlo) and the deflation of narratives based on rigid sociological paradigms, which lost ground after the fall of the Berlin Wall (and, in Brazil in particular, after the end of the military dictatorship) to more subjective approaches in which the Place of Speech is accentuated. In these productions, the "peripheries" often become new “centers”. We will demonstrate this change in contemporary documentary, mentioning the unavoidable production of Eduardo Coutinho (in his openness to the imagination and the account of the Other) and accentuating its consequences on the representation of indigenous people (approaching the project Vídeo nas Aldeias) and black people in power (especially in Sementes — mulheres pretas no poder (Oliveira and Mariano, 2020).

Self-proclaimed libertarian, Milei put an end to the Kirchnerist hegemony which began in 2003 with the presidency of Néstor Kirchner. He takes the oath of office on December 10, 2023, in a complex context: the country is going through a major crisis and Argentine society is deeply divided. It's the grieta (the gap), the invisible border that separates the Argentines.In this work, we propose to study the polarization of Argentine society through the figure of Javier Milei.

This analysis sheds new light on the Center-peripheries dichotomy, under the sign of which the colonial machine operates. It is about accounting for the method and logic used by Glissant to deconstruct the dialectic which historically unites the dominants and the dominated, Westerners and peripherals. The writer follows in the wake of Gilles Deleuze and Félix Guattari, claims rhizome and identity-relationship schemes and uses baroque poetics with the aim of establishing an archipelagic philosophy and cultivating a transversal aesthetic, authorizing him to subsume different communities and various regions of the world under the auspices of living together, far from any propensity of monolithic centralization.

La guerra mortal de los sentidos (2002) written by the honduran writer and philosopher Roberto Castillo, recounts the investigation carried out by El Buscador del Hablante Lenca to find the last speaker of the indigenous Lenca language. The story takes place in the border area with El Salvador, around the fictional locality of El Gual, presented as an “antiguo pueblo de indios” and develops through an accumulation of characters and situations that transforms this space from the periphery into a fundamental center for the identity recomposition of a society that inherited colonial power relations. Not only does the narrative transform the area into a center of international interest – the Buscador is a Spanish linguist and the inhabitants receive a visit from a US ambassador – but it is also populated with characters described as “indios”, usually marginalized in the history of the region. In a fragmented and abundant narrative, Castillo challenges spatial scales, ethnic hierarchies and local and global power relations. The succession of sometimes contradictory portraits of the elusive “Hablante Lenca” challenges, for example, the realism of the utopian resurrection of an original form of the Lenca language and the homogeneous definition of an indigenous identity.

In this article we study the North American film Sleep Dealer as an atypical case within cyberpunk film production. Few films of this genre attempt to portray the future of Latin American countries. First we review the background of this literary and cinematographic genre. Later we recount the plot of the film to find the cyberpunk tropes within it. Finally, we analyze the production context, especially in view of the border sociocultural situation and its elements found in the film. We conclude that Alex Rivera chose cyberpunk as a genre to criticize the border situation of his present, since the model lends itself particularly well to commenting on the specific situations of the border.

In Quarto de Despejo (1963), Carolina Maria de Jesus, through an autobiographical work, narrates her experience in the Canindé favela, in São Paulo. Years later, in Complexo do Alemão (2024), @EuaaMalu, in a native digital narrative published on Wattpad, presents the romance between a couple of residents of Complexo do Alemão, in Rio de Janeiro. In this article, we aim to analyze how the pillars of class, race and gender, through approaches and distances in the two texts, construct what it means to be "favelado" in the 1950s when hunger was an obstacle in Carolina's life and, today, when organized crime transforms favela's socioeconomic relations. Starting from the concept of "in-between" (Bhabha, 1998; Santiago, 2000), characterized as the resistance movement of subaltern groups to power, we seek to understand the meanings of "favelado" expressed in marginal literature, considering the temporal leap and the socio-historical changes in the outskirts of the Southeast region of Brazil.

The narrative of Las malas is defined at the juncture of literary genres, narrative voices and materialities of bodies (Butler). Sosa Villada's denaturalisation of genre norms is made possible by the contrapuntal dialogue between two narrative strategies, between two narrative voices. Based on the notion of discursive performativity, we will examine how the narrative procedures used to denaturalise the hegemonic norm of bodies in turn allow us to denaturalise and generate new literary values in dialogue with the twentieth-century novelistic tradition that makes up the literary canon.

In her 1987 book Borderlands/La Frontera, Gloria Anzaldúa predicted the emergence of the « new mestiza », an identity at the intersection of cultures. This paper takes a comparative approach to Daphne du Maurier's Rebecca (1938) and examines the use of this character/territory by Mexican-Canadian author Silvia Moreno-Garcia in her gothic horror novel Mexican Gothic (2020). More specifically, the use of fantastic elements as a vector of agentivity is put into perspective with the reimagining of the classic codes of the European Gothic novel and the Latin American magic realism. The influence of a social context on the construction of the mestiza heroines' identity, who are placed at the center of the story, and of postcolonial criticism on the marginalization of the British characters, who are relegated to the background, is also highlighted. In Mexican Gothic, the speculative fiction appears to be a liminal field of choice between two socio-cultural areas.

This essay aims to analyze how, in España aparta de mi estos premios (2009), the Spanish-Peruvian Nikkei writer Fernando Iwasaki Cauti talks about cultural exchanges between Japan and Spain, as well as about his personal history of a Nikkei, often classified as "Japanese" by the public and engaged in an identity search of which he is critical. It focuses on specific points considered from a formal point of view: the author's play with the successful transfer of the art of flamenco to Japan, the visual play with frames and photographs where cultural transfers from Japan to the Western world are illustrated, before proposing a linear analysis of a extract. It ends with some considerations about the author's self-irony regarding his work as a writer in search of his roots.