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Books on the topic 'Aesthetics, Colombia'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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1

Luis Vidales y la crítica de arte en Colombia. Universidad Nacional de Colombia, Sede Bogotá, 2010.

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2

Of beasts and beauty: Gender, race, and identity in Colombia. University of Texas Press, 2013.

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3

La novela policíaca en Colombia. Editorial Universidad de Antioquia, 2001.

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4

Amalia, Salazar-Pöppel, ed. Las vanguardias literarias en Bolivia, Colombia, Peru, Ecuador, Perú: Bibliografía y antología crítica. Iberoamericana, 1999.

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5

Colombia, Museo Nacional de, ed. Picasso: Museo Nacional de Colombia, mayo 13-agosto 11, Bogotá, 2000. Museo Nacional de Colombia, 2000.

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6

Pragmatismo y voluntad: La idea de nación de las élites en Colombia y Argentina, 1880-1910. Universidad Nacional de Colombia, Facultad de Ciencias Humanas, 2004.

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7

Press, Duke University, ed. The politics of taste: Beatriz González and Cold War aesthetics. Duke University Press, 2019.

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8

Medina, Alvaro. El arte colombiano de los años veinte y treinta. Colcultura, 1995.

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9

Congreso Colombiano de Filosofía (1st 2006 Bogotá, Colombia). I Congreso Colombiano de Filosofía: Memorias. Sociedad Colombiana de Filosofía, 2008.

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10

Gerardo, Acosta Pedro, ed. I Congreso Colombiano de Filosofía: Memorias. Sociedad Colombiana de Filosofía, 2008.

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11

¿Qué es la experiencia estética?: Hechos artísticos e ideas estéticas en la obra de cuatro artistas colombianos : Germán Botero, Beatríz González, Miguel Ángel Rojas, Doris Salcedo. La Carreta Editores, 2009.

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12

Stanfield, Michael Edward. Of Beasts and Beauty: Gender, Race, and Identity in Colombia. University of Texas Press, 2014.

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13

Consuelo, Mendoza de Riaño, ed. Las Más bellas!: Historia del Concurso Nacional de Belleza, Colombia : 60 años. C. Mendoza Editores, 1994.

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14

Belleza, fútbol y religiosidad popular. Ministerio de Cultura, 2001.

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15

María, Ochoa Gautier Ana, and Cragnolini Alejandra, eds. Músicas en transición. Ministerio de Cultura, 2001.

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16

Birenbaum Quintero, Michael. Rites, Rights and Rhythms. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199913923.001.0001.

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Colombia has the largest black population in the Spanish-speaking world, but Afro-Colombians have long remained at the nation’s margins. Their recent irruption into the political, social, and cultural spheres is tied to appeals to cultural difference, dramatized by the traditional music of Colombia’s majority-black Southern Pacific region, often called currulao. Yet that music remains largely unknown and unstudied despite its complexity, aesthetic appeal, and social importance. Rites, Rights & Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific is the first book-length academic study of currulao, inquiring into the numerous ways that it has been used: to praise the saints, to grapple with modernization, to dramatize black politics, to demonstrate national heritage, to generate economic development, and to provide social amelioration in a context of war. The author draws on both archival and ethnographic research to trace these and other opinions about how currulao has been understood, illuminating a history of struggles over its meanings that are also struggles over the meanings of blackness in Colombia. Moving from the eighteenth century to the present, this book asks how musical meaning is made, maintained, and sometimes abandoned across historical contexts as varied as colonial slavery, twentieth-century national populism, and neoliberal multiculturalism. What emerges is both a rich portrait of one of the hemisphere’s most important and understudied black cultures and a theory of history traced through the performative practice of currulao.
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17

Murgia, Mario. Either in Prose or Rhyme. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198754824.003.0016.

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This chapter explores how the importation of Milton’s Protestant discourse answered Hispano-America’s post-Independence need to disseminate a notion of the modern epic and its libertarian principles. The first Latin American translations of Paradise Lost developed in surprising succession: a verse El Paraíso perdido in 1858 from Mexico, followed by a prose version in 1868 and another verse translation in 1896 from Colombia. The texts and translators’ prefaces of these versions display their clear intentionality and postcolonial stakes. While these translations cooperate to affirm a regional and cultural statement, they are distinctive. Murgia demonstrates the cultural and aesthetic aims of the Mexican translator and his intellectual milieu, as well as the pious objectives of the Colombian translators.
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18

Tucker, Joshua. Peruvian Cumbia at the Theoretical Limits of Techno-Utopian Hybridity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0005.

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This essay analyzes the transformation of Peruvian chicha, an adaptation of Colombian cumbia, from an unassuming working-class music into a central feature in new nationalist discourses that seek to overcome older elitist and racist models of national identification from transnational perspectives. As part of this discussion, the chapter considers the work of intellectual cosmopolitans who appeal to notions of electronic experimentation, psychedelic playfulness, and musical agency, thus resignifying chicha as an aesthetic solution for the intellectual shortcomings of an earlier era. Chicha musicians become retrospective theorists of international hybridity and nationalist mestizaje whose experimentalism challenges the limits of previous identity discourses, providing aesthetic utopian alternatives.
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19

Bollington, Lucy, and Paul Merchant, eds. Latin American Culture and the Limits of the Human. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.001.0001.

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Latin American Culture and the Limits of the Human curates an important series of case studies of the posthuman imaginaries and nonhuman tropes employed in a broad range of Latin American cultural texts, from the narratives of Las Casas to new media and installation art in contemporary Mexico, Colombia, and Argentina. The book’s introduction highlights the ways the figure of the “limit” has functioned as an important site of aesthetic, ontological, and political experimentation and reworking in Latin American cultural production, and underlines the potentialities and possible risks associated with the use of posthuman frameworks in the region. The different chapters examine the ways human borders and boundaries have been tested, undermined, and reformulated in relation to issues including dictatorial violence and drug war necropolitics, ecological storytelling, indigenous thought systems, gender, race, history, and new materialism. The book as a whole marshals a wide range of theoretical frameworks and points to the complex ways Latin American culture intersects with and departs from global formulations of humanism and the posthuman.
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