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Journal articles on the topic 'Latin American fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

González, Aníbal. "La ciencia ficción latinoamericana y el arte del anacronismo: "Otra" ciencia ficción es posible." Revista de Estudios Hispánicos 58, no. 1 (2024): 145–61. http://dx.doi.org/10.1353/rvs.2024.a931923.

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Abstract: This essay seeks to establish a broader conceptual framework for studying the historical development of Latin American science fiction and its recent turn—in a genre usually focused on other times and worlds—to references to the past and present of Latin American history and culture. Valuable current studies of Latin American science fiction have been devoted primarily to the history of the genre itself and to tropes that have recurred in certain periods of the development of Latin American science fiction, such as cyborgs, androids, and zombies. Few have been devoted to the issues a

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2

Haywood, Rachel. "The Emergence of Latin American Genre Science Fiction: The Morel Hinge." Revista de Estudios Hispánicos 58, no. 1 (2024): 163–83. http://dx.doi.org/10.1353/rvs.2024.a931924.

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Abstract: The evolution of science fiction (SF) in Latin America has been affected concurrently by Northern genre norms and local literary and cultural realities, leading to the development of science fictions unique to the region. Modern genre SF was not imported wholesale to Latin America from the North, nor was it created in a vacuum. So how did the genre transition in Latin America in the 1940s from the relative trough in SF production in the interwar period to the Golden Age of the decades that followed? Adolfo Bioy Casares is perhaps the closest thing we have to an influencer and a bellw

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3

Corwin, Jay. "History, Mythology, and 20th Century Latin American Fiction." Theory in Action 14, no. 4 (2021): 4–16. http://dx.doi.org/10.3798/tia.1937-0237.2126.

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The history of the Americas from the colonial period is marked by a large influx of persons from Europe and Africa. Fiction in 20th Century Latin America is marked by ties to the Chronicles and the history of human melding in the Americas, with a natural flow of social and religious syncretism that shapes the unique literary aesthetics of its literatures as may be witnessed in representative authors of genuine merit from different regions of Latin America.

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4

Shaw, D. L., and John King. "Modern Latin American Fiction: A Survey." Modern Language Review 84, no. 2 (1989): 510. http://dx.doi.org/10.2307/3731648.

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5

McQuade, Frank, and Philip Swanson. "Landmarks in Modern Latin American Fiction." Modern Language Review 89, no. 1 (1994): 244. http://dx.doi.org/10.2307/3733222.

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6

Grigore, Rodica. "Introduction: Re-reading Latin American Fiction." Theory in Action 12, no. 4 (2019): 1–6. http://dx.doi.org/10.3798/tia.1937-0237.1929.

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7

Fernández-Levin, Rosa. "Critical Approaches to Latin American Fiction." Latin American Research Review 29, no. 1 (1994): 249–59. http://dx.doi.org/10.1017/s0023879100035457.

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8

Higgins, James, and John King. "Modern Latin American Fiction: A Survey." Bulletin of Latin American Research 7, no. 2 (1988): 341. http://dx.doi.org/10.2307/3338302.

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9

Turton, Peter, and Philip Swanson. "Landmarks in Modern Latin American Fiction." Bulletin of Latin American Research 9, no. 2 (1990): 311. http://dx.doi.org/10.2307/3338505.

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10

Kane, A. T. "Ecological Imaginations in Latin American Fiction." Interdisciplinary Studies in Literature and Environment 19, no. 2 (2012): 409–10. http://dx.doi.org/10.1093/isle/iss041.

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11

Forns-Broggi, Roberto. "Ecological Imaginations in Latin American Fiction." Review: Literature and Arts of the Americas 45, no. 2 (2012): 255–56. http://dx.doi.org/10.1080/08905762.2012.719783.

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12

Brown, Alexandra. "404 Utopia Not Found: Cyberpunk Avatars in Samanta Schweblin's Kentukis." PMLA/Publications of the Modern Language Association of America 138, no. 2 (2023): 258–73. http://dx.doi.org/10.1632/s0030812923000123.

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AbstractScience fiction criticism has long attended the relationship between form and utopian thought. However, increased study of Latin American narratives has allowed for a return to foundational science fiction theories with renewed perspective. While critics have recognized the tendency of Latin American science fiction to slip between genres, a trend termed the “slipstream phenomenon,” there has been little analysis of its impact on utopian imagination. As a result, we miss one of the region's most unique contributions to broader science fiction traditions. In response, this article locat

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13

Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (December 29, 2013): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26287.

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The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of major

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14

Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (August 5, 2014): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26295.

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The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of major

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15

McNeil, Rhett. "Just How Marginal Was Machado de Assis? The Early Translations and the Borges Connection." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (2014): 80. http://dx.doi.org/10.21992/t9kk8f.

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Brazilian literature is traditionally understood to have developed in relative isolation from the literatures of Hispanophone Latin America, inhabiting a peripheral cultural space within the already peripheral sphere of Latin American literature. Perhaps the most striking example of this traditional conception is the commonly held assumption of the complete literary-historical separation of two of Latin America’s most renowned fiction writers: the Brazilian Joaquim Maria Machado de Assis and the Argentine Jorge Luis Borges. Machado de Assis, in particular, is often regarded as inhabiting a dou

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16

Woodbridge, Hensley C., and Keith H. Brower. "Contemporary Latin American Fiction: An Annotated Bibliography." Hispania 74, no. 4 (1991): 898. http://dx.doi.org/10.2307/343741.

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17

Schulte, Rainer, and Suzanne Jill Levine. "The Subversive Scribe: Translating Latin American Fiction." World Literature Today 66, no. 3 (1992): 490. http://dx.doi.org/10.2307/40148411.

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18

Berg, Mary G., and Suzanne Jill Levine. "The Subversive Scribe: Translating Latin American Fiction." Chasqui 21, no. 2 (1992): 69. http://dx.doi.org/10.2307/29740488.

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19

Martínez, Elena M., and Suzanne Jill Levine. "The Subversive Scribe. Translating Latin American Fiction." Chasqui 21, no. 2 (1992): 96. http://dx.doi.org/10.2307/29740499.

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20

Sassón-Henry, Perla. "Hotel Minotauro : A Polyphonic Novel in a Digital Labyrinth." Rocky Mountain Review 77, no. 2 (2023): 190–210. http://dx.doi.org/10.1353/rmr.2023.a921588.

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Abstract: In Hotel Minotauro (2013-2015), Doménico Chiappe combines creative fiction and non-fiction and makes use of digital media to rearticulate, reorient and deepen iconic narratives to make them resonate with contemporary Latin American cultural dilemmas: the actuality and legacy of authoritarianism and exploitation. Hotel Minotauro exemplifies the potential of digital media to reinvigorate and perpetuate classical discourses as expressions of Latin American reality.

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21

Pollack, Sarah. "After Bolaño: Rethinking the Politics of Latin American Literature in Translation." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 660–67. http://dx.doi.org/10.1632/pmla.2013.128.3.660.

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On 25 november 2012, when the united states novelist jonathan franzen opened mexico's feria internacional del libro de guadalajara, he spoke of his experience of reading Latin American fiction. Asked about the region's representation through literature in English translation, Franzen stated that, magic realism having now “run its course,” Roberto Bolaño had become the “new face of Latin America.” Franzen's words echo what has almost become a commonplace in the United States over the last five years: naming Bolaño “the Gabriel García Márquez of our time” (Moore), after the publication by Farrar

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22

Morales, Luis Fernando. "La ficción latinoamericana en España: Miradas tradicionales de identidad." Cuadernos.info, no. 26 (2010): 19–28. http://dx.doi.org/10.7764/cdi.26.9.

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23

Novaes, Allan Macedo de, and Carlos Augusto Souza Magalhães. "Ficção audiovisual adventista. Um estudo netnográfico sobre as reações de internautas às produções da Igreja Adventista na plataforma de streaming Feliz7play." Revista Eclesiástica Brasileira 80, no. 315 (2020): 61. http://dx.doi.org/10.29386/reb.v80i315.2022.

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O presente artigo busca analisar as reações e comentários de seguidores de páginas e canais oficiais da Igreja Adventista do Sétimo Dia nas redes sociais sobre a produção de conteúdos de ficção audiovisual na plataforma de streaming Feliz7play. Para tanto, o artigo elabora um panorama socio-teológico da relação conflituosa entre o adventismo e a ficção audiovisual, seguida de uma breve descrição do uso de ficção audiovisual pelos adventistas no contexto estadunidense e latino-americano e, por fim, propõe uma análise netnográfica da reação dos adventistas às obras de ficção audiovisual na plata

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24

Rodríguez Luis, Julio. "Latin American Fiction Today de Rose S. Mine." Revista Iberoamericana 51, no. 130 (1985): 424–26. http://dx.doi.org/10.5195/reviberoamer.1985.4042.

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25

Ocasio, Rafael. "Philip Swanson, ed.Landmarks in Modem Latin American Fiction." Romance Quarterly 40, no. 2 (1993): 110–11. http://dx.doi.org/10.1080/08831157.1993.10545018.

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26

McMurray, George R., and Jane Robinett. "This Rough Magic: Technology in Latin American Fiction." Hispania 79, no. 2 (1996): 254. http://dx.doi.org/10.2307/344904.

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27

Tobin, Stephen C. "Latin American Science Fiction Studies: A New Era." Tapuya: Latin American Science, Technology and Society 1, no. 1 (2018): 65–69. http://dx.doi.org/10.1080/25729861.2018.1497274.

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28

Robinett, Jane. "Other Realities: Technology and Recent Latin American Fiction." Bulletin of Science, Technology & Society 7, no. 3-4 (1987): 507–11. http://dx.doi.org/10.1177/027046768700700316.

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29

Vargas, Margarita. "Gothic Imagination in Latin American Fiction and Film." Symposium: A Quarterly Journal in Modern Literatures 76, no. 4 (2022): 250–52. http://dx.doi.org/10.1080/00397709.2022.2149079.

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30

Luna Sellés, Carmen. "Moronga, by Horacio Castellanos Moya, and the Divergence of Latin American Noir." Forum for Modern Language Studies 56, no. 3 (2020): 347–63. http://dx.doi.org/10.1093/fmls/cqaa022.

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Abstract Taking Moronga (2018), by Salvadorian author Horacio Castellanos Moya, as a point of departure, this article focuses on the reinterpretation of mainstream crime fiction in Latin American terms. This new approach is made from both formal and thematic perspectives. Moronga is structurally fragmented; the traditional detective figure has disappeared, and the plot does not revolve around a single crime but denounces a society at large which is characterized by paranoid surveillance. The reinterpretation of the crime fiction genre in Latin American terms has opened up two different strands

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31

Long, Ryan. "The Future Is Not Ours: New Latin American Fiction." World Literature Today 87, no. 1 (2013): 61–62. http://dx.doi.org/10.1353/wlt.2013.0171.

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32

Quispe-Agnoli, Rocío. "Rewriting History: Colonial Latin American Women in Historical Fiction." Early Modern Women 12, no. 2 (2018): 136–39. http://dx.doi.org/10.1353/emw.2018.0009.

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33

Lee, Cecilia Castro, and Marcy E. Schwartz. "Writing Paris: Urban Topographies in Contemporary Latin American Fiction." South Atlantic Review 67, no. 3 (2002): 127. http://dx.doi.org/10.2307/3201911.

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34

Arizpe, Evelyn. "Obsidian Knives and High Tech: Latin America in Contemporary Adventures Stories for Young Adults." International Research in Children's Literature 3, no. 2 (2010): 190–204. http://dx.doi.org/10.3366/ircl.2010.0107.

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Adventure fiction set in Latin America remains a largely unexplored territory in children's literature studies. This article examines a group of 21st century young adult novels set in this region and considers the ways in which readers are positioned in relation to the Latin American image repertoire derived from colonial discourse about landscape, culture and inhabitants (Pre-Hispanic civilisations as well as contemporary indigenous and mestizo peoples). It also looks at the juxtaposition of advanced technology and traditional indigenous practices represented in the texts. It argues that desp

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35

Amat, Víctor Manuel Sanchis. "El hombre de Montserrat: writings on violence in the latin american crime fiction." Alea: Estudos Neolatinos 20, no. 1 (2018): 142–60. http://dx.doi.org/10.1590/1517-106x/2018201142160.

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Abstract: The article adresses the novel El hombre de Montserrat, written by the Guatemalan writer Dante Liano and recognized within the genre of crime fiction, as a precursory model for a narrative that established a way of rewriting the history of violence in Central American countries in both fictional and theoretical terms. Dante Liano’s successful reception has turned the novel into a reference of the Central American literature of the nineties. This is due to the fact that his narrative is replete with mechanisms that were seen in the best works of the previous Latin American narrative,

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36

LÓPEZ, MARISSA. "¿Soy Emo, Y Qué? Sad Kids, Punkera Dykes and the Latin@ Public Sphere." Journal of American Studies 46, no. 4 (2012): 895–918. http://dx.doi.org/10.1017/s0021875812001272.

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In March and April of 2008, emo youth in Mexican and Latin American metropoles were vulnerable to violent, physical attacks, which the world witnessed, aghast, via YouTube. Journalists, pundits, and cultural commentators around the globe wondered, first, how to define “emo”; second, how to explain its presence in Mexico and Latin America; and third, whence such a violent reaction? This essay tackles those questions, and tries to think through emo to something more than the post-NAFTA angst to which it has been commonly ascribed in the US and Mexican media. Tracing a route from US Chicano punk

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37

Babaee, Ruzbeh. "Realities of Graphic Novels: An Interview with Frederick Aldama." International Journal of Comparative Literature and Translation Studies 5, no. 3 (2017): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.1.

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The trend about producing and reading graphic novels has grown since the late twentieth century. These books with comic backgrounds seem to have a miraculous energy. They have been even appealing to unenthusiastic readers. They tempt people of different age groups, races and genders. They are also used for teaching ESL courses, e-learning activities, designing reality games, and teaching creative writing. If you talk to its followers, you may get the feedback that graphic novels can fulfil your demands and dreams from writing your assignments to taking you to the moon. Although many researcher

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38

Gómez-de-Tejada, Jesús. "Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo." Studia Romanica Posnaniensia 47, no. 1 (2020): 5–17. http://dx.doi.org/10.14746/strop.2020.471.001.

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Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar

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39

Fornoff, Carolyn. "Álvaro Menen Desleal’s Speculative Planetary Imagination." Revista Canadiense de Estudios Hispánicos 44, no. 1 (2021): 43–66. http://dx.doi.org/10.18192/rceh.v44i1.5900.

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Science fiction has long held a marginalized status within the Latin American literary canon. This is due to myriad assumptions: its supposed inferior quality, sensationalist content, and disconnect from socio-historical reality. In this article, I argue for the recuperation of Salvadoran author Álvaro Menen Desleal as a foundational writer of Central American speculative fiction. I explore why Menen Desleal turns to sci-fi - abstracting his fictive worlds to far-off futures or other planets - at a moment when the writing of contemporaries of the Committed Generation was increasingly politiciz

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40

Yallop, Andrew. "Beyond Law and Order: Detecting State Violence and the Search for Justice in Roberto Bolaño's Distant Star." Crime Fiction Studies 2, no. 1 (2021): 32–47. http://dx.doi.org/10.3366/cfs.2021.0032.

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Violent political unrest and militarised regime change was endemic to Latin America in the 1960s and 70s. As a result, writers working within the genre of detective fiction produced work influenced by the socially critical and cynical attitude of American hardboiled fiction. Known as neopoliciaco fiction, this work responded to circumstances where violence was perpetrated and authorised by governments against their own citizens in the name of political and social stability. Bolaño's unique adaption of crime fiction in Distant Star combines neopoliciaco crime writing with the testimonio, a genr

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41

Corral, Will H. "Heather ClearyThe Translator's Visibility: Scenes from Contemporary Latin American Fiction." World Literature Today 95, no. 3 (2021): 122–23. http://dx.doi.org/10.1353/wlt.2021.0055.

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42

Ochoa, John. "The Inordinate Eye: New World Baroque and Latin American Fiction." Comparative Literature Studies 45, no. 3 (2008): 373–76. http://dx.doi.org/10.2307/complitstudies.45.3.0373.

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43

Balkan, Stacey. "Ecological Imaginations in Latin American Fiction by Laura Barbas-Rhoden." Configurations 25, no. 2 (2017): 256–59. http://dx.doi.org/10.1353/con.2017.0016.

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44

Egginton, W. "The Inordinate Eye: New World Baroque and Latin American Fiction." Modern Language Quarterly 69, no. 2 (2008): 310–13. http://dx.doi.org/10.1215/00267929-2007-041.

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45

DeVries, Scott M. "Ecological Imaginations in Latin American Fiction by Laura Barbas-Rhoden." Americas 70, no. 3 (2014): 566–68. http://dx.doi.org/10.1353/tam.2014.0015.

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46

Cowan, Bainard. "The Inordinate Eye: New World Baroque and Latin American Fiction." Comparative Literature 61, no. 1 (2009): 87–90. http://dx.doi.org/10.1215/00104124-2008-005.

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47

Roelofse-Campbell, Z. "Enlightened state versus millenarian vision: A comparison between two historical novels." Literator 18, no. 1 (1997): 83–92. http://dx.doi.org/10.4102/lit.v18i1.531.

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Two millenarian events, one in Brazil (Canudos Rebellion, 1897) and the other in South Africa (Bulhoek Massacre, 1921) have inspired two works of narrative fiction: Mario Vargas Llosa's The War of the End of the World (1981) and Mike Nicol’s This Day and Age (1992). In both novels the events are presented from the perspectives of both the oppressed landless peasants and the oppressors, who were the ruling élites. In both instances, governments which purported to be models of enlightenment and modernity resorted to violence and repression in order to uphold their authority. Vargas Llosa's novel

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48

Medina Cordova, Luis A. "Microcuentos." Journal of World Literature 7, no. 1 (2022): 39–53. http://dx.doi.org/10.1163/24056480-00701005.

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Abstract This article brings attention to a form of narrative fiction that has engaged with the Covid-19 outbreak by embracing social media. Microcuentos, a form of very brief short stories usually referred to as flash fiction in English, have widely circulated across Latin America through digital platforms in pandemic times. But more than simply thriving in a context of globally spread fear, death, and isolation, I argue that – in the 2020s – microcuentos are uniquely suited for pandemic times. By combining narrative intensity condensed in a structurally limited wordcount with social media’s

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49

Lacy-Salazar, Carol. "Landscapes of a New Land: Fiction by Latin American Women; Short Stories by Latin American Women: The Magic and the Real:Landscapes of a New Land: Fiction by Latin American Women.;Short Stories by Latin American Women: The Magic and the Real." Latin American Anthropology Review 5, no. 2 (1993): 99–100. http://dx.doi.org/10.1525/jlat.1993.5.2.99.

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50

Romanzoti, Natasha, and Alfredo Luiz Paes de Oliveira Suppia. "Fronteiras da leitura: sobre cinema e literatura, por Manuel Puig." Significação: Revista de Cultura Audiovisual 50 (October 24, 2023): 1–14. http://dx.doi.org/10.11606/issn.2316-7114.sig.2023.206471.

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Tradução para o português do texto “Cinema and the Novel”, de Manuel Puig, originalmente publicado em volume editado por John King, Modern Latin American Fiction: A Survey (1987), pp. 283-290, com tradução para o inglês por Nick Caistor.

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