264 research outputs found
Columbus' imaginary: A critique of post-colonial identity
No full textThis study examines the construction and negotiation of post-colonial identity in everyday life. Specifically, it addresses the mechanisms and practices by which a community of immigrants to the U.S. from the Indian subcontinent comes to terms with its self-representation(s). The analysis uses ethnography as a mode of theorizing problems of experience and subjectivity in the context of a globalized world. The project is poised at the interstices of critical theory, post-colonial scholarship, and marxist cultural criticism. The overall attempt is to account for the ways in which domains of daily life both constrain and enable the emergence of a particular formation of post-colonial subjecthood within the metropolitan location of the United States. The study thus seeks to intervene in contemporary debates on the status of 'local' discourses (of, for example, identity and experience) in the constitution of global subjectivities. It also proposes that the consolidation of post-colonial identity represents a vexed case in current discussions of the predicament of modernity.Made available in DSpace on 2011-05-07T14:02:14Z (GMT). No. of bitstreams: 2
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Especulaciones sobre una vanguardia del Tercer Mundo
No full textIf there are those who argue that the European avant-gardes of the twentieth century took their leads from sources outside Europe (Brecht and haiku, Picasso and Africa, or Eisenstein and Mexico, for example), the possibility of a ‘Third-World’ avantgarde as such does not find support in Theodor Adorno’s writings on aesthetic theory or, for that matter, in Roberto Schwarz's discussions of aesthetics. But is there a dialectical perspective from which one might argue for the relevance of the avant-garde as an aesthetic and political configuration relevant to the Third World? In the entirely different space of a reading of Hegel, Adorno (1962) in fact gives us the lineaments for such an argument with the figure of skoteinos, or darkness, the unintelligible, obscurity—which it is the task of criticism to eliminate. Schwarz’s important take-up of Adorno’s themes suggestively circle around the “highs and lows” of self-conscious aesthetic experimentation in places like Brazil, though the task of this essay will be to expand Schwarz’s premises in order to think about the role that experimentation plays in returning the avantgarde to its constitutive mission of bringing art back to life, a mission that I suggest is finally discernible only when the ideal of the avantgarde leaves its modernist entailments behind.Si bien hay quienes sostienen que las vanguardias europeas del siglo XX tomaron sus pautas de fuentes ajenas a Europa (Brecht y el haiku, Picasso y África, o Eisenstein y México, por ejemplo), la posibilidad de una vanguardia del "Tercer Mundo" como tal no encuentra apoyo en los escritos de Theodor Adorno sobre teoría estética ni, para el caso, en las discusiones de Roberto Schwarz sobre estética. Pero, ¿existe una perspectiva dialéctica desde la que se pueda defender la relevancia de la vanguardia como configuración estética y política relevante para el Tercer Mundo? En el espacio totalmente distinto de una lectura de Hegel, Adorno (1962) nos da de hecho los lineamientos para tal argumentación con la figura de skoteinos, u oscuridad, lo ininteligible, lo oscuro -que es tarea de la crítica eliminar. La importante asunción de Schwarz de los temas de Adorno gira sugerentemente en torno a los "altos y bajos" de la experimentación estética autoconsciente en lugares como Brasil, aunque la tarea de este ensayo consistirá en ampliar las premisas de Schwarz para pensar en el papel que desempeña la experimentación en el retorno de la vanguardia a su misión constitutiva de devolver la vida al arte, una misión que sugiero que sólo es discernible finalmente cuando el ideal de vanguardia deja atrás sus vinculaciones modernistas
Especulaciones sobre una vanguardia del Tercer Mundo
No full textIf there are those who argue that the European avant-gardes of the twentieth century took their leads from sources outside Europe (Brecht and haiku, Picasso and Africa, or Eisenstein and Mexico, for example), the possibility of a ‘Third-World’ avantgarde as such does not find support in Theodor Adorno’s writings on aesthetic theory or, for that matter, in Roberto Schwarz\u27s discussions of aesthetics. But is there a dialectical perspective from which one might argue for the relevance of the avant-garde as an aesthetic and political configuration relevant to the Third World? In the entirely different space of a reading of Hegel, Adorno (1962) in fact gives us the lineaments for such an argument with the figure of skoteinos, or darkness, the unintelligible, obscurity—which it is the task of criticism to eliminate. Schwarz’s important take-up of Adorno’s themes suggestively circle around the “highs and lows” of self-conscious aesthetic experimentation in places like Brazil, though the task of this essay will be to expand Schwarz’s premises in order to think about the role that experimentation plays in returning the avantgarde to its constitutive mission of bringing art back to life, a mission that I suggest is finally discernible only when the ideal of the avantgarde leaves its modernist entailments behind.Si bien hay quienes sostienen que las vanguardias europeas del siglo XX tomaron sus pautas de fuentes ajenas a Europa (Brecht y el haiku, Picasso y África, o Eisenstein y México, por ejemplo), la posibilidad de una vanguardia del "Tercer Mundo" como tal no encuentra apoyo en los escritos de Theodor Adorno sobre teoría estética ni, para el caso, en las discusiones de Roberto Schwarz sobre estética. Pero, ¿existe una perspectiva dialéctica desde la que se pueda defender la relevancia de la vanguardia como configuración estética y política relevante para el Tercer Mundo? En el espacio totalmente distinto de una lectura de Hegel, Adorno (1962) nos da de hecho los lineamientos para tal argumentación con la figura de skoteinos, u oscuridad, lo ininteligible, lo oscuro -que es tarea de la crítica eliminar. La importante asunción de Schwarz de los temas de Adorno gira sugerentemente en torno a los "altos y bajos" de la experimentación estética autoconsciente en lugares como Brasil, aunque la tarea de este ensayo consistirá en ampliar las premisas de Schwarz para pensar en el papel que desempeña la experimentación en el retorno de la vanguardia a su misión constitutiva de devolver la vida al arte, una misión que sugiero que sólo es discernible finalmente cuando el ideal de vanguardia deja atrás sus vinculaciones modernistas
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