Resumen: Changó, el gran putas (1983) del autor afrocolombiano Manuel Zapata Olivella ha sido categorizada como novela histórica afro-hispánica revisionista. Este artículo se propone analizar el primer capítulo de la cuarta parte, examinando el punto de vista epistemológico presentado y las estrategias narrativas para lograrlo. Empleando los conceptos de la colonialidad del ser y del saber y los saberes otros según Walter D. Mignolo, se mostrará cómo la narración presenta una perspectiva alternativa a la historia oficial, convirtiendo el relato en acto performativo para una toma de conciencia.

Abstract: The Spanish exclamation olé is traced to Caló and is one result of the interaction of the paradigms of demonstrative pronouns, personal pronouns, and locative adverbs, when Common Romani was confronted with Andalusian Spanish. Not a compliment or hortatory exclamation directed at the flamenco performer or bullfighter, it was initially an ostensive deictic comment addressed to other members of the public and meant "(look at/listen to) that person (artist) over yonder" and thus promoted community pride and cohesion.

Resumen: La serie fotográfica Pensamiento único (2008) fue realizada por Nelson Garrido (1952) poco después de la campaña a favor del Sí para el referéndum consultivo de 2007. Una lectura de esta propuesta fotográfica plantea una denuncia ante una suerte de instrumentalización del pueblo, en tanto masa, a fin de respaldar al líder de un partido (y de la campaña), en lugar de dirigir estos esfuerzos a promover las ideas del proyecto político en disputa en aquel momento. Garrido se rebela ante el pensamiento único movilizado en la campaña del Sí utilizando objetos de la propaganda política para mostrar un ideario de personajes y conceptos, como la familia y el partido, que evidencian los límites y las proyecciones nacionalistas de estos mecanismos en la contienda política. En este trabajo se articulan las ideas de Didi-Huberman sobre la exposición del pueblo en las imágenes y los postulados de Laclau sobre la identidad de la masa y su rol político, yendo más allá de la máscara de los sujetos fotografiados y discernir los motivos evocados en esta serie fotográfica.

Resumo: Tendo em conta o papel proeminente do campo teórico de estudos sobre memória que nos tem proporcionado relevantes lentes para examinar não apenas autobiografias, mas narrativas de ficção que enfatizam as memórias autobiográficas dos personagens-narradores, este artigo pretende explorar o poder da resistência contido em narrativas de cunho pessoal. Para tal, analisarse-á em comparação os livros Os Cus de Judas (1979) de António Lobo Antunes e Caderno de Memórias Coloniais (2009) de Isabela Figueiredo, tendo-se igualmente em conta o elemento "tempo" na construção de uma memória sobre o império colonial português. Por outras palavras, será que o distanciamento temporal implica uma memória menos comprometida emocionalmente e mais pragmática sobre os eventos do passado?

Abstract: How has the cultural appropriation of flamenco been conceived and questioned? What does it mean to profess ownership and rights of intangible minority cultural heritage, such as musical performance, when consumed globally? Do critics of cultural appropriation conceal a purist vision of culture or advance social justice against "culture vultures" who profit off aesthetics, beats, and stereotypes of different cultures? My article unpacks implicit questions involved in Rosalía's cultural appropriation by engaging with various theoretical models and contextual ambivalences. In doing so, I demonstrate why any critical reflection on this topic is complex. In order to provide a historical perspective on the discussion, I draw on Basilio Martín Patino's Desde lo más hondo II: El museo japonés (1998), a documentary discussing the Japanese commodification of flamenco. The film reveals how a Japanese entrepreneur appropriates the Andalusian Romani culture that was facing a decline in popularity in its original territory.

Between 2013 and 2017, a heated debate took place online and in print about US poet Charles Olson’s time in Mexico. Mexican poet and critic Heriberto Yépez criticized Olson for misunderstanding and exploiting the Maya, while a group of US-based poets, including Amiri Baraka, defended Olson. This article examines what came to be called the Olson Affair with a focus, not on the stalemate over Olson’s legacy, but on the Olson Affair’s politics of translation. The debate stems from the translation of Yépez’s book and hinges in part on Olson’s loose interpretation of Mesoamerican artifacts. Olson was fascinated by ancient Mayan archaeological sites and untranslated glyphs. His mistranslation of these ruins and glyphs forms the basis of what Yépez calls Olson’s “imperial psychopoetics.” Yépez sees Olson’s mistranslation as destructive while Olson sees it as creative. Olson, like his contemporary William Bronk, reads archaeological sites as ripe for an encounter with language and ruin. Yépez, however, sees Olson as emblematic of postmodernism, mid-century US poetry, and an imperial mindset. To move through this impasse, I examine Olson’s famous “The Kingfishers” along with Yépez’s critique. I argue that, from different perspectives, both Yépez and Olson espouse a poetics of inevitable destruction and mistranslation. As a result, the Olson Affair suggests a poetics of ruin in excess of its own contentious origins.

El periodismo narrativo—más allá de sus antecedentes en la célebre corriente del New Jorunalism estadounidense de los años sesenta y setenta del siglo veinte—ha supuesto cierto resurgimiento de este modo de contar la realidad en el contexto digital actual, muy vinculado a las posibilidades que la intermedialidad y la hipermedialidad han ofrecido a los nuevos formatos multimedia. En este sentido, se ha acudido al desarrollo de la fotografía en este contexto comunicativo y, en especial, a la revista digital española 5W; con contenido afín a estos planteamientos. Mediante la revisión bibliográfica de estudios de referencia y de contenido del medio, y un análisis elaborado a partir de la retórica de Quintiliano, se pretende realizar una aproximación a este caso. En este estudio se establecen las características comunes del periodismo narrativo fotográfico digital y se profundiza en las relaciones entre elementos textuales y audiovisuales.

En La Novia (2015) Paula Ortiz plasma las pasiones humanas exploradas en Bodas de sangre mediante un viaje cinematográfico intensamente sensorial. Consciente de lo abstracto, lo poético y lo real-irreal de la obra de Federico García Lorca, quiso captar “todo lo que es su universo.” Más allá de la luna, el caballo y las canciones, la directora parece intuir la esencia de su proceso creativo tal como lo expone el poeta en su teoría estética.

This essay reconstructs the "alacena de vidrios" in both the dramatic and the scenic space of Pedro Calderón de la Barca's play La dama duende. It begins by visualizing the material alacena in the seventeenth-century Spanish household, which evokes an interplay between visuality and tactility with the openwork doors and engraved façade. This visual and tactile language of the alacena is further echoed by the Doña Ángela tapada and by the invisible mistress's affective maneuver of the objects in her surroundings to ignite sensorial experiences in her lover. The alacena on stage, meanwhile, functions as a practical entrance into Don Manuel's room, yet its scenography occludes the female characters' careful pilgrimage across the household garden and their repetitive, ritualistic dislocation of the alacena, all of which is accomplished in dimness and in silence on the reverse side of the scenic alacena with the help of their agile sense of touch. The alacena is thereby the threshold bridging the scenic space and the expansive dramatic space backstage. Building upon existing scholarship on the symbolic significance and the scenography of the alacena, this essay excavates a long-overlooked form of embodied language shared by the theatrical objects and the female characters of the play through reorientating the reading of the baroque theatrical text around the ornamental and the feminine.