Delmira Agustini Sexual Seduction And Vampiric Conquest

Delmira Agustini (1886–1914) has been acclaimed as one of the foremost modernistas and the first major woman poet of twentieth-century Spanish America. Critics and the reading public alike were immediately taken by the originality and power of her verse, especially her daring eroticism, her inventive appropriation of vampirism, and her morbid embrace of death and pain. No work until now, however, has shown how her poetry reflects a search for an alternative, feminized discourse, a discourse that engages in an imaginative dialogue with Rubén Darío's recourse to literary paternity and undertakes an audacious rewriting of social, sexual, and poetic conventions. In the first major exploration of Agustini's life and work, Cathy L. Jrade examines her energizing appropriation and reinvention of modernista verse and the dynamics of her breakthrough poetics, a poetics that became a model for later women writers.

"Delmira Agustini (1886-1914) has been acclaimed as one of the foremost modernistas and the first major woman poet of twentieth-century Spanish America. Critics and the reading public alike were immediately taken by the originality and power of her verse, especially the aggressively sexualized perspective never before found in texts written by Spanish American women. Agustini sought, like the men around her, to free herself and her writing from traditional sexual limitations. Even more daringly, she responded to their language with her own feminized discourse, developing an innovative way of expressing her sexual and artistic expressions."--Publisher's description.

"Delmira Agustini (1886-1914) has been acclaimed as one of the foremost modernistas and the first major woman poet of twentieth-century Spanish America. Critics and the reading public alike were immediately taken by the originality and power of her verse, especially the aggressively sexualized perspective never before found in texts written by Spanish American women. Agustini sought, like the men around her, to free herself and her writing from traditional sexual limitations. Even more daringly, she responded to their language with her own feminized discourse, developing an innovative way of expressing her sexual and artistic expressions." -- Book jacket.

From the cabinets of wonderof the Renaissance to the souvenir collections of today, selecting, accumulating, and organizing objects are practices that are central to our notions of who we are and what we value. Collecting, both private and institutional, has been instrumental in the consolidation of modern notions of the individual and of the nation, and numerous studies have discussed its complex political, social, economic, anthropological, and psychological implications. However, studies of collecting as practiced in colonized cultures are few, since the role of these cultures has usually been understood as that of purveyors of objects for the metropolitan collector. Collecting from the Margins: Material Culture in a Latin American Context seeks to counter the historical understanding of collecting that posits the metropolis as collecting subject and the colonial or postcolonial society as supplier of collectible objects by asking instead how collecting has been practiced and understood in Latin America. Has collecting been viewed or portrayed differently in a Latin American context? Does the act of collecting, when viewed from a Latin American perspective, unsettle the way we have become accustomed to think about it? What differences, if any, arise in the activity of collecting in colonized or previously colonial societies? Spanning the period after the independence wars until the 1980s, this collection of ten essays addresses a broad range of examples of collecting practices in Latin America. Collecting during the nineteenth century is addressed in discussions of the creation of the first national museums of Argentina and Colombia in the post-independence period, as well as in analyses of the private collections of modernistas such as Enrique Gómez Carrillo, Rubén Darío, José Asunción Silva, and Delmira Agustini at the end of the nineteenth century and the beginning of the twentieth. The practice of collecting in the twentieth century is discussed in analyses of the self-described revolutionary practices of Oswald de Andrade, Augusto de Campos and the films of Ruy Guerra, as well as the polemical collections of Pablo Neruda, and the unsettling collections portrayed in Gabriel García Márquez’s One Hundred Years of Solitude.

This work traces how Gothic imagination from the literature and culture of eighteenth- and nineteenth-century Europe and twentieth-century US and European film has impacted Latin American literature and film culture. Serrano argues that the Gothic has provided Latin American authors with a way to critique a number of issues, including colonization, authoritarianism, feudalism, and patriarchy. The book includes a literary history of the European Gothic to demonstrate how Latin American authors have incorporated its characteristics but also how they have broken away or inverted some elements, such as traditional plot lines, to suit their work and address a unique set of issues. The book examines both the modernistas of the nineteenth century and the avant-garde writers of the twentieth century, including Huidobro, Bombal, Rulfo, Roa Bastos, and Fuentes. Looking at the Gothic in Latin American literature and film, this book is a groundbreaking study that brings a fresh perspective to Latin American creative culture.

This Companion provides a chronological survey of Latin American poetry, analysis of modern trends and six succinct essays on the major figures.

Writers in Brazil and Mexico discovered early on that speculative fiction provides an ideal platform for addressing the complex issues of modernity, yet the study of speculative fictions rarely strays from the United States and England. Cyborgs, Sexuality, and the Undead expands the traditional purview of speculative fiction in all its incarnations (science fiction, fantasy, horror) beyond the traditional Anglo-American context to focus on work produced in Mexico and Brazil across a historical overview from 1870 to the present. The book portrays the effects—and ravages—of modernity in these two nations, addressing its technological, cultural, and social consequences and their implications for the human body. In Cyborgs, Sexuality, and the Undead, M. Elizabeth Ginway examines all these issues from a number of theoretical perspectives, most importantly through the lens of Bolívar Echeverría’s “baroque ethos,” which emphasizes the strategies that subaltern populations may adopt in order to survive and prosper in the face of massive historical and structural disadvantages. Foucault’s concept of biopolitics is developed in discussion with Roberto Esposito’s concept of immunity and Giorgio Agamben’s distinction between “political life” and “bare life.” This book will be of interest to scholars of speculative fiction, as well as Mexicanists and Brazilianists in history, literary studies, and critical theory.

In the past couple of years, much has been said and written in the media about the notion of "cancel culture" and the way in which various celebrities, journalists, politicians, ideas, and monuments have been cancelled. Yet, the conversations taking place on this issue have been largely uninformed, lacking intellectual rigor, and devoid of the historical and cultural context that could help make the contested debates more enlightening. Mordechai Gordon investigates the phenomenon of cancelling historically as well as how it became an issue recently. The book presents some compelling philosophical arguments against the practice of cancelling and highlights various educational dangers and risks that emerge from this practice and deserve our attention.