Item Published version Open AccessImages and Representations of the Puerto Rican Press: Birth Control, Sterilization and Contraceptives in El Mundo, El Imparcial and Claridad (1943-1974)(Centro de Estudios Latino Americanos y el Caribe, 2017-02-21) Sanchez Rivera, R; Sanchez Rivera, Rachell [0000-0001-9400-1685]Within the period of industrialization and modernization of Puerto Rico (1940-1970) occurred many elements that contributed to a change of ideas about reproduction and the clinic as a disciplinary device. In this article we will study the debates sterilization and contraception experimentations were represented in the rotating El Mundo, El Imparcial and Claridad. Through these discussions we can see how the Puerto Rican reproduction serves as the basis to critically analyze sectors and arguments that were part of the same. Under the study of these rotary we can see the changes between debates and how the woman was subjected or not, population control policies presented. Item Accepted version Open AccessPlaying in public: Domestic politics and prosthetic memory in Paula Markovich’s El premio/The Prize (2011)(Intellect, 2017-03-01) Maguire, G; Maguire, Geoffrey [0000-0002-2977-7951]Released in 2011, Paula Markovitch’s semi-autobiographical film revolves around the life of 7-year-old Cecilia and her tense negotiation of the ‘adult’ world of public militancy in 1970s Argentina. The film destabilizes the traditional boundaries between childhood and adulthood, exposing the profound politicization of the child’s domestic spaces as her parents’ political choices are thrust into every aspect of her daily life. This article argues that, by affording the child a greater sense of agency within these home spaces, the director of El premio/The Prize (2011) refuses to perpetuate the discourses of passive victimhood that are conventionally associated with the hijo/child in contemporary Argentina. Instead, Markovitch rethinks the domestic sphere as a site for political confrontation both between and within generations. By inhibiting the spectator’s potential to ‘prosthetically’ identify with the experience of the child victim, El premio surfaces as a paradigmatic example of a growing trend in contemporary Argentine film which seeks to expose, explore and impede society’s ongoing and pervasive gaze into the lives of the children of the disappeared. Item Accepted version Open AccessAnonymous: Tragedia del fin de Atawallpa [Tragedy of the Death of Atawallpa](The Literary Dictionary Company, 2016-01-13) Pigott, Charles M Item Open AccessThe Lyrical Creation of Community: Song as a Catalyst of Social Cohesion in Andean Peru(Sage, 2013) Pigott, Charles MThis article examines the performative role of waynu, a widespread song-genre in the Andes, in creating an “intersubjective community” among participants. The data-corpus comprises extracts from interviews which I conducted during a year’s period of fieldwork (2010–2011) in Chiquián and Pomabamba, Ancash department, Peru. I couple my analysis of the extracts with congruent concepts in Quechua, the Indigenous language, in order to show how Indigenous philosophical orientations can provide as robust an analytical framework as concepts in formal scholarship. I conclude by suggesting that the application of an intersubjective analytical framework to the study of verbal art can constitute a productive agenda for future research on Indigenous traditions. Item Open AccessReview of Canessa, Andrew (2012) "Intimate Indigeneities: Race, Sex, and History in the Small Spaces of Andean Life". Durham & London: Duke University Press(Ngā Pae o te Māramatanga, 2014) Pigott, Charles MThis book is a masterful synthesis of 20 years’ ethnographic fieldwork in one Bolivian community, the Aymara-speaking Andean settlement of Wila Kjarka. Over this period, the author, a renowned Andean anthropologist, has cultivated his own intimate relationships with the people of Wila Kjarka, a fact that is revealed on every page of this intellectually and emotionally engaging work.The central focus is uncovering “what it means to be indigenous to indigenous people themselves” (p. 2). In contrast to many other studies on indigeneity, Canessa explores “these multiple identities … through their own lived experiences and their own voices rather than the lens of globalized concepts and discourses” (p. 4). This is both an intellectually rigorous and profoundly ethical approach, since Canessa fully respects the voice and agency of his informants. Item Open AccessUnity and Difference in Andean Songs(Project MUSE, 2013) Pigott, Charles Maurice; Pigott, Charles [0000-0003-2512-2576]This essay explores the concepts of “unity” and “difference” in Andean songs. The verses pertain to the Masha ritual enacted annually in Mangas, central Peru, and combine Quechua (the indigenous language) with Spanish. Through detailed exegesis of the texts, this essay argues that, far from being irreconcilable, “unity” and “difference” are best understood as mutually informing since the recognition of difference opens up the parameters of potential exchange. This optic is informed by a worldview that emphasizes “relation” over “entities.” Item Accepted version Open AccessMelodramatic materials: The Roof and The Man Next Door(Intellect, 2016-07-01) Merchant, PaulStudies of the relationship between Italian Neorealism and Latin American cinema have often been limited to political analyses, or to superficial identification of formal similarities. This article aims to move beyond these approaches, proposing a comparative reading of Vittorio De Sica’s Il tetto/The Roof (1956) and the Argentine film El hombre de al lado/The Man Next Door (Cohn and Duprat, 2009) which takes as its focus debates around ideas of modernity and affect, melodrama and the interior, and the understanding of architecture as media (in Beatriz Colomina’s terms). Where De Sica’s film offers architectural modernity and its periphery as a source of escape and hope, The Man Next Door uses a historical project of modernity, a Le Corbusier house, to develop a sceptical reflection on the possibility of community. The Roof, a critically neglected Neorealist text, thus allows a fresh perspective on (post)modernity and social conflict in contemporary Argentine film. Item Open AccessBeyond biopolitics: reading Bolaño's human fragments(Liverpool University Press, 2015) Merchant, PaulThe fiction of Roberto Bolaño is filled with images of bodies in extremis: in situations of violence, sexual activity, illness and death. While bodily experience in Bolaño’s work has not received great critical attention, some of these bodies have achieved paradigmatic status, particularly among those critics who draw out the biopolitical implications of his writing. Chief among these are the corpses of the murdered women in Santa Teresa that litter the pages of ‘La parte de los crímenes’ in the posthumous novel 2666. Many critical accounts of this section of the novel view the corpses as evidence of the deadly power of the neoliberal order. These biopolitical readings of Bolaño's work are undoubtedly of value, and cannot be disregarded. Nonetheless, what follows here is born of a suspicion that the bodies in Bolaño's fiction provide, at best, precarious conduits for biopolitical reflection. Following the influential definition of biopolitics proposed by Michel Foucault, as ‘the entry of phenomena peculiar to the life of the human species into the order of knowledge and power’ (History of Sexuality 141), I will suggest that Bolaño in fact demonstrates the difficulty of maintaining the body within any order, and particularly within that of representation.