Book Series by Juan G Ramos
Lexington Books
This series is a forum for that examines the diversity of Latin American literature and cultural ... more This series is a forum for that examines the diversity of Latin American literature and cultural production from theoretically informed approaches. Taking an expansive approach, this series invites contributions that include all geographic spaces in the Americas. Books in this series will offer critical perspectives shaping the region's literary histories and more recent examples of artistic expression. From canonical literary works to recent cultural phenomena, the series engages with the intricacies of identity, politics, social dynamics, and global interconnectedness through critical approaches that may include but are not limited to the following: affect theory, sound studies, new materialism, decoloniality, disability studies, queer studies, feminist theories, posthumanism, animal studies, among other emerging theoretical conversations.
We are actively seeking both monographs and edited
collections that offer nuanced insights into pivotal themes,
trends, and socio-political contexts present in literary and
cultural texts, highlighting the complexities and critical
possibilities in Latin American societies.
CONTACT US
If you are interested in learning more or submitting a proposal,
please reach out to series editor Juan G. Ramos at
[email protected] or Lexington editor Holly Buchanan
at [email protected].
Editorial Board: Tara Daly (Marquette University), Carolyn Fornoff (Cornell University), Yolanda Martínez-San Miguel (University of Miami), Vanesa Miseres (University of Notre Dame), Javier Sanjinés (University of Michigan Ann Arbor), Victoria Saramago (University of Chicago), Gustavo Verdesio (University of Michigan Ann Arbor).
Books by Juan G Ramos
Published by the University of Florida Press, 2018.
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![Research paper thumbnail of Decolonial Approaches to Latin American Literatures and Cultures [flyer]](https://attachments.academia-assets.com/48253420/thumbnails/1.jpg)
Decolonial Approaches to Latin American Literatures and Cultures, 2016
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With contributions by Sara Castro-Klarén, Horac... more https://www.palgrave.com/us/book/9781137603128
With contributions by Sara Castro-Klarén, Horacio Legrás, Zairong Xiang, Antonia Carcelén-Estrada, Arturo Arias, Javier Sanjinés C., Tara Daly, Juan G. Ramos, Gustavo Verdesio, Elizabeth Monasterios, Laura J. Beard, and Mabel Moraña.
This book engages and problematizes concepts such as "decolonial" and "coloniality" to question methodologies in literary and cultural scholarship. While the eleven contributions produce diverse approaches to literary and cultural texts ranging from Pre-Columbian to contemporary works, there is a collective questioning of the very idea of "Latin America," what "Latin American" contains or leaves out, and the various practices and locations constituting Latinamericanism. This transdisciplinary study aims to open an evolving corpus of decolonial scholarship, providing a unique entry point into the literature and material culture produced from precolonial to contemporary times.
Edited Journal Dossiers/Issues by Juan G Ramos
Revista de Estudios Hispánicos, 2022
Introducción al dossier "Confliguraciones de lo andino", publicado en Revista de Estudios Hispáni... more Introducción al dossier "Confliguraciones de lo andino", publicado en Revista de Estudios Hispánicos en 2022. En la introducción, los coordinadores hacen un breve resumen de algunas formas en las cuales se ha teorizado lo andino como categoría de análisis de objetos culturales andinos sean estos textos literarios, visuales, arqueológicos, entre otras posibilidades. El propósito del dossier es iniciar conversaciones y seguir trazando caminos para futuras líneas de investigación.
MLN, 2022
Introduction to dossier in honor of Sara Castro-Klarén
Papers by Juan G Ramos
Revista Iberoamericana , 2023
Un estudio que emplea el concepto del "gótico andino" como aparato crítico-teórico para aproximar... more Un estudio que emplea el concepto del "gótico andino" como aparato crítico-teórico para aproximarse a cuentos que aparecen en Las voladoras (2020) de Mónica Ojeda y en La primera vez que vi un fantasma de Solange Rodríguez Pappe.
Revista de Estudios Hispánicos , 2022
An articles that theorizes how the term trans-andean is more capacious to do comparative analysis... more An articles that theorizes how the term trans-andean is more capacious to do comparative analysis of literature from the Andes. To this end, I study two examples of modernista authors. The first case study is Peruvian author Abraham Valdelomar's short story collection Los hijos del sol (1921). The second case study is Ecuadorian author Miguel Ángel Corral's Las cosechas (1913) [1960]. The conjoining factor to compare these texts is how both authors deal with border politics and border disputes between Peru and Ecuador in their literary texts.
MLN, 2022
An article that examines Sara Castro-Klarén's legacy in relation to comparative literature (and w... more An article that examines Sara Castro-Klarén's legacy in relation to comparative literature (and world literature), as well as wider implications of her ideas for professors teaching in higher education.
Blackwell Companion to Latin American Literature, 2nd ed. , 2022
It is an article that traces major trends in affect theory and then demonstrates affect theory's ... more It is an article that traces major trends in affect theory and then demonstrates affect theory's capacity to grapple with three contemporary Latin American novels, namely Samanta Schweblin's Kentukis, Valeria Luiselli's La historia de mis dientes, and Mónica Ojeda's Mandíbula.
The Palgrave Handbook of Cold War Literature, 2020
One way to frame the Cold War period is by way of its diametrically opposed ideological tensions,... more One way to frame the Cold War period is by way of its diametrically opposed ideological tensions, represented in concrete terms by the polarisation of the post-1945 globe between nations siding with the United States and nations siding with the Soviet Union. On one side of these ideological extremes was the alleged defence of democracy, which rapidly became con ated with the promotion of capitalism and the militarisation of areas that were presumed to pose a threat to such ideals. On the other side, there were the left-wing political currents of socialism and communism, which proclaimed a belief in liberty and equality, but which were often deemed totalitarian in their ideologies and practices. However, there emerged a number of political and cultural tensions that could not always be neatly mapped onto these two polarised extremes but rather existed in the grey areas between them. For example, in the Latin American context writ large, or in South American geocultural space more speci cally, neither ideological model could be readily be accepted or implemented in any national context without modi cations and major reframings to suit the needs of localised political, cultural and economic realities. The image of the pendulum is invoked in the title of this chapter precisely to conjure up the movements, momentums and spaces of disruption that were generated as politics swung back and forth from one ideological extreme to the other. In what follows, I will cover some of the major moments of tension to show how South American authors and intellectuals resisted clear identi cation with Cold War ideologies, openly embraced Latin American ideological variants of Cold
A Contracorriente: una revista de estudios latinoamericanos , 2020
El presente ensayo toma como punto de partido el concepto de sentipensar en el trabajo de Orlando... more El presente ensayo toma como punto de partido el concepto de sentipensar en el trabajo de Orlando Fals-Borda y Arturo Escobar para ponerlo en diálogo con el pensamiento decolonial actual. Este recorrido teórico tiene implicaciones en las formas en que podemos repensar y sentipensar la sustentabilidad desde una perspectiva que entre en conversación con la decolonialidad y los afectos.
Teaching Modern Latin American Poetries, 2019
A pedagogical text that explores how to teach the poetry of Antonio Preciado and Elcina Valencia,... more A pedagogical text that explores how to teach the poetry of Antonio Preciado and Elcina Valencia, as well as the music of Chocquibtown in relation to decolonial theories and the concept of comparative arts.
Visiones de los Andes: Ensayos críticos sobre el concepto de paisaje y región, 2019
Ensayo publicado en el libro Visiones de los Andes: Ensayos críticos sobre el concepto de paisaje... more Ensayo publicado en el libro Visiones de los Andes: Ensayos críticos sobre el concepto de paisaje y región, editado por Ximena Briceño y Jorge Coronado. Publicado en La Paz por Plural Editores, 2019.
El presente estudio ofrece un análisis en clave decolonial sobre los ensayos de arte escritos por Alfredo Pareja Diezcanseco en relación a una selección de representaciones del paisaje andino en los cuadros de Eduardo Kingman y Oswaldo Guayasamín.
Telling Migrant Stories: Latin American Diaspora in Documentary Film, 2018
The very form of the documentary lends itself to engagement with an audience through its emphasis... more The very form of the documentary lends itself to engagement with an audience through its emphasis on veracity and pathos. More often than not, however , the documentary form privileges a top-down approach to filmmaking in which the roles of filmmakers and objects of representation are clearly defined. In this chapter, instead, I am interested in discussing contemporary documentary forms that promote participatory and horizontal approaches to videomak-ing in which migrants engage in modalities of self-representation by employing Web 2.0 technologies. Throughout this chapter I explore the ways in which the Museo de América, in Madrid, devotes a section of its website to include new ways of conceptualizing how the stories and lives of migrants are visually documented. 1 As part of this effort, the traditional figure of the documen-tarian or documentary filmmaker has been altogether removed. Instead, the name of the museum often stands for the directorial figure while generating the Internet platform where migrants are able to narrate and document their own stories. In this way, the museum's webpage aptly named Migrar Es Cultura (To migrate is culture, MigrarEsCultura.es) hosts many of these videos. The museum's YouTube channel stores the same videos available on the museum's website but provides more visibility to a potentially wider audience. Some of my interest in this collaborative and democratizing initiative is precisely the shift in how the documentary as visual text is now conceived. These short documentaries, for one, no longer need a director or documentarian. Telling Migrant Stories : Latin American Diaspora in Documentary Film, edited by
Published in Decolonial Approaches to Latin American Literatures and Cultures, edited by Juan G. ... more Published in Decolonial Approaches to Latin American Literatures and Cultures, edited by Juan G. Ramos and Tara Daly (2016).
Published in Hispanófila 178, (December 2016), pp. 185-203.
Published in Hispania 99.1 (2016): 116-127. (See link above.)
This current study explores the rel... more Published in Hispania 99.1 (2016): 116-127. (See link above.)
This current study explores the relationship between visual technology (cinema and photography) and a metanarrative preoccupation with the craft of literary narration in two texts by Pablo Palacio (Ecuador, 1906–47). In his novella Débora (1927), Palacio employs the language of cinema (e.g., the cinematograph, the cinema, references to film studios, and film plots) to present a story which details the protagonist’s fascination with films and foregrounds the narrator’s self-reflexivity about the craft of storytelling. In “Un hombre muerto a puntapiés” (1927), photography, the crónica, and ethical acts of reading, interpreting, and narrating become instruments for the narrator to solve the murder of Ramírez whose death is presumed to be caused by being kicked to death due to his homosexuality. Both texts are thus invested in exploring the complementarity of visual technology and literature as two narrative modes that fragment the fleeting experience of modernity. Ultimately, my reading of Palacio’s texts in light of visual technology leads to a reflection on what literature can gain from visual narrative recourses.
José De la Cuadra’s short stories have often been placed under the rubric of social realism, real... more José De la Cuadra’s short stories have often been placed under the rubric of social realism, realism, or literature of denouncement. This article focuses on his story “La Tigra” and how it enables a critique of the different modalities of domination present in montuvio culture and Ecuadorian society. By placing De la Cuadra’s work in dialog with contemporary decolonial feminism, I show how the story unveils and destabilizes categories of race, gender, and social identity, which are foundational to modernity and coloniality.
Letras Hispanas: Revista de literatura y cultura, May 2014
This article explores Eliseo Subiela's engagement with spectral figures in his film No te mueras ... more This article explores Eliseo Subiela's engagement with spectral figures in his film No te mueras sin decirme adónde vas. After situating the film within current academic debates around spectral theory, I draw critical distinctions between the figure of the phantasm/ ghost, specters, and spirits as conceptual metaphors. Throughout the analysis presented in the article, there is also a delinking of the spectral (the presence of specters and spirits) from discourses on hauntings. To analyze Subiela's project, this paper proposes a spectropoetic reading that examines the film's privileging of visual and cinematic language, the metaphorical implications of specters, and Subiela's poetic treatment of spectrality. To this end the article traces how the film's preoccupation with visual language, themes such as temporality, life, death, and love are connected and how these enable a more nuanced perspective on the spectral. resumen: En este artículo se explora la preocupación por lo espectral en la película No te mueras sin decirme adónde vas de Eliseo Subiela. Tras situarla dentro de los debates en torno al giro espectral en discursos académicos, se establecen diferencias marcadas entre fantasma, espectro y espíritu como metáforas conceptuales. Además se desasocia lo espectral (la presencia de espectros y espíritus) como aparece en la película y los discursos de haunting (asedio). Para discutir el proyecto de Subiela, se propone una lectura espectropoética en la que se explora el entrelazamiento del lenguaje que privilegia lo visual, las implicaciones metafóricas de los espectros presentes en la cinta y la forma poética en que Subiela trata la espectralidad. Con este fin este artículo traza los puntos de conexión entre el lenguaje de lo visual, la tecnología y diversos temas (la temporalidad, la vida y la muerte y el amor) y como estos conceptos nos ayudan a tener una aproximación más compleja a lo espectral.
Verse, Voice and Vision: Poetry and the Cinema, Oct 2013
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Book Series by Juan G Ramos
We are actively seeking both monographs and edited
collections that offer nuanced insights into pivotal themes,
trends, and socio-political contexts present in literary and
cultural texts, highlighting the complexities and critical
possibilities in Latin American societies.
CONTACT US
If you are interested in learning more or submitting a proposal,
please reach out to series editor Juan G. Ramos at
[email protected] or Lexington editor Holly Buchanan
at [email protected].
Editorial Board: Tara Daly (Marquette University), Carolyn Fornoff (Cornell University), Yolanda Martínez-San Miguel (University of Miami), Vanesa Miseres (University of Notre Dame), Javier Sanjinés (University of Michigan Ann Arbor), Victoria Saramago (University of Chicago), Gustavo Verdesio (University of Michigan Ann Arbor).
Books by Juan G Ramos
With contributions by Sara Castro-Klarén, Horacio Legrás, Zairong Xiang, Antonia Carcelén-Estrada, Arturo Arias, Javier Sanjinés C., Tara Daly, Juan G. Ramos, Gustavo Verdesio, Elizabeth Monasterios, Laura J. Beard, and Mabel Moraña.
This book engages and problematizes concepts such as "decolonial" and "coloniality" to question methodologies in literary and cultural scholarship. While the eleven contributions produce diverse approaches to literary and cultural texts ranging from Pre-Columbian to contemporary works, there is a collective questioning of the very idea of "Latin America," what "Latin American" contains or leaves out, and the various practices and locations constituting Latinamericanism. This transdisciplinary study aims to open an evolving corpus of decolonial scholarship, providing a unique entry point into the literature and material culture produced from precolonial to contemporary times.
Edited Journal Dossiers/Issues by Juan G Ramos
Papers by Juan G Ramos
El presente estudio ofrece un análisis en clave decolonial sobre los ensayos de arte escritos por Alfredo Pareja Diezcanseco en relación a una selección de representaciones del paisaje andino en los cuadros de Eduardo Kingman y Oswaldo Guayasamín.
This current study explores the relationship between visual technology (cinema and photography) and a metanarrative preoccupation with the craft of literary narration in two texts by Pablo Palacio (Ecuador, 1906–47). In his novella Débora (1927), Palacio employs the language of cinema (e.g., the cinematograph, the cinema, references to film studios, and film plots) to present a story which details the protagonist’s fascination with films and foregrounds the narrator’s self-reflexivity about the craft of storytelling. In “Un hombre muerto a puntapiés” (1927), photography, the crónica, and ethical acts of reading, interpreting, and narrating become instruments for the narrator to solve the murder of Ramírez whose death is presumed to be caused by being kicked to death due to his homosexuality. Both texts are thus invested in exploring the complementarity of visual technology and literature as two narrative modes that fragment the fleeting experience of modernity. Ultimately, my reading of Palacio’s texts in light of visual technology leads to a reflection on what literature can gain from visual narrative recourses.
We are actively seeking both monographs and edited
collections that offer nuanced insights into pivotal themes,
trends, and socio-political contexts present in literary and
cultural texts, highlighting the complexities and critical
possibilities in Latin American societies.
CONTACT US
If you are interested in learning more or submitting a proposal,
please reach out to series editor Juan G. Ramos at
[email protected] or Lexington editor Holly Buchanan
at [email protected].
Editorial Board: Tara Daly (Marquette University), Carolyn Fornoff (Cornell University), Yolanda Martínez-San Miguel (University of Miami), Vanesa Miseres (University of Notre Dame), Javier Sanjinés (University of Michigan Ann Arbor), Victoria Saramago (University of Chicago), Gustavo Verdesio (University of Michigan Ann Arbor).
With contributions by Sara Castro-Klarén, Horacio Legrás, Zairong Xiang, Antonia Carcelén-Estrada, Arturo Arias, Javier Sanjinés C., Tara Daly, Juan G. Ramos, Gustavo Verdesio, Elizabeth Monasterios, Laura J. Beard, and Mabel Moraña.
This book engages and problematizes concepts such as "decolonial" and "coloniality" to question methodologies in literary and cultural scholarship. While the eleven contributions produce diverse approaches to literary and cultural texts ranging from Pre-Columbian to contemporary works, there is a collective questioning of the very idea of "Latin America," what "Latin American" contains or leaves out, and the various practices and locations constituting Latinamericanism. This transdisciplinary study aims to open an evolving corpus of decolonial scholarship, providing a unique entry point into the literature and material culture produced from precolonial to contemporary times.
El presente estudio ofrece un análisis en clave decolonial sobre los ensayos de arte escritos por Alfredo Pareja Diezcanseco en relación a una selección de representaciones del paisaje andino en los cuadros de Eduardo Kingman y Oswaldo Guayasamín.
This current study explores the relationship between visual technology (cinema and photography) and a metanarrative preoccupation with the craft of literary narration in two texts by Pablo Palacio (Ecuador, 1906–47). In his novella Débora (1927), Palacio employs the language of cinema (e.g., the cinematograph, the cinema, references to film studios, and film plots) to present a story which details the protagonist’s fascination with films and foregrounds the narrator’s self-reflexivity about the craft of storytelling. In “Un hombre muerto a puntapiés” (1927), photography, the crónica, and ethical acts of reading, interpreting, and narrating become instruments for the narrator to solve the murder of Ramírez whose death is presumed to be caused by being kicked to death due to his homosexuality. Both texts are thus invested in exploring the complementarity of visual technology and literature as two narrative modes that fragment the fleeting experience of modernity. Ultimately, my reading of Palacio’s texts in light of visual technology leads to a reflection on what literature can gain from visual narrative recourses.