Virtual exchange: towards digital equity in internationalisation
During our six-week Collaborative Online International Learning (COIL) module (Oct.-Nov. 2019), 5... more During our six-week Collaborative Online International Learning (COIL) module (Oct.-Nov. 2019), 58 students jointly developed task-based projects on expressions of popular culture in Albany (USA) and Caracas (Venezuela). In teams of seven to eight participants, learners from both countries reflected on variations of popular culture through assignments to be resolved in teams that included summaries and critical assessments of readings, contextualization of theoretical concepts, the drafting of a joint video script, and finally creation of a ten-minute video that focused on popular expressions in both cities. All learners were native, fluent, or near-native speakers of Spanish. We experienced the topic of popular culture to be exceptionally well poised to help students engage with each other from the beginning, represent everyday realities and build empathy and transcultural understanding through written reflections and joint creative final projects in the form of documentaries that ...
Este estudio consiste en un análisis del poema "Imprólogo" (Árbol adentro) de Octavio P... more Este estudio consiste en un análisis del poema "Imprólogo" (Árbol adentro) de Octavio Paz,texto que sirvió de prólogo a la primera antología poética del poeta serbio Vasko Popa. Propongo leer "Imprólogo", texto hasta ahora no analizado críticamente, primero como práctica poética, que se va escribiendo como refl exión sobre la poesía del amigo-poeta de Paz. En segundo lugar, es una indagación en torno al valor de la negación, un ejercicio lírico que se realiza a través de la repetida negación de poder realizarse. Por último, el poema ofrece una refl exión poetológica novedosa acerca de la intertextualidad, concebida como diálogo poéticoideado. De ese modo, Paz reafi rma -en los terrenos nuevos de la negación, combinada con la intertextualidad- la potencia poética de apuntar, a través de las palabras, a un más allá de las palabras.This study is a close-reading of Octavio Paz' "Imprólogo" (Árbol adentro), a poem that served as prologue to the fi rst an...
Chasqui-revista De Literatura Latinoamericana, 2018
espanol"Nadie me vera llorar" (1999) de la autora mexicana Cristina Rivera Garza es una... more espanol"Nadie me vera llorar" (1999) de la autora mexicana Cristina Rivera Garza es una novela inspirada por una multitud de textos: documentos clinicos, archivos historiograficos, diarios y cartas. La trama esta, tambien, impulsada por fotografias, ya sean estas fotografias guardadas, perdidas, anheladas o escenificadas para ser expuestas a la luz en el futuro. Las fotografias descritas-no incluidas-en el texto son una fuente de energia vital para los personajes y una importante herramienta de comunicacion entre ellos. En el presente ensayo, propongo estudiar el modo en que las funciones de la fotografia fomentan la especulacion narrativa en la novela, un aspecto que, a la fecha, ha recibido menos atencion critica en el contexto de esa obra. English"Nadie me vera llorar" (1999) by the Mexican author Cristina Rivera Garza is a novel inspired by a multitude of texts: clinical documents, historiographical files, diaries and letters. The plot is also driven by photo...
In the extensive research on the oeuvre and life of Michel Foucault, the years he spent in Tunisi... more In the extensive research on the oeuvre and life of Michel Foucault, the years he spent in Tunisia do not occupy a prominent role. More precisely, they have been mentioned only in passing. David Macey's six-hundred-page English biography, The Lives of Michel Foucault, discusses the time in Tunisia only briefly. 1 In his biography in French, Didier Eribon dedicates some scarce seven pages to the time Foucault worked as visiting professor of philosophy at Tunis University. Eribon introduces his account as follows: "Why Tunis? This was, once again, a strange set of co-occurrences."" The concurring circumstances Eribon refers to were a faculty opening at the Department of Social Sciences at the newly founded university in Tunis and the fact that Foucault's partner, Daniel Defert, was about to travel to the same city to fulfill his volunteer service.' In a comparable way, voices from the other side of the Mediterranean describe Foucault's time in Tunis as an "interlude" before he would return to Paris and become Chair at the College de France. In Foucault in Tunisia (Foucault en Tunisie), a special issue of The Tunisian Journal (Les cahiers de Tunisie), Ben Dana-Mechri gives the following account: "The interlude in Tunis, where Michel Foucault taught from September 1966 to August 1968 shows a philosopher already well respected, almost famous; his teaching influenced a generation of students here, just as it would soon inl1uence [students at] the University at Vincennes and the new department of philosophy he would be in charge of." 4 The university in Tunis was indeed the last of several places where Foucault held visiting appointments before returning to France. He had taught, albeit for shorter periods of time, at the universities in Uppsala (Sweden), Warsaw (Poland), and Hamburg (Germany) prior to his lectureship in Tunisia. Yet his stay at a public university in the Maghreb, which was founded only six years before his arrival and four years 165
In Cuban novelist Jose Manuel Prieto’s ‘Russian Trilogy’, and in particular, in the novel Livadia... more In Cuban novelist Jose Manuel Prieto’s ‘Russian Trilogy’, and in particular, in the novel Livadia/Nocturnal Butterflies of the Russian Empire (1997), the experience of crossing borders and the reflection on how to pass safely, and often secretly, is vital. The geographical borders that take center stage are those of the former Soviet Union of the 1990s and adjacent Northern and Eastern countries as well as the Black Sea. In a first step, this essay examines the portrayals of changing borders, changing concepts of the border as well as the protagonist’s main strategies of border-crossing in the novel. In a second step, it explores the impact of a seemingly lighthearted metaphor, that of the butterfly and in particular its wings, to elucidate what I see as Prieto’s protagonist’s innovative approach of reacting to the experience of the border and his previous hyper-individualist attitudes when facing it. This experience is intrinsically linked to the role of writing and reading. Both h...
This essay explores the presentation of everyday urban spaces marked by neoliberal practices in a... more This essay explores the presentation of everyday urban spaces marked by neoliberal practices in a selection of works by Peruvian poets Roxana Crisólogo, Victoria Guerrero and Ericka Ghershi. The spaces invoked in their poems are oftentimes the protagonists, either direct or obliquely, that condition their inhabitants and impose a perpetual unrest upon them. The resulting poem endeavors to slow down the systemic haste via individual reflection in a here and now of writing and reading.
Actas Del Xvi Congreso De La Asociacion Internacional De Hispanistas Nuevos Caminos Del Hispanismo Paris Del 9 Al 13 De Julio De 2007 Vol 2 2010 Isbn 978 84 8489 539 8 Pag 306, 2010
Este estudio consiste en un análisis del poema "Imprólogo" (Árbol adentro) de Octavio Paz, texto ... more Este estudio consiste en un análisis del poema "Imprólogo" (Árbol adentro) de Octavio Paz, texto que sirvió de prólogo a la primera antología poética del poeta serbio Vasko Popa. Propongo leer "Imprólogo", texto hasta ahora no analizado críticamente, primero como práctica poética, que se va escribiendo como refl exión sobre la poesía del amigo-poeta de Paz. En segundo lugar, es una indagación en torno al valor de la negación, un ejercicio lírico que se realiza a través de la repetida negación de poder realizarse. Por último, el poema ofrece una refl exión poetológica novedosa acerca de la intertextualidad, concebida como diálogo poético ideado. De ese modo, Paz reafi rma-en los terrenos nuevos de la negación, combinada con la intertextualidad-la potencia poética de apuntar, a través de las palabras, a un más allá de las palabras.
Virtual exchange: towards digital equity in internationalisation
During our six-week Collaborative Online International Learning (COIL) module (Oct.-Nov. 2019), 5... more During our six-week Collaborative Online International Learning (COIL) module (Oct.-Nov. 2019), 58 students jointly developed task-based projects on expressions of popular culture in Albany (USA) and Caracas (Venezuela). In teams of seven to eight participants, learners from both countries reflected on variations of popular culture through assignments to be resolved in teams that included summaries and critical assessments of readings, contextualization of theoretical concepts, the drafting of a joint video script, and finally creation of a ten-minute video that focused on popular expressions in both cities. All learners were native, fluent, or near-native speakers of Spanish. We experienced the topic of popular culture to be exceptionally well poised to help students engage with each other from the beginning, represent everyday realities and build empathy and transcultural understanding through written reflections and joint creative final projects in the form of documentaries that ...
Este estudio consiste en un análisis del poema "Imprólogo" (Árbol adentro) de Octavio P... more Este estudio consiste en un análisis del poema "Imprólogo" (Árbol adentro) de Octavio Paz,texto que sirvió de prólogo a la primera antología poética del poeta serbio Vasko Popa. Propongo leer "Imprólogo", texto hasta ahora no analizado críticamente, primero como práctica poética, que se va escribiendo como refl exión sobre la poesía del amigo-poeta de Paz. En segundo lugar, es una indagación en torno al valor de la negación, un ejercicio lírico que se realiza a través de la repetida negación de poder realizarse. Por último, el poema ofrece una refl exión poetológica novedosa acerca de la intertextualidad, concebida como diálogo poéticoideado. De ese modo, Paz reafi rma -en los terrenos nuevos de la negación, combinada con la intertextualidad- la potencia poética de apuntar, a través de las palabras, a un más allá de las palabras.This study is a close-reading of Octavio Paz' "Imprólogo" (Árbol adentro), a poem that served as prologue to the fi rst an...
Chasqui-revista De Literatura Latinoamericana, 2018
espanol"Nadie me vera llorar" (1999) de la autora mexicana Cristina Rivera Garza es una... more espanol"Nadie me vera llorar" (1999) de la autora mexicana Cristina Rivera Garza es una novela inspirada por una multitud de textos: documentos clinicos, archivos historiograficos, diarios y cartas. La trama esta, tambien, impulsada por fotografias, ya sean estas fotografias guardadas, perdidas, anheladas o escenificadas para ser expuestas a la luz en el futuro. Las fotografias descritas-no incluidas-en el texto son una fuente de energia vital para los personajes y una importante herramienta de comunicacion entre ellos. En el presente ensayo, propongo estudiar el modo en que las funciones de la fotografia fomentan la especulacion narrativa en la novela, un aspecto que, a la fecha, ha recibido menos atencion critica en el contexto de esa obra. English"Nadie me vera llorar" (1999) by the Mexican author Cristina Rivera Garza is a novel inspired by a multitude of texts: clinical documents, historiographical files, diaries and letters. The plot is also driven by photo...
In the extensive research on the oeuvre and life of Michel Foucault, the years he spent in Tunisi... more In the extensive research on the oeuvre and life of Michel Foucault, the years he spent in Tunisia do not occupy a prominent role. More precisely, they have been mentioned only in passing. David Macey's six-hundred-page English biography, The Lives of Michel Foucault, discusses the time in Tunisia only briefly. 1 In his biography in French, Didier Eribon dedicates some scarce seven pages to the time Foucault worked as visiting professor of philosophy at Tunis University. Eribon introduces his account as follows: "Why Tunis? This was, once again, a strange set of co-occurrences."" The concurring circumstances Eribon refers to were a faculty opening at the Department of Social Sciences at the newly founded university in Tunis and the fact that Foucault's partner, Daniel Defert, was about to travel to the same city to fulfill his volunteer service.' In a comparable way, voices from the other side of the Mediterranean describe Foucault's time in Tunis as an "interlude" before he would return to Paris and become Chair at the College de France. In Foucault in Tunisia (Foucault en Tunisie), a special issue of The Tunisian Journal (Les cahiers de Tunisie), Ben Dana-Mechri gives the following account: "The interlude in Tunis, where Michel Foucault taught from September 1966 to August 1968 shows a philosopher already well respected, almost famous; his teaching influenced a generation of students here, just as it would soon inl1uence [students at] the University at Vincennes and the new department of philosophy he would be in charge of." 4 The university in Tunis was indeed the last of several places where Foucault held visiting appointments before returning to France. He had taught, albeit for shorter periods of time, at the universities in Uppsala (Sweden), Warsaw (Poland), and Hamburg (Germany) prior to his lectureship in Tunisia. Yet his stay at a public university in the Maghreb, which was founded only six years before his arrival and four years 165
In Cuban novelist Jose Manuel Prieto’s ‘Russian Trilogy’, and in particular, in the novel Livadia... more In Cuban novelist Jose Manuel Prieto’s ‘Russian Trilogy’, and in particular, in the novel Livadia/Nocturnal Butterflies of the Russian Empire (1997), the experience of crossing borders and the reflection on how to pass safely, and often secretly, is vital. The geographical borders that take center stage are those of the former Soviet Union of the 1990s and adjacent Northern and Eastern countries as well as the Black Sea. In a first step, this essay examines the portrayals of changing borders, changing concepts of the border as well as the protagonist’s main strategies of border-crossing in the novel. In a second step, it explores the impact of a seemingly lighthearted metaphor, that of the butterfly and in particular its wings, to elucidate what I see as Prieto’s protagonist’s innovative approach of reacting to the experience of the border and his previous hyper-individualist attitudes when facing it. This experience is intrinsically linked to the role of writing and reading. Both h...
This essay explores the presentation of everyday urban spaces marked by neoliberal practices in a... more This essay explores the presentation of everyday urban spaces marked by neoliberal practices in a selection of works by Peruvian poets Roxana Crisólogo, Victoria Guerrero and Ericka Ghershi. The spaces invoked in their poems are oftentimes the protagonists, either direct or obliquely, that condition their inhabitants and impose a perpetual unrest upon them. The resulting poem endeavors to slow down the systemic haste via individual reflection in a here and now of writing and reading.
Actas Del Xvi Congreso De La Asociacion Internacional De Hispanistas Nuevos Caminos Del Hispanismo Paris Del 9 Al 13 De Julio De 2007 Vol 2 2010 Isbn 978 84 8489 539 8 Pag 306, 2010
Este estudio consiste en un análisis del poema "Imprólogo" (Árbol adentro) de Octavio Paz, texto ... more Este estudio consiste en un análisis del poema "Imprólogo" (Árbol adentro) de Octavio Paz, texto que sirvió de prólogo a la primera antología poética del poeta serbio Vasko Popa. Propongo leer "Imprólogo", texto hasta ahora no analizado críticamente, primero como práctica poética, que se va escribiendo como refl exión sobre la poesía del amigo-poeta de Paz. En segundo lugar, es una indagación en torno al valor de la negación, un ejercicio lírico que se realiza a través de la repetida negación de poder realizarse. Por último, el poema ofrece una refl exión poetológica novedosa acerca de la intertextualidad, concebida como diálogo poético ideado. De ese modo, Paz reafi rma-en los terrenos nuevos de la negación, combinada con la intertextualidad-la potencia poética de apuntar, a través de las palabras, a un más allá de las palabras.
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