Browsing by Author "Rosa, Richard"

Caribbean Iconographies of Cultural Nationalism: Haiti, Cuba, Puerto Rico traces a chronological evolution of images circulating between the Caribbean and the United States demonstrating the intersection of religion and politics. I argue that these representations constitute prime examples of the Caribbean struggle for decolonization and self-determination. I focus my investigation on select examples from three Antillian nations to theorize the iconophilic and affective dimensions of their corresponding cultural nationalisms, especially in relation to resisting colonialism and imperialism. From the Haitian Revolution to the first US occupation of Cuba to the current aftermath of Hurricane María in Puerto Rico, I examine the mechanisms of power relations at play in the region as understood through the lens of iconography and Caribbean thought. I accomplish this through an analysis of particular images and related texts, a foundational novel, a painting, a series of photographs and postcards, and contemporary public murals with the use of methodologies related to cultural and visual studies, Caribbean and decolonial thought, theories of affect and iconography, historical and archival analysis, and theologies of Afro-Caribbean religions.

My dissertation, “Fictional Timing: Neoliberalism and Time in the Contemporary Latin American Novel”, studies recent developments in the Latin American novel to better understand the relation between economics and time in contemporary Latin America. I analyze Alberto Fuguet’s Las películas de mi vida (2002) Jorge Volpi’s No sera la Tierra (2006), Pedro Mairal’s El año del desierto (2005), Diamela Eltit’s Los trabajadores de la muerte (1998) and Mano de obra (2002), as well as Barataria (volume 1 published in 2012, volume 2 published in 2013) by Juan López Bauzá, to argue that at the heart of the Latin American novel’s examination of the shifting signifier that is “neoliberalism” (Brown 20), we find a return to matters of time and temporality. Since the early 1970s, Latin America has provided a site for political experiments in reshaping the dynamics between the social and economic spheres, thus between citizens and the market. The region became the third great stage for the neoliberal model, as well as the first systematic experiment of neoliberal reforms during Pinochet’s dictatorship (Valencia 478). It has become all but commonplace to credit changes in technology, debt reforms, privatization, austerity, and global markets for a distinctively contemporary experience of time as the acceleration and compression of lived experience that ensures a predictable future (Harvey 1989; Lazzarato 2012). While taking this now commonplace view into account, I conclude that contemporary Latin American novels insist on the heterogeneity of temporal experiences. Each chapter explores these diverse times at work within neoliberal rationality, discourses, practices, and subjectivities.

Imagined Islands: A Caribbean Tidalectics confronts islands -at once as a problem, a concept, and a historical and mythical fact and product- by generating a tidalectical encounter between some of the ways in which islands have been imagined and used from without, primarily in the interest of the advancement of western capitalist coloniality, and from within, as can be gathered from Caribbean literatures. The perspective from without, predominantly based on negation, is explored in Section 1 using examples of islands in the Mediterranean, the Pacific, and the Atlantic, as well as a few canonical texts in various academic discourses. Section 2 discusses the perspective from within, an affirmative and creative counter-imagination on/of islands. Emerging from literary work by Derek Walcott, Edgardo Rodríguez Juliá, Édouard Glissant, and Alejo Carpentier, the chapters in Section 2 are organized around three key concepts associated with insularity -tropical light, the coast, and the sea/ocean- and the ways in which they force a rearrangement of enduring philosophical concepts: respectively, vision and sense perception, time and space, and history.

Imagined Islands' Introduction establishes, (1) the stakes of a project undertaken from an immanent perspective set in the Caribbean; (2) the method, inspired chiefly by Kamau Brathwaite's concept of tidalectics; (3) the epistemological problems posed by islands; (4) an argument for a different understanding of history, imagination, and myth inspired by Caribbean texts; and, (5) an overview of the academic debates in which Imagined Islands might make a significant contribution. The first section, "Islands from Without," comprising Chapter 1, provides an account of a few uses and imaginations of islands by capitalist coloniality as they manifest themselves both in the historical and the mythical imaginary realms. I focus on five uses and imaginations of islands (entrepôt island, sugar island, strategic island, paradise island, and laboratory island), with specific examples from the Mediterranean, the Pacific, and the Atlantic, and from five canonical texts ascribed to different disciplinary discourses: Plato's "Atlantis," Thomas More's Utopia, Daniel Defoe's Robinson Crusoe, Charles Darwin's The Origin of the Species, and Margaret Mead's Coming of Age in Samoa. I argue, on the one hand, that a dominant idea of the island based on negation (lack, dependency, boundedness, isolation, smallness, remoteness, among other characteristics) has coalesced in the expansionist and exploitative interests of capitalist coloniality, despite the fundamental promiscuity of the concept of "island." On the other hand, I find in the analyzed examples, especially in those of the mythical imaginary, residues in flight that remain open for creative reappropriation.

Imagined Islands' second section, "Islands from Within," encompassing Chapters 2 through 5, relocates the discussion within the Caribbean in order to argue that some of the region's literatures have produced a counter-imagination concerning insularity. This counter-imagination, resulting from an immanent and affirmative engagement with Caribbean islands, amounts to a way of thinking about and living the region and its possibilities in terms other than those of the dominant idea of the island. Each chapter opens with a historical and conceptual discussion of the ways in which light (Chapter 2), the coast (Chapters 3 and 4), and the sea/ocean (Chapter 5) have been imagined and deployed by capitalist coloniality, before turning to Caribbean literary texts as instances of a re-conceptualization of the aforementioned insular features and their concomitant rearrangement of apparently familiar philosophical concepts. Chapter 2 focuses on tropical light, vision, sense perception, Walcott's book-length poem Tiepolo's Hound, and Rodríguez Juliá's novel El espíritu de la luz. Chapter 3 turns to the insular coast, time, space, and the novels El siglo de las luces by Carpentier and The Fourth Century by Glissant. Chapter 5 goes out to sea and history with the help of Rodríguez Juliá's chronicles "El cruce de la Bahía de Guánica y otras ternuras de la Medianía" and "Para llegar a Isla Verde," as well as of sections from Glissant's Poetics of Relation and some of his poems from The Restless Earth. Finally, Imagined Islands' Coda points to some of the ripples this project produces for future study, and defends the urgent need to "live differently" the Caribbean archipelagoes.

In mid-twentieth century, Colombia’s illiteracy rate was 40% with numbers close to 80% in the rural areas. These areas lacked access to formal education and were isolated from the urban centers due to poor road infrastructure. Radio Sutatenza, an educational radio station, promised to educate and integrate rural communities to the nation through radio literacy campaigns and its pedagogical model of Fundamental Integral Education. Unlike previous sociological, pedagogical, and communicational studies of the Sutatenza project, Intermedial Sutatenza highlights the project’s political and aesthetic dimensions. Dialoguing with theories and concepts from literary, cultural, and sound studies, I analyze cultural and media productions by officials and listeners of Radio Sutatenza. I focus, specifically, on radio dramas produced by the station and on coplas and songs composed by listeners, then broadcast in radio shows, and published in the print weekly El Campesino. I propose that these cultural productions are best described as intermedial narratives to highlight their many inner contradictions and the mediated context in which they emerge. Also, in their blurring of media and genre borders, these narratives dwell between the aural and the written and emerge as embattled fields of meaning production. I argue that Sutatenza’s intermedial narratives show that the radio station undertook both a continuity of and a departure from the Hispanic-Catholic project of a nation put in place in Colombia by the grammarian presidents in the nineteenth century. Likewise, I sustain that Sutatenza reproduced and remediated the literary movement of costumbrismo and the literary genre of the cuadro de costumbres, with its ideological implications, in sonic media for a twentieth century audience. At its core, my dissertation proves that the othering of rural individuals in Colombia took place also in the radio, and that Radio Sutatenza, with its far-reaching pedagogical strategies, had a fundamental role in the construction and circulation of a specific kind of rural individual and of rurality. At the same time, my work shows that, in the interstices, polysemy and the instability of the sign and the word permit for voices of resistance to emerge. Hence, the Sutatenza narratives, on the one hand, strive to unite and homogenize rural communities, and on the other, circulate and broadcast those same communities’ cultural heterogeneity. Through this examination, I clarify the role of Radio Sutatenza in Colombian community-making processes and radio’s part in narrating the nation during mid-twentieth century. Moreover, the questions I explore and the questions the dissertation opens-up are central in a country where unequal land ownership and rural labor exploitation are at the base of a more than half a century-long violent conflict. The ultimate goal and significance of my research is that it will lead to a recasting of the discourses (historical, sociological, cultural) about Colombian rural communities.

In my dissertation I propose that Álvaro Bisama's Caja negra is a book that both continues and defies the interventions in the field of culture articulated in Alberto Fuguet's Por favor, rebobinar and other texts associated with the McOndo approach to culture in Latin America; an approach that includes urban metropolitan spaces as well as mass-produced cultural products in the range of possible representations of daily life experiences in Latin America. I argue that, in order to do so, Bisama performs an oppositional, counterfactual and cultist appropriation of the history of the Chilean written, audiovisual and musical media productions of the 20th century, considering Chilean both the media productions that were made in Chile and the media productions that were consumed in the Chilean context even if they were made somewhere else. In Caja negra, the appropriation of such a wide catalogue of productions is achieved by inoculating the text with a significant amount of apocryphal films, books, authors, filmmakers, musicians, records and other data related to these productions and their producers. I show that the saturation of apocryphal data in Caja negra aims to create an alternate history of Chile through the construction of an alternate cultural field. However, the historical fact of Augusto Pinochet's coup d'état in 1973 remains unchanged. I argue that Bisama's display of apocrypha in Caja negra is a way of responding to the lack of reliability of the accounts of history, especially, the history of media productions in Chile, as a consequence of the actions taken by the military. Therefore, I propose that Bisama's approach to the genre of alternate history is political and consists of proposing the conjectural as a strategy to overcome the gaps and untrustworthiness of the accounts of history in a way that provides an alternative to the search for truth. Finally, I propose that Caja negra engages with popular and alternative cultures in a double edged way: On the one hand, it builds on the changes in the field of culture that were either observed, proposed or performed by the productions associated to McOndo, in a time that coincided with the dawn of both the democratic transition and the popularization of new technologies that promised to democratize the access to culture. On the other hand, it shows that active consumption and fanatic appropriation are deliberate and personal acts that, as such, depend more on those who perform them than on the products that are being appropriated. Popular culture is treated as a plurality of cultures, and the text is not a place to display it or fictionalize it, as it happens in Por favor, rebobinar. In Caja negra the codes of these pop cultures are shown yet remain veiled. Their apocryphal nature and the complex processes of fictionalization serve to protect them from overexposure and loss of their subcultural capital. In my dissertation, I observe that Por favor, rebobinar articulates a principle that rules the relationships between characters and between the characters and the reader, and I call it aesthetic empathy. I recognize this principle as fundamental in Fuguet's writing in the nineties. Also; I read in Por favor, rebobinar an apology of active and public critical consumption of cultural products. In my comparative reading of Por favor, rebobinar and Caja negra, I find that in the latter there is a shift in the perception of culture and its representation that functions as a response to the principle of aesthetic empathy and to the apology of critical consumption articulated in Por favor, rebobinar. I argue that this contestation to Por favor, rebobinar and McOndo is achieved by a process of adoption and experimentation with the limits of the more provocative traits of Por favor, rebobinar's content and composition, such as the presentation of a cultural field, the saturation of data related to popular cultures, the fragmentary structure, the inclusion of metatextual interventions, and the emphasis in the specific nature of each fragment of writing through its structure and mediations. In sum, I present a reading of Caja negra as a text engaged in the intervention on the field of culture in Chile, articulated in continuity and contrast to its predecessors in the nineties.

This dissertation examines how fiction from the 1950s to the present exposes the historical functioning of Caribbean territories as laboratories for political, economic, and scientific experimentation. Through close-readings of Puerto Rican and Cuban literary texts, I argue that the laboratory, as a biopolitical system of power legitimation, operates on the levels of knowledge, affect, and subjectivities. First, the authors I study denounce how medical and literary discourse intersect to create eugenic, homophobic, and patriarchal diagnoses, proposing instead counter-hegemonic forms of imagining (and experiencing) mental and physical health, corporeal difference, and healing processes. Second, the diverse works of fiction I examine revolve around the shared affect of fear, which is heightened through the anticipation of further testing. Ultimately, I show how the laboratory produces paradoxical forms of alterity for the test subjects—a method of trial and error relies on an othered subject who, at the same time, must be sufficiently similar to the experimenter in order to function as a reliable testing object. This investigation contributes to and opens up new interpretative frameworks for the fields of Caribbean and postcolonial studies by examining an understudied form of subalternity—i.e., the test subject—through a connection between literary genres, geographies, and historical periods, which are often explored in isolation. Chapters 2 and 3 identify several forms of monstrosity and illness in the narrative fictions of Virgilio Piñera and José Lezama Lima. I show how these authors foreground the monstrous body in order to problematize the cycles of political experimentation in Cuba, as well as the medical nature of the US occupation and interventionism in the first decades of the 20th century. Chapter 4 explores the narrative work of Puerto Rican-Dominican author Pedro Cabiya, proposing the category of “hypochondriac fiction,” which names an aesthetic space for the destabilization of biopolitics in the context of repeated medical experimentation on human beings in Puerto Rico. Chapter 5 looks into the work of Rafael Acevedo, José (Pepe) Liboy, and Jorge Enrique Lage. I address the role of paranoia in Cuban and Puerto Rican novels by revealing the counterintuitive transformation of science fiction—in many senses, the epitome of fantastic fabrications—into the ultimate guarantor of credibility. In the epilogue I explore the representation of healing processes in Mayra Santos Febres’ La amante de Gardel (2015).

This dissertation analyzes how Colombian criollos – people of real or imagined European origins – dealt with the problem of representing value as part of their efforts to build a “civilized” nation during the nineteenth century (1822-1903). It researches capitalist development from the perspective of the symbolic structure that makes the accumulation of capital possible. It emphasizes the role of finance in the historical process through which Colombia’s territory and people were imagined and organized around a core principle: the pursuit of profit. As the affective and discursive center of profit-making, money is the most important pivot of liberal governmentality. This study thus takes as its main object what Mary Poovey has called “monetary genres” (e.g., bonds, stocks, paper money) as well as a variety of texts (e.g., political economy, literature, statistical accounts, press advertisements, conduct manuals, investment prospectuses) that criollos consumed and produced to understand and manage the relation of money to value. The anxiety produced by the difficulties of locating value in an “economy” based on speculation shaped not only political economy, but virtually all spheres of life. The project argues that capitalist development in Colombia involved new modes of representation that secured the trust required by financial instruments – essentially promises to pay – while simultaneously making the economy vulnerable to cyclical crises of credibility. These authorial modes of representation have been largely produced in the country by an exclusive, white, male elite. The research thus underlines the continuing reliance of capitalism on colonial structures of power and reveals how the symbolic architecture of the financial system has historically played an important role in the reproduction of gender, race, and class hierarchies.

This dissertation explores the concept of toxicity through the lens of literature. It takes the Plantationocene on the Hispanophone, Francophone, and Creolophone Caribbean experiences as the starting point to understand how the period and location circumstances affect the narratives we create around biological exposure to toxins and ideas of immunity and biological harm. Through the analysis of six contemporary novels, drawing from health humanities, biopolitics, and ecocriticism, it offers an understanding of what toxicity entails in contemporary imaginaries of the Caribbean and what kind of narratives are born from the need to make sense of an existence surrounded by discourse about climate collapse, pandemics, and extinction. The three chapters delve into intoxication in sacred spaces, the visual politics of infection using the zombie trope, and the role of storytelling in the transmission of abstract and material toxicity. They show how authors of this era offer alternative narratives of human existence in our current context that stray away from conservationist and purist ideas of ecology and planetary balance. The study aims to enhance our understanding of the centrality of toxicity in the Plantationocene context as well as the counterplantation practices that arise as alternatives for survival, contributing valuable insights into our post-pandemic world.

This dissertation explores the development of war photography in crucial decades of the construction of Chile and Argentina as nation-states (1860s-1880s). This was a moment of intense change and expansion of visual media, epitomized in the growth of photographic business and the emergence of new illustrated journals. The appearance of new and improved modes of production and circulation of images coincided with Chile and Argentina's aggressive expansionist agendas. In this project, I focus on the Triple Alliance War, the War of the Pacific, and two moments of the larger processes of Indigenous dispossession and massacre known as the "conquest of the desert" and the "pacification of the Araucanía." The portrayal of state action was no minor matter for these newly independent countries, as they actively sought to install an image of their imagined nations, both locally and internationally. However, their mastery of visual discourses was temporarily shuddered as they failed to recognize the importance of photography, while focusing more on promoting the arts--particularly painting. In other words, in the representation of military action, photography was overlooked. Commercial photographers created unexpected challenges in the process of the consolidation of official narratives since they saw in war a commercial opportunity and produced new representations of what war-and those wars in particular-were like. By studying the different visions of the wars of territorial expansion coming from photography--in comparison to those in painting and the illustrated press--I uncover the visual decisions and strategies that develop as the command of these visual devices grew stronger. In this moment of massive education of the gaze, many of the questions raised by the expansion of these visual technologies overlap with crucial issues of the nation-building process. This project thus also explores the institutional, commercial, and educational practices that molded visual literacies by formulating long-lasting conventions that governed the creation and interpretation of images about historical events.