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This article examines anthropocentric and ecocentric tendencies in two major works written by Mario Vargas Llosa, The Storyteller and The Dream of the Celt, to identify the value of those novels in ecocritical terms. I provide this analysis in the context of recent academic dialogue which notes an apparent contradictory relationship between the presentation of abuses of Amazonian people and their environment, and the portrayal of Westernized protagonists as their saviors in fiction written by Vargas Llosa. This essay provides a solution to this paradox and other apparent contradictions in his narratives and posits that even though the anthropocentric literary discourse concerning the environment has declined throughout the latter part of the twentieth century, in part, due to the rise of the environmental movement, this type of discourse has changed in Vargas Llosa’s literature, rejecting early twentieth century misconceptions of the natural world but holding onto technocentric neoliberal beliefs. © 2023, University of Montevideo. All rights reserved.
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The objective of my sabbatical leave was to make progress on a book project tentatively entitled: "In conversation: Dominican women writers speak." This project is a book of interviews with contemporary women writers from the Dominican Republic as well as writers who identify themselves as Domincan-American...
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Cardone wrote chapters of a book manuscript and submitted two related articles to peer reviewed journals. She also transcribed and edited a scholarly interview, presented portions of book project at conference and traveled to site of book topic for on-ground research. Accomplishments are different than outlined in original proposal. The report describes project issues and results.
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The avant-garde has been popular for some time, but its popularity has tended to fly under the radar. This “popular avant-garde,” conceived as the meeting ground of the avant-garde and popular, avoids the divorce of art and praxis of which the avant-garde has been accused. The Popular Avant-Garde takes stock of the debates about both the “historical” (“modernist”) and posterior avant-gardes, and sets them in relation to popular culture and art forms. With a critical introduction that examines the concepts of “the avant-garde,” “the popular,” and “the popular avant-garde,” the series of essays analyzes the way in which the avant-garde employs popular genres for political purposes, as well as how the popular acquires a critical function with respect to the avant-garde. Each of the volume’s three sections considers a different aspect of the productive exchange between the avant-garde and popular: the popular avant-garde as a culturally hybrid and cross-border phenomenon; the play between the popular avant-garde and developments in media and technology; and the popular avant-garde’s upending of conventional ideas about “the people” and “the popular.” The Popular Avant-Garde takes a fresh look at the now canonical Dadaist, Futurist, and Surrealist movements from the perspectives of gender and sexuality, and cultural and critical theory, while at the same time exploring less well-known avant-garde work in literature, film, television, music, photography, dance, sculpture, and the graphic arts. This volume’s coverage of the American and Afro-American, Luso-Brazilian and Latin-American, East-European, and Scandinavian avant-gardes, in addition to the vanguards of Spain and other parts of Western Europe, will appeal to all those interested in avant-garde and popular art forms.
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