New book La Imaginacion Patriarcal 2024 by Juan C Grijalva
La invisibilizacion de la mujer decimononica en el Ecuador puede entenderse como el resultado de ... more La invisibilizacion de la mujer decimononica en el Ecuador puede entenderse como el resultado de lo que llamo en este libro la imaginacion patriarcal: un orden dominante de exclusiones y formas de disciplinamiento, control, censura, borradura, moralizacion y silenciamiento masculinos que naturalizaron y normalizaron la supuesta inferioridad femenina, haciendola formar parte del mismo sentido comun de la epoca.
En este estudio analizo como, hacia el ultimo cuarto del siglo XIX, un grupo heterogeneo de mujeres escritoras nacionales y extranjeras, muchas de ellas librepensadoras catolicas, empezaron a participar de forma progresiva en la prensa ecuatoriana, desnaturalizaron su invisibilidad en el orden de la cultura letrada y cuestionaron abiertamente, en ciertos casos, las mismas desigualdades y exclusiones de genero existentes. La emergencia y participacion publica de estas mujeres educadas e intelectuales puede considerarse como un hito en la historia cultural del pais, no solo porque esta fue la primera generacion de escritoras que intervinieron en la prensa nacional, sino porque su presencia inusitada tuvo consecuencias significativas en la defensa de sus derechos educativos, sociales y politicos.
Disponible en Amazon; Barnes & Noble, etc.
https://flexpub.com/preview/la-imaginacion-patriarcal
Authored and Edited Books by Juan C Grijalva
La relevancia actual de los movimientos de mujeres y demandas en torno a sus derechos sociales, p... more La relevancia actual de los movimientos de mujeres y demandas en torno a sus derechos sociales, políticos, legales y reproductivos han marcado un derrotero multívoco en los debates contemporáneos de las sociedades de la región andina. Varias propuestas de sectores sociales vinculados a la lucha histórica de los movimientos de mujeres han puesto sobre la mesa la necesidad de reflexionar sobre cómo las demandas femeninas han llegado y se han situado en la palestra pública actual. Asimismo, la búsqueda de pasados históricos y de genealogías feministas que disputan discursos y perspectivas en la opinión pública evidencian la necesidad de fomentar análisis y producciones científicas sobre las demandas políticas y sociales de los movimientos de mujeres a través del tiempo. Ante este horizonte, los estudios aquí compilados buscan contribuir, desde la producción académica, a una mejor comprensión sobre el género y la participación histórica, cultural y política de las mujeres en los Andes.
Los editores, Juan Carlos Grijalva (Assumption University-Estados Unidos); Tatiana Salazar Cortez (Universidad del País Vasco / Université Paris Nanterre, CRIIA - Centre d'études équatoriennes); Emmanuelle Sinardet (Université Paris Nanterre, CRIIA - Centre d'études équatoriennes)
Acceso libre: https://crisol.parisnanterre.fr/index.php/crisol/issue/view/80?fbclid=IwAR2KfEJYkc-osVcK4Q5lIJeceaxJAKu7sSKDFZ4FC93Fsh7yo1l2gSpy5xk
El mexicano José Vasconcelos Calderón (1882-1959) y el ecuatoriano Manuel Benjamín Carrión Mora f... more El mexicano José Vasconcelos Calderón (1882-1959) y el ecuatoriano Manuel Benjamín Carrión Mora fueron dos paradigmáticas del proyecto nacionalista que propuso, en la primera mitad del siglo XIX, democratizar la cultura nacional en sus respectivos países. Vasconcelos, conocido en la década del veinte como "maestro de la juventud", proporcionará a Carrión un modelo cultural para pensar lo mestizo ecuatoriano. La gestión político-institucional de Vasconcelos como rector de la Universidad Nacional Autónoma de México y secretario de Educación Pública por un lado, ya la de Carrión como Presidente fundador de la Casa de la Cultura Ecuatoriana y Premio Benito Juárez en reconocimiento de su labor en nombre de la democracia latinoamericana por el otro, ejemplificarán, además, una manera de entender el nuevo rol del intelectual, comprometido con la educación popular, la producción literaria y artística nacional, la gestación de publicaciones y revistas culturales, y, en general, la promoción de la hispanidad, el antiimperialismo y la unidad latinoamericana. En este libro se exploran distintas facetas del proyecto nacionalista cultural compartido por estos dos importantes intelectuales latinoamericanos.
Obra de finalidad combativa, Las Catilinarias agrupa una docena de pasquines políticos escritos c... more Obra de finalidad combativa, Las Catilinarias agrupa una docena de pasquines políticos escritos contra las tiranías
militares de la segunda mitad del siglo XIX en el Ecua dor. Pero, Las Catilinarias es algo más que un libro de insultos sangrantes y virulentos. Montalvo se personifica aquí como el civilizador del pueblo e identifica a las tiranías con un estado de barbarie que no es sólo político, sino social, cultural e in clusive, gramatical. El preente trabajo propone leer a Montalvo desde su negatividad, desde el proyecto paradójico e imposible que arroja su obra y que es a la vez, de una manera sintomática, lo que todavía le que da a la cultura e identidad nacional ecuatoriana como rémora del pasado, como imaginario nacional todavía excluyente y elitista.
Articles in Journals and Books Chapters by Juan C Grijalva
Contemporary Indigenous Film and Video Production (Latin America), 2022
Introduction
In recent decades, Latin American Indigenous peoples have transformed films, docume... more Introduction
In recent decades, Latin American Indigenous peoples have transformed films, documentaries, animations, music videos, TV programs, and other audiovisual productions into fundamental tools of their own social, political, and cultural struggle for self-determination and self-representation. To say it simply, Indigenous self-determination means here the collective right of Indigenous peoples to be the media producers and proprietors of their own images, voices, and forms of communication. Likewise, other contemporary forms of Indigenous cultural production, such as contributions in literature (see the Oxford Bibliographies in Latin American Studies article Indigenous Voices in Literature) and social science as well as critical thought, film, and video Indigenous appropriations are challenging the long-lasting silence, racism, and exclusion imposed over these populations. By becoming the media agents of their own voices and images, Latin American Indigenous peoples are not only giving new sociopolitical meanings to audiovisual technologies and filmmaking; but they are also decolonizing hegemonic forms of communication that have misrepresented and stereotyped them. Unlike Hollywood commercial films, low-budget Indigenous audiovisual productions are rooted in the collective need of defending their native territories, their political organizations and social projects, and their own cultural identities, worldviews, traditions, and native languages. Indigenous film and video productions are not purely individual projects, driven by economic profit and dominant ideological interests; rather, they are a communitarian, transnational, intercultural, and multilingual enterprise in which the same members of a community or extended family actively participate behind and/or in front of the cameras. Films and videos have become an essential part of Indigenous contemporary creative expression and cultural survival as well as tools for their political demands and social projects. This article provides a preliminary exploration of contemporary Indigenous film and video production in Latin America. Key national and international Indigenous film festivals; film catalogues; audiovisual projects and organizations; online Indigenous films, videos, and TV programs as well as a growing number of research studies, interviews with filmmakers, and manifests and declarations on Indigenous communication are considered. A modest tribute is made to all Indigenous peoples who are transforming audiovisual communication into a form of liberation.
OXFORD BIBLIOGRAPHIES, Feb 2021
Introduction
The contemporary continental emergence of a significant number of indigenous inte... more Introduction
The contemporary continental emergence of a significant number of indigenous intellectuals who have been trained in the academic fields of social sciences (history, anthropology, sociology, linguistics, law, education, etc.) and have continued to be engaged with the social struggles of their ethnic communities of origen is a major sociocultural phenomenon not so well known in Latin America. Beginning in the 1960s, but with a stronger sociopolitical visibility in the 1980s and 1990s, indigenous intellectuals’ production of knowledge has become the backbone of many indigenous movements and proposals in the continent. Just like the booming appearance of modern indigenous literary writers (see Oxford Bibliographies article in Latin American Studies “Indigenous Voices in Literature”), the contemporary rise of indigenous intellectuals has reconceptualized indigenous communitarian worldviews and contributed to the study of their own social realities from their specific needs, cultural perspectives, and native languages. Indigenous intellectuals and scholars have flourished in the early 21st century, transforming knowledge and academic discourses into tools of indigenous cultural self-recognition; criticism of neocolonial forms of subordination and exploitation; and new conceptual ways of understanding history, democracy, communal life, political participation, cultural representation, and our human relationship with nature (Mother Earth). The purpose of this bibliographical essay is to offer an interdisciplinary and continental comprehensive view about these critical reflections, research studies, reports, interviews, essays, testimonies, manifests, discourses, and other conceptual contributions of Latin American indigenous intellectuals and communitarian leaders from the 1960s to the present. I have limited this vast and complex intellectual production to three fundamental indigenous debates: first, the criticism against neocolonialism, racism, and discrimination; second, self-defense of indigenous human rights and pluricultural laws; and, third, the development of judicial systems to protect the rights of Mother Earth—all of which lead to constructing new societies based on universal principles of ethnic diversity, respect for social equality and reciprocity, and living together in harmony. There are many other areas of indigenous sociopolitical production that are not considered here. That is why this study is a modest and preliminary tribute to a long and much more complex indigenous intellectual production that emerges based on exclusion, discrimination, and other forms of social inequality still suffered by many indigenous peoples in Latin America. This essay, thematically organized, provides an inclusive selection of a very heterogeneous spectrum of contemporary Latin American indigenous intellectuals, academics, activists and communitarian leaders, in conjuction with others who have been inspired or influenced by them. The purpose here then is to visibilize these contemporary indigenous authors, thinkers, and activists, even if their ideas, studies, and social reflections can be related to precolonial or colonial times. The strong presence of social leaders such as Berta Cáceres in Honduras, Isildo Beldenegro in Mexico, or José Tendetza in Ecuador, and many many others—some of whom have been killed, tortured, and criminalized— cannot be separated from the concepts and critical studies produced by indigenous intellectuals. I want to thank Agustín Grijalva and Maria Warren for their invaluable help.
https://www.oxfordbibliographies.com/view/document/obo-9780199766581/obo-9780199766581-0245.xml?q=Grijalva%20&fbclid=IwAR02XRk8o66fbQrslTmGUsa1wHJcwXo09D_sBbht1cw3qOiTVamwQ273ul0#firstMatch
Oxford Bibliographies in Latin American Studies, 2018
Introduction
The indigenous peoples of Abya Yala (Latin America)—which in the Kuna language me... more Introduction
The indigenous peoples of Abya Yala (Latin America)—which in the Kuna language means “Land in Its Full Maturity”—are the descendants of the first inhabitants and ancestral owners of the lands that were later conquered by European conquistadors. Indigenous peoples, indeed, have resisted centuries of colonialism and neocolonialism, which attempted to strip them of their territories, native languages, and cultural identities. Since the time of Christopher Columbus, the Spanish word indio has been used to imply the racial, cultural, linguistic, and intellectual inferiority of indigenous peoples, yet they have never accepted colonization and exploitation passively. There is a long history of indigenous rebellions and symbolic reappropriations of the “New World.” Today, there are more than eight hundred indigenous ethnic groups in Latin America, and two hundred more are estimated to be living in voluntary isolation, according to the United Nations. The cultural and linguistic heritage of indigenous peoples contributes to the world’s diversity. Indigenous literatures, in particular, are a paradigmatic example of this rich cultural heritage. Based on collective oral traditions (myths, rituals, legends, stories, songs, etc.), these literatures encompass a vast heterogeneous textual production (pre-Hispanic codices, colonial documents, letters, chronicles, autobiographies, testimonies, poems, short stories, novels, etc.) that has been written by indigenous peoples themselves, often using their own languages and reflecting their own worldviews. In this sense, indigenismo, understood as an urban-white-criollo cultural tradition of representing and speaking about and for indigenous peoples, has a radically different point of view (see the Oxford Bibliographies in Latino Studies article “Latino Indigenismo in a Comparative Perspective”). During the last few decades, the production of indigenous literatures has flourished, putting an end to traditional indigenismo and modifying views on national histories of literatures and conventional literary concepts. New multilingual editions and anthologies of indigenous poetry, fictional narratives, and other genres are currently being published, sometimes as the result of literary festivals and workshops, scholarships, and projects with the participation of indigenous peoples. This new literature is also part of the contemporary social struggle of indigenous communities to affirm their right to live with dignity and preserve their own cultures and languages. Quechua, Kichwa, Aymara, Nahuatl, Maya, and Mapudungun literatures, among many others, allow us to hope that a full social, political, and cultural recognition of indigenous peoples is not so far away. In this bibliographical review, key pre-Hispanic, colonial, modern, and contemporary indigenous authors and works are considered chronologically, giving special priority to indigenous primary sources, and to English translations when they are available.
http://www.oxfordbibliographies.com/abstract/document/obo-9780199766581/obo-9780199766581-0199.xml?rskey=9usSqA&result=3&q=juan%20carlos%20grijalva#firstMatch
Introduction
General Overviews
Reference Works and Bibliographies
Pre-Hispanic Codices, Colonial Testimonies, and Other Documents
Anthologies Across the Americas
Early Modern Indigenous Narratives
Indigenous Testimonio and Autobiography
Anthologies of Contemporary Indigenous Narratives
Anthologies of Contemporary Indigenous Poetry
Selected Contemporary Indigenous Writers (Prose and Poetry)
Translations into Indigenous Languages
Journal of Latin American Cultural Studies, 2010
Kipus. Revista Andina de Letras y Estudios Culturales, 2019
Este texto busca explorar el carácter cosmopolita de la crítica de autores ecuatorianos en la obr... more Este texto busca explorar el carácter cosmopolita de la crítica de autores ecuatorianos en la obra ensayística de Michael Handelsman. La revalorización de la literatura ecuatoriana, desde una mirada crítica, liberadora y universal, es uno de los aportes fundamentales del crítico norteamericano.
Revista Guaraguao https://www.revistaguaraguao.es/producto/numero-62-digital/, 2020
E n la historia cultural ecuatoriana y, en general, latinoamericana, la producción ensayística ha... more E n la historia cultural ecuatoriana y, en general, latinoamericana, la producción ensayística ha sido una de las formas de expresión fundamental del pensamiento social, histórico, político, estético e inclusive filosófico. Hablar del ensayo en nuestro continente es hablar de un género de escritura que, si bien lo podemos definir como "literatura" en la acepción moderna del término, no pocas veces ha rebasado tales fronteras. En sus cruces con los territorios más especializados del saber técnico o artístico, y en particular con el discurso de las ciencias sociales, el ensayo contemporáneo intentará dar respuesta a un conjunto de cuestiones tan diversas como la función del escritor en la sociedad de masas, la crítica al neocolonialismo cultural existente, el conflicto entre diversidad étnica e identidad nacional, el rol de la literatura en la formación de una cultura nacional, la caracterización de un "modo de ser" de los ecuatorianos, etc. En realidad, ya desde el período de independencia y ubicada en el centro mismo de todas estas reflexiones, una preocupación mayor será la de pensar la nación ecuatoriana como proyecto, como deber ser de un país efectivamente más integrado. Aun hoy, con tres millones de compatriotas que viven en el extranjero y un nuevo orden económico a nivel global, pensar la nación sigue siendo un desafío mayor.
La discusión en torno al mestizaje cultural ecuatoriano y, en específico, la construcción de una ... more La discusión en torno al mestizaje cultural ecuatoriano y, en específico, la construcción de una cultura e identidad nacionales de carácter mestizo ha ocupado un lugar fundamental en la reflexión histórica, sociológica, artística y estética del país desde su nacimiento como nación independiente. La producción ensayística de las últimas décadas, en particular, reactiva de forma significativa esta preocupación por lo mestizo y el mestizaje en el contexto nacional.
Escrita en los conflictivos y despóticos anos de la segunda mitad del siglo XIX en el Ecuador, L ... more Escrita en los conflictivos y despóticos anos de la segunda mitad del siglo XIX en el Ecuador, L a Catilinarias reúne una docena de pasquines de fi-
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New book La Imaginacion Patriarcal 2024 by Juan C Grijalva
En este estudio analizo como, hacia el ultimo cuarto del siglo XIX, un grupo heterogeneo de mujeres escritoras nacionales y extranjeras, muchas de ellas librepensadoras catolicas, empezaron a participar de forma progresiva en la prensa ecuatoriana, desnaturalizaron su invisibilidad en el orden de la cultura letrada y cuestionaron abiertamente, en ciertos casos, las mismas desigualdades y exclusiones de genero existentes. La emergencia y participacion publica de estas mujeres educadas e intelectuales puede considerarse como un hito en la historia cultural del pais, no solo porque esta fue la primera generacion de escritoras que intervinieron en la prensa nacional, sino porque su presencia inusitada tuvo consecuencias significativas en la defensa de sus derechos educativos, sociales y politicos.
Disponible en Amazon; Barnes & Noble, etc.
https://flexpub.com/preview/la-imaginacion-patriarcal
Authored and Edited Books by Juan C Grijalva
Los editores, Juan Carlos Grijalva (Assumption University-Estados Unidos); Tatiana Salazar Cortez (Universidad del País Vasco / Université Paris Nanterre, CRIIA - Centre d'études équatoriennes); Emmanuelle Sinardet (Université Paris Nanterre, CRIIA - Centre d'études équatoriennes)
Acceso libre: https://crisol.parisnanterre.fr/index.php/crisol/issue/view/80?fbclid=IwAR2KfEJYkc-osVcK4Q5lIJeceaxJAKu7sSKDFZ4FC93Fsh7yo1l2gSpy5xk
militares de la segunda mitad del siglo XIX en el Ecua dor. Pero, Las Catilinarias es algo más que un libro de insultos sangrantes y virulentos. Montalvo se personifica aquí como el civilizador del pueblo e identifica a las tiranías con un estado de barbarie que no es sólo político, sino social, cultural e in clusive, gramatical. El preente trabajo propone leer a Montalvo desde su negatividad, desde el proyecto paradójico e imposible que arroja su obra y que es a la vez, de una manera sintomática, lo que todavía le que da a la cultura e identidad nacional ecuatoriana como rémora del pasado, como imaginario nacional todavía excluyente y elitista.
Articles in Journals and Books Chapters by Juan C Grijalva
In recent decades, Latin American Indigenous peoples have transformed films, documentaries, animations, music videos, TV programs, and other audiovisual productions into fundamental tools of their own social, political, and cultural struggle for self-determination and self-representation. To say it simply, Indigenous self-determination means here the collective right of Indigenous peoples to be the media producers and proprietors of their own images, voices, and forms of communication. Likewise, other contemporary forms of Indigenous cultural production, such as contributions in literature (see the Oxford Bibliographies in Latin American Studies article Indigenous Voices in Literature) and social science as well as critical thought, film, and video Indigenous appropriations are challenging the long-lasting silence, racism, and exclusion imposed over these populations. By becoming the media agents of their own voices and images, Latin American Indigenous peoples are not only giving new sociopolitical meanings to audiovisual technologies and filmmaking; but they are also decolonizing hegemonic forms of communication that have misrepresented and stereotyped them. Unlike Hollywood commercial films, low-budget Indigenous audiovisual productions are rooted in the collective need of defending their native territories, their political organizations and social projects, and their own cultural identities, worldviews, traditions, and native languages. Indigenous film and video productions are not purely individual projects, driven by economic profit and dominant ideological interests; rather, they are a communitarian, transnational, intercultural, and multilingual enterprise in which the same members of a community or extended family actively participate behind and/or in front of the cameras. Films and videos have become an essential part of Indigenous contemporary creative expression and cultural survival as well as tools for their political demands and social projects. This article provides a preliminary exploration of contemporary Indigenous film and video production in Latin America. Key national and international Indigenous film festivals; film catalogues; audiovisual projects and organizations; online Indigenous films, videos, and TV programs as well as a growing number of research studies, interviews with filmmakers, and manifests and declarations on Indigenous communication are considered. A modest tribute is made to all Indigenous peoples who are transforming audiovisual communication into a form of liberation.
The contemporary continental emergence of a significant number of indigenous intellectuals who have been trained in the academic fields of social sciences (history, anthropology, sociology, linguistics, law, education, etc.) and have continued to be engaged with the social struggles of their ethnic communities of origen is a major sociocultural phenomenon not so well known in Latin America. Beginning in the 1960s, but with a stronger sociopolitical visibility in the 1980s and 1990s, indigenous intellectuals’ production of knowledge has become the backbone of many indigenous movements and proposals in the continent. Just like the booming appearance of modern indigenous literary writers (see Oxford Bibliographies article in Latin American Studies “Indigenous Voices in Literature”), the contemporary rise of indigenous intellectuals has reconceptualized indigenous communitarian worldviews and contributed to the study of their own social realities from their specific needs, cultural perspectives, and native languages. Indigenous intellectuals and scholars have flourished in the early 21st century, transforming knowledge and academic discourses into tools of indigenous cultural self-recognition; criticism of neocolonial forms of subordination and exploitation; and new conceptual ways of understanding history, democracy, communal life, political participation, cultural representation, and our human relationship with nature (Mother Earth). The purpose of this bibliographical essay is to offer an interdisciplinary and continental comprehensive view about these critical reflections, research studies, reports, interviews, essays, testimonies, manifests, discourses, and other conceptual contributions of Latin American indigenous intellectuals and communitarian leaders from the 1960s to the present. I have limited this vast and complex intellectual production to three fundamental indigenous debates: first, the criticism against neocolonialism, racism, and discrimination; second, self-defense of indigenous human rights and pluricultural laws; and, third, the development of judicial systems to protect the rights of Mother Earth—all of which lead to constructing new societies based on universal principles of ethnic diversity, respect for social equality and reciprocity, and living together in harmony. There are many other areas of indigenous sociopolitical production that are not considered here. That is why this study is a modest and preliminary tribute to a long and much more complex indigenous intellectual production that emerges based on exclusion, discrimination, and other forms of social inequality still suffered by many indigenous peoples in Latin America. This essay, thematically organized, provides an inclusive selection of a very heterogeneous spectrum of contemporary Latin American indigenous intellectuals, academics, activists and communitarian leaders, in conjuction with others who have been inspired or influenced by them. The purpose here then is to visibilize these contemporary indigenous authors, thinkers, and activists, even if their ideas, studies, and social reflections can be related to precolonial or colonial times. The strong presence of social leaders such as Berta Cáceres in Honduras, Isildo Beldenegro in Mexico, or José Tendetza in Ecuador, and many many others—some of whom have been killed, tortured, and criminalized— cannot be separated from the concepts and critical studies produced by indigenous intellectuals. I want to thank Agustín Grijalva and Maria Warren for their invaluable help.
https://www.oxfordbibliographies.com/view/document/obo-9780199766581/obo-9780199766581-0245.xml?q=Grijalva%20&fbclid=IwAR02XRk8o66fbQrslTmGUsa1wHJcwXo09D_sBbht1cw3qOiTVamwQ273ul0#firstMatch
The indigenous peoples of Abya Yala (Latin America)—which in the Kuna language means “Land in Its Full Maturity”—are the descendants of the first inhabitants and ancestral owners of the lands that were later conquered by European conquistadors. Indigenous peoples, indeed, have resisted centuries of colonialism and neocolonialism, which attempted to strip them of their territories, native languages, and cultural identities. Since the time of Christopher Columbus, the Spanish word indio has been used to imply the racial, cultural, linguistic, and intellectual inferiority of indigenous peoples, yet they have never accepted colonization and exploitation passively. There is a long history of indigenous rebellions and symbolic reappropriations of the “New World.” Today, there are more than eight hundred indigenous ethnic groups in Latin America, and two hundred more are estimated to be living in voluntary isolation, according to the United Nations. The cultural and linguistic heritage of indigenous peoples contributes to the world’s diversity. Indigenous literatures, in particular, are a paradigmatic example of this rich cultural heritage. Based on collective oral traditions (myths, rituals, legends, stories, songs, etc.), these literatures encompass a vast heterogeneous textual production (pre-Hispanic codices, colonial documents, letters, chronicles, autobiographies, testimonies, poems, short stories, novels, etc.) that has been written by indigenous peoples themselves, often using their own languages and reflecting their own worldviews. In this sense, indigenismo, understood as an urban-white-criollo cultural tradition of representing and speaking about and for indigenous peoples, has a radically different point of view (see the Oxford Bibliographies in Latino Studies article “Latino Indigenismo in a Comparative Perspective”). During the last few decades, the production of indigenous literatures has flourished, putting an end to traditional indigenismo and modifying views on national histories of literatures and conventional literary concepts. New multilingual editions and anthologies of indigenous poetry, fictional narratives, and other genres are currently being published, sometimes as the result of literary festivals and workshops, scholarships, and projects with the participation of indigenous peoples. This new literature is also part of the contemporary social struggle of indigenous communities to affirm their right to live with dignity and preserve their own cultures and languages. Quechua, Kichwa, Aymara, Nahuatl, Maya, and Mapudungun literatures, among many others, allow us to hope that a full social, political, and cultural recognition of indigenous peoples is not so far away. In this bibliographical review, key pre-Hispanic, colonial, modern, and contemporary indigenous authors and works are considered chronologically, giving special priority to indigenous primary sources, and to English translations when they are available.
http://www.oxfordbibliographies.com/abstract/document/obo-9780199766581/obo-9780199766581-0199.xml?rskey=9usSqA&result=3&q=juan%20carlos%20grijalva#firstMatch
Introduction
General Overviews
Reference Works and Bibliographies
Pre-Hispanic Codices, Colonial Testimonies, and Other Documents
Anthologies Across the Americas
Early Modern Indigenous Narratives
Indigenous Testimonio and Autobiography
Anthologies of Contemporary Indigenous Narratives
Anthologies of Contemporary Indigenous Poetry
Selected Contemporary Indigenous Writers (Prose and Poetry)
Translations into Indigenous Languages
En este estudio analizo como, hacia el ultimo cuarto del siglo XIX, un grupo heterogeneo de mujeres escritoras nacionales y extranjeras, muchas de ellas librepensadoras catolicas, empezaron a participar de forma progresiva en la prensa ecuatoriana, desnaturalizaron su invisibilidad en el orden de la cultura letrada y cuestionaron abiertamente, en ciertos casos, las mismas desigualdades y exclusiones de genero existentes. La emergencia y participacion publica de estas mujeres educadas e intelectuales puede considerarse como un hito en la historia cultural del pais, no solo porque esta fue la primera generacion de escritoras que intervinieron en la prensa nacional, sino porque su presencia inusitada tuvo consecuencias significativas en la defensa de sus derechos educativos, sociales y politicos.
Disponible en Amazon; Barnes & Noble, etc.
https://flexpub.com/preview/la-imaginacion-patriarcal
Los editores, Juan Carlos Grijalva (Assumption University-Estados Unidos); Tatiana Salazar Cortez (Universidad del País Vasco / Université Paris Nanterre, CRIIA - Centre d'études équatoriennes); Emmanuelle Sinardet (Université Paris Nanterre, CRIIA - Centre d'études équatoriennes)
Acceso libre: https://crisol.parisnanterre.fr/index.php/crisol/issue/view/80?fbclid=IwAR2KfEJYkc-osVcK4Q5lIJeceaxJAKu7sSKDFZ4FC93Fsh7yo1l2gSpy5xk
militares de la segunda mitad del siglo XIX en el Ecua dor. Pero, Las Catilinarias es algo más que un libro de insultos sangrantes y virulentos. Montalvo se personifica aquí como el civilizador del pueblo e identifica a las tiranías con un estado de barbarie que no es sólo político, sino social, cultural e in clusive, gramatical. El preente trabajo propone leer a Montalvo desde su negatividad, desde el proyecto paradójico e imposible que arroja su obra y que es a la vez, de una manera sintomática, lo que todavía le que da a la cultura e identidad nacional ecuatoriana como rémora del pasado, como imaginario nacional todavía excluyente y elitista.
In recent decades, Latin American Indigenous peoples have transformed films, documentaries, animations, music videos, TV programs, and other audiovisual productions into fundamental tools of their own social, political, and cultural struggle for self-determination and self-representation. To say it simply, Indigenous self-determination means here the collective right of Indigenous peoples to be the media producers and proprietors of their own images, voices, and forms of communication. Likewise, other contemporary forms of Indigenous cultural production, such as contributions in literature (see the Oxford Bibliographies in Latin American Studies article Indigenous Voices in Literature) and social science as well as critical thought, film, and video Indigenous appropriations are challenging the long-lasting silence, racism, and exclusion imposed over these populations. By becoming the media agents of their own voices and images, Latin American Indigenous peoples are not only giving new sociopolitical meanings to audiovisual technologies and filmmaking; but they are also decolonizing hegemonic forms of communication that have misrepresented and stereotyped them. Unlike Hollywood commercial films, low-budget Indigenous audiovisual productions are rooted in the collective need of defending their native territories, their political organizations and social projects, and their own cultural identities, worldviews, traditions, and native languages. Indigenous film and video productions are not purely individual projects, driven by economic profit and dominant ideological interests; rather, they are a communitarian, transnational, intercultural, and multilingual enterprise in which the same members of a community or extended family actively participate behind and/or in front of the cameras. Films and videos have become an essential part of Indigenous contemporary creative expression and cultural survival as well as tools for their political demands and social projects. This article provides a preliminary exploration of contemporary Indigenous film and video production in Latin America. Key national and international Indigenous film festivals; film catalogues; audiovisual projects and organizations; online Indigenous films, videos, and TV programs as well as a growing number of research studies, interviews with filmmakers, and manifests and declarations on Indigenous communication are considered. A modest tribute is made to all Indigenous peoples who are transforming audiovisual communication into a form of liberation.
The contemporary continental emergence of a significant number of indigenous intellectuals who have been trained in the academic fields of social sciences (history, anthropology, sociology, linguistics, law, education, etc.) and have continued to be engaged with the social struggles of their ethnic communities of origen is a major sociocultural phenomenon not so well known in Latin America. Beginning in the 1960s, but with a stronger sociopolitical visibility in the 1980s and 1990s, indigenous intellectuals’ production of knowledge has become the backbone of many indigenous movements and proposals in the continent. Just like the booming appearance of modern indigenous literary writers (see Oxford Bibliographies article in Latin American Studies “Indigenous Voices in Literature”), the contemporary rise of indigenous intellectuals has reconceptualized indigenous communitarian worldviews and contributed to the study of their own social realities from their specific needs, cultural perspectives, and native languages. Indigenous intellectuals and scholars have flourished in the early 21st century, transforming knowledge and academic discourses into tools of indigenous cultural self-recognition; criticism of neocolonial forms of subordination and exploitation; and new conceptual ways of understanding history, democracy, communal life, political participation, cultural representation, and our human relationship with nature (Mother Earth). The purpose of this bibliographical essay is to offer an interdisciplinary and continental comprehensive view about these critical reflections, research studies, reports, interviews, essays, testimonies, manifests, discourses, and other conceptual contributions of Latin American indigenous intellectuals and communitarian leaders from the 1960s to the present. I have limited this vast and complex intellectual production to three fundamental indigenous debates: first, the criticism against neocolonialism, racism, and discrimination; second, self-defense of indigenous human rights and pluricultural laws; and, third, the development of judicial systems to protect the rights of Mother Earth—all of which lead to constructing new societies based on universal principles of ethnic diversity, respect for social equality and reciprocity, and living together in harmony. There are many other areas of indigenous sociopolitical production that are not considered here. That is why this study is a modest and preliminary tribute to a long and much more complex indigenous intellectual production that emerges based on exclusion, discrimination, and other forms of social inequality still suffered by many indigenous peoples in Latin America. This essay, thematically organized, provides an inclusive selection of a very heterogeneous spectrum of contemporary Latin American indigenous intellectuals, academics, activists and communitarian leaders, in conjuction with others who have been inspired or influenced by them. The purpose here then is to visibilize these contemporary indigenous authors, thinkers, and activists, even if their ideas, studies, and social reflections can be related to precolonial or colonial times. The strong presence of social leaders such as Berta Cáceres in Honduras, Isildo Beldenegro in Mexico, or José Tendetza in Ecuador, and many many others—some of whom have been killed, tortured, and criminalized— cannot be separated from the concepts and critical studies produced by indigenous intellectuals. I want to thank Agustín Grijalva and Maria Warren for their invaluable help.
https://www.oxfordbibliographies.com/view/document/obo-9780199766581/obo-9780199766581-0245.xml?q=Grijalva%20&fbclid=IwAR02XRk8o66fbQrslTmGUsa1wHJcwXo09D_sBbht1cw3qOiTVamwQ273ul0#firstMatch
The indigenous peoples of Abya Yala (Latin America)—which in the Kuna language means “Land in Its Full Maturity”—are the descendants of the first inhabitants and ancestral owners of the lands that were later conquered by European conquistadors. Indigenous peoples, indeed, have resisted centuries of colonialism and neocolonialism, which attempted to strip them of their territories, native languages, and cultural identities. Since the time of Christopher Columbus, the Spanish word indio has been used to imply the racial, cultural, linguistic, and intellectual inferiority of indigenous peoples, yet they have never accepted colonization and exploitation passively. There is a long history of indigenous rebellions and symbolic reappropriations of the “New World.” Today, there are more than eight hundred indigenous ethnic groups in Latin America, and two hundred more are estimated to be living in voluntary isolation, according to the United Nations. The cultural and linguistic heritage of indigenous peoples contributes to the world’s diversity. Indigenous literatures, in particular, are a paradigmatic example of this rich cultural heritage. Based on collective oral traditions (myths, rituals, legends, stories, songs, etc.), these literatures encompass a vast heterogeneous textual production (pre-Hispanic codices, colonial documents, letters, chronicles, autobiographies, testimonies, poems, short stories, novels, etc.) that has been written by indigenous peoples themselves, often using their own languages and reflecting their own worldviews. In this sense, indigenismo, understood as an urban-white-criollo cultural tradition of representing and speaking about and for indigenous peoples, has a radically different point of view (see the Oxford Bibliographies in Latino Studies article “Latino Indigenismo in a Comparative Perspective”). During the last few decades, the production of indigenous literatures has flourished, putting an end to traditional indigenismo and modifying views on national histories of literatures and conventional literary concepts. New multilingual editions and anthologies of indigenous poetry, fictional narratives, and other genres are currently being published, sometimes as the result of literary festivals and workshops, scholarships, and projects with the participation of indigenous peoples. This new literature is also part of the contemporary social struggle of indigenous communities to affirm their right to live with dignity and preserve their own cultures and languages. Quechua, Kichwa, Aymara, Nahuatl, Maya, and Mapudungun literatures, among many others, allow us to hope that a full social, political, and cultural recognition of indigenous peoples is not so far away. In this bibliographical review, key pre-Hispanic, colonial, modern, and contemporary indigenous authors and works are considered chronologically, giving special priority to indigenous primary sources, and to English translations when they are available.
http://www.oxfordbibliographies.com/abstract/document/obo-9780199766581/obo-9780199766581-0199.xml?rskey=9usSqA&result=3&q=juan%20carlos%20grijalva#firstMatch
Introduction
General Overviews
Reference Works and Bibliographies
Pre-Hispanic Codices, Colonial Testimonies, and Other Documents
Anthologies Across the Americas
Early Modern Indigenous Narratives
Indigenous Testimonio and Autobiography
Anthologies of Contemporary Indigenous Narratives
Anthologies of Contemporary Indigenous Poetry
Selected Contemporary Indigenous Writers (Prose and Poetry)
Translations into Indigenous Languages
del escritor Juan Montalvo bien podrían formar parte de una novela
del realismo mágico. El protagonista de esta historia, luego de su
muerte en París, el 17 de enero de 1889, fue, además, cuidadosamente
momificado, repatriado, transportado por barco y tren, enterrado casi
por medio siglo, y finalmente, en 1932 y todavía de cuerpo presente,
coronado por el Estado, el día de su cumpleaños 100, como uno de
los ciudadanos más ilustres del Ecuador.
En los siguientes textos de Juan Montalvo (1832-1889), Jorge Icaza (1906-1978) y Alicia Yánez Cossío (1929), el autoritarismo se delata como una forma personalista, egocéntrica, de organización del poder político; una manera de manipulación fraudulenta de las leyes y la justicia; un intento de encubrimiento de la corrupción y violencia existentes, bajo el ropaje propagandístico de un mundo ordenado y feliz; y sin duda, una manera de control de la misma subjetividad, del deseo y voluntad tanto individuales como colectivos. En esta visión heterogénea del poder autoritario, que no se limita a individuos poderosos o instituciones represivas, se delata también -como podrían pensar Michel Foucault o Judith Butler- el afán insidioso por dominar la misma corporalidad, las ideas, sueños y deseos de los individuos. Enfrentar al autoritarismo, reírse de sus incongruencias, parodiarlo en su propaganda triunfante, hacer visible su sentido grotesco del bien común, ha sido, es, y siempre será un derecho democrático, un ejercicio saludable de libertad y pensamiento crítico de nuestras letras. Ningún autoritarismo es todopoderoso y eterno.
https://contratiemposec.wordpress.com/2016/06/10/tres-miradas-frente-al-autoritarismo-en-el-ecuador-montalvo-icaza-y-yanez-cosio/
Each, in different ways, had strongly impressed me. In Patricia’s case, it was her eloquent, articulate and very critical thinking about the irrational exploitation of the Amazonian jungle by transnational oil companies. For his part, Eriberto was already a pioneer in Amazonian indigenous film, an able and intelligent craftsman of the visual memory of Sarayaku.
How were they able to develop such an exceptional political consciousness about their own reality and that of their country, Ecuador? What was special about Sarayaku, so remote and isolated in the Amazonian jungle? Here I must express publicly my gratitude to Patricia for opening the doors to her pueblo for me, and for giving me the opportunity to understand.
Latino Rebels Website, USA, September 6, 2015.
Full Text: http://www.latinorebels.com/2015/09/06/the-intercultural-and-communitarian-democracy-of-sarayaku/
Texto completo en Latino Rebels (USA): http://www.latinorebels.com/2015/08/10/la-democracia-intercultural-y-comunitaria-de-sarayaku/
Texto republicado en PLAN V (Ecuador):
http://www.planv.com.ec/historias/sociedad/la-democracia-intercultural-y-comunitaria-sarayaku
At the end of the encounter, the participants released the following declaration in Spanish. In it, they conclude that new Latin American constitutions that have incorporated the concept of “Sumak Kawsay” have strengthened the rights of indigenous and Afrodescendant populations in the region, but that there is still a long way to go. The declaration is critical of the appropriation of the “Sumak Kawsay” to justify projects that focus on “progress” based on the growth of the extractive industries that perpetuate a colonial and capitalist development model. They also insist that a true plurinational and intercultural model must include real dialogue and respect for indigenous and Afrodescendant judicial and educational practices.
Full text: http://www.latinorebels.com/2014/12/20/declaration-of-international-encounter-on-good-life-sumak-kawsay-plurinational-state-interculturality-in-latin-america/
En esta primera entrega, Karla Giorgio entrevista a Eriberto Gualinga, reconocido documentalista kichwa, miembro del pueblo origenario de Sarayaku, en la región amazónica de la provincia de Pastaza en Ecuador.
http://www.latinorebels.com/2016/06/28/rostros-del-arte-kichwa-eriberto-gualinga-y-sus-documentales-de-la-selva/
En esta segunda entrega, Dawn LaRochelle entrevista al poeta otavaleño Ariruma Kowii, bautizado en español como Jacinto Conejo Maldonado. Ariruma es considerado uno de los poetas kichwas más importantes del Ecuador.
http://www.latinorebels.com/2016/06/29/rostros-del-arte-kichwa-ariruma-kowii-y-su-poesia-para-construir-el-futuro/
En esta cuarta entrega, Colleen Dehais y Benjamin Clabault entrevistan a la poeta Lucila Lema, origenaria del pueblo kichwa otavalo, en Ecuador.
http://www.latinorebels.com/2016/06/27/lucila-lema-y-su-poesia-de-amor-a-la-naturaleza-cinco-rostros-del-arte-indigena-kichwa-iv/
En esta tercera entrega, Brianne Burke y Meghan Tunno entrevistan a José (Joshi) Espinosa, cineasta kichwa de Otavalo.
http://www.latinorebels.com/2016/06/27/jose-joshi-espinosa-y-su-cine-experimental-cinco-rostros-del-arte-indigena-kichwa-iii/?relatedposts_hit=1&relatedposts_origen=37422&relatedposts_position=2
En esta quinta y última entrega, Nicholas P. Pezzote entrevista a Ana Cachimuel, representante de relaciones públicas del grupo musical Yarina, nombre kichwa que significa recuerdos en español.
http://www.latinorebels.com/2016/06/27/ana-cachimuel-y-la-musica-nativa-de-yarina-cinco-rostros-del-arte-indigena-kichwa-v/
http://www.latinorebels.com/2015/12/29/chandra-kalindi-roy-henriksen-tres-testimonios-indigenas-de-vida-y-lucha-i/
http://www.latinorebels.com/2015/12/31/mirian-masaquiza-tres-testimonios-indigenas-de-vida-y-lucha-iii/
http://www.latinorebels.com/2015/12/30/patricia-gualinga-montalvo-tres-testimonios-indigenas-de-vida-y-lucha-ii/
ORGANIZADORES:
+ Juan Carlos Grijalva, profesor e investigador. Assumption College/ CLAS, University of Pittsburgh
+ Luz María de la Torre, consultora, lingüista y politóloga indígena, Otavalo/UCLA, California.
+ Adriana Rodríguez Caguana, abogada, Becaria CONICET/ Universidad de Buenos Aires, Argentina.
Link available at: https://archive.org/details/220715BITACORADELMEDIODIA
美麗的山水，賴以維生的植物，在這塊土地上蘊含了無窮的智慧與生存的哲學，在南美洲，原住民族人把大地之母稱為Pachamama，Quechua族人把在這塊土地上生存的智慧稱為 「sumak kawsay」代表美好的生活。sumak kawsay不只代表人要吃的好穿的好，還代表要跟部落和平相處，更重要的就是必須跟大自然和平共
Días atrás, desde la Paz-Bolivia, mi amiga Yolanda Vidal, me escribió preguntándome si conocía sobre el evento, “Encuentro Internacional sobre Buen Vivir, Estado Plurinacional e Interculturalidad en Latinoamérica”, que se realizaría en Otavalo. Pues no conocía nada y me sorprendí desde donde me llegó la noticia.
En la información observé que el evento era de carácter internacional y contaba con el auspicio de prestigiosas universidades de Europa, Estados Unidos, también disertarían renombrados académicos temas como: Refundación del Estado; Desafíos del Buen Vivir; Neopopulismo y pensamiento crítico; El Yasuni; Interculturalidades afroamericanas; Nuevo constitucionalismo y Sumak Kawsay; Pluralismo jurídico; Educación Intercultural indígena; Reforma universitaria; Migraciones, comercio global e interculturalidad, entre otros.
Este evento se desarrollará esta semana en la Universidad de Otavalo, los temas de plurinacionalidad, interculturalidad, buen vivir, son demasiado complejos pero emerge su tratamiento, así como veo con buenos ojos de que salgan de la esfera académica y llegue a la base social.
Espacios como éste, deberían servir para que nuestras autoridades vean que es necesario afinar las políticas públicas con carácter intercultural, para precisamente romper las visiones del desarrollo urbano del cemento, que contrasta a las propias realidades y necesidades de las nacionalidades y pueblos del país, plural y diverso.
V1 - "ENCUENTRO INTERNACIONAL DEL BUEN VIVIR" desarrollado en la Universidad de OTAVALO
V2 - LA FOTOGRAFÍA Y EL RETOQUE EN BLANCO Y NEGRO
V3 - LA NATURALEZA Mushuk Muyu (Método de enseñanza kichwa)
V4 - Grupo FACCHA HUAYRAS, nueva generación - entrevista
V5 - YARIJUNI, Faccha huayras - video musical
Quién es. Profesor de la Universidad de Assumption, Massachusetts. Organizador del Encuentro Buen Vivir e Interculturalidad que terminó el sábado pasado en la Universidad de Otavalo.
Santiago Estrella Editor (i)
¿Cuál fue la discusión principal del encuentro en Otavalo sobre buen vivir e interculturalidad?
Quisimos establecer, de una manera interdisciplinaria y crítica, qué es la interculturalidad, qué es el buen vivir, qué es el Estado plurinacional, no de manera abstracta sino de experiencias de grupos diversos. Las nociones que existen no solamente son diversos sino antagónicos.
¿Ha sido apropiada la expresión 'buen vivir'?
Quedó claro en las discusiones que hay una política oficial que se ha apropiado de ella. Pero también forma parte de la Constitución y por ello se convierte en derechos y en principios. El problema está en pensar hasta qué punto ayudan a avanzar en la construcción democrática o, por otro lado, en qué términos ayudan a oscurecer políticas y problemas vinculados por ejemplo a la discriminación racial en la justicia, a la explotación económica extractivista. En este sentido se convierten en conceptos que no dan cuenta de esas realidades y se convierten en propaganda.
¿Qué distingue el buen vivir del Estado al de la cosmovisión indígena?
Fundamentalmente estamos separados y desinformados del contenido y del potencial que puede tener este concepto, que tiene raigambre indígena y que no solo tiene que ver asuntos referentes a derechos.
Pero, ¿qué es buen vivir? Un exministro dijo que incluso se trataba de no hacer ruido pasadas las 23:00...
Hay definiciones pobres, intentos ridículos de darle alguna clase de significado. Más allá de eso, está, en la cosmovisión indígena, referido a un modo de vida. No solamente es un concepto de tipo político sino también una visión espiritual.
¿Cuán aplicable es, en un país mayormente mestizo, el concepto indígena del buen vivir?
El concepto 'mestizo' es también problemático. Por eso, para que tenga un valor de inclusión, tiene que ir de la mano de la interculturalidad y la plurinacionalidad. Aunque sí somos un pueblo mestizo, el tipo de mestizaje que hemos pensado ha llegado a formar de manera abstracta la identidad del país.
Mucho se habla de interculturalidad y plurinacionalidad, ¿hemos entendido lo que realmente significan ?
Sí, no es nada nuevo, pero no está claro aún que sean conceptos útiles porque no han sido aplicados. En cierto sentido han sido vaciados de contenido y por eso siguen siendo campos de batalla en donde se define el sentido y en donde distintos grupos pueden usar estos conceptos para defender cosas específicas .
Cultural National Formations in Ecuador and Mexico
Les nationalismes culturels de Benjamín Carrión et de José Vasconcelos
The Cultural Nationalisms of Benjamín Carrión and José Vasconcelos
* * *
Publié le lundi 23 janvier 2012 par Claire Ducournau
Résumé
Les influences politiques, culturelles et littéraires du grand penseur mexicain José Vasconcelos sur Benjamín Carrión sont déterminantes pour la construction de la représentation des cultures latino-américaines comme essentiellement métisses. Vasconcelos et Carrión défendent d´ailleurs le métissage culturel comme légitimation des politiques d´intégration nationale des populations indiennes, menées au XXe siècle. C´est ce nouveau champ que la journée d´études internationale du 9 mars 2012 entend explorer. Les chercheurs invités interrogeront les modalités de la construction de l´idéal anti-impérialiste de culture métisse chez Carrión et chez Vasconcelos. Ils étudieront ainsi la production intellectuelle et littéraire des deux penseurs, mais aussi leur action politique et culturelle en tant que ministres et mécènes. Ils s´efforceront également d´en cerner les limites et les ambiguïtés.
Annonce
Présentation (version française)
Les influences politiques, culturelles et littéraires du grand penseur mexicain José Vasconcelos sur Benjamín Carrión sont déterminantes pour la construction de la représentation des cultures latino-américaines comme essentiellement métisses. Vasconcelos et Carrión défendent d´ailleurs le métissage culturel comme légitimation des politiques d´intégration nationale des populations indiennes, menées au 20e siècle.
En tant que hauts fonctionnaires de leur Etat respectif, ils contribuent à définir une politique culturelle nationale qui met en application l´ídéologie du métissage culturel, au nom du « génie » mexicain ou équatorien. Ils privilégient et protègent des formes artistiques à même de montrer l´expression authentique de l´âme nationale, en peinture, en sculpture, en littérature, dans la définition des programmes éducatifs nationaux. Tous deux partagent en outre une même vision du rôle de l´intellectuel latino-américain, comme en témoigne la correspondance échangée.
Leur amitié intellectuelle suggère l´existence d´un champ d´étude possible, comparatif, transnational et interdisciplinaire, sur la construction d´une politique culturelle du métissage, un métissage présenté comme le fondement de l´identité nationale moderne : entendons par là une identité arrivée à maturité, car enfin dégagée des modèles importés et imposés par les héritages coloniaux et les pressions néo-coloniales, en Equateur et au Mexique durant la période 1920-1960.
C´est ce nouveau champ que la journée d´études internationale du 9 mars 2012 entend explorer. Les chercheurs invités interrogeront les modalités de la construction de l´idéal anti-impérialiste de culture métisse chez Carrión et chez Vasconcelos. Ils étudieront ainsi la production intellectuelle et littéraire des deux penseurs, mais aussi leur action politique et culturelle en tant que ministres et mécènes. Ils s´efforceront également d´en cerner les limites et les ambiguïtés.
Objectifs de la rencontre :
Comprendre, par le biais d´une approche comparative, transnationale et interdisciplinaire, les multiples points de contact, les influences et les interdépendances entre la production, les projets et les politiques culturelles de Benjamín Carrión et José Vasconcelos.
Proposer une vision critique du modèle de métissage culturel développé par Vasconcelos et Carrión.
Cerner l´influence et la portée de leur action et de leur pensée sur la vie politique, sociale et culturelle de leur pays.
Contribuer aux débats actuels latino-américains sur les paradoxes du modèle du métissage culturel, lequel représente, aujourd´hui encore, un lourd héritage.
ORGANISATEURS :
Juan Carlos Grijalva, Assumption College, USA. jgrijalv@assumption.edu
Emmanuelle Sinardet, Université Paris Ouest Nanterre - La Défense, CRIIA – EA 369, Centre d´études équatoriennes. emmanuellesinardet@yahoo.fr
Ramiro Noriega, Ministre de la Culture, Ambassade de l´Équateur, France.
Carolina Becerril, Directrice de l´Instituto Cultural de México, Paris.
AVEC LES APPUIS DE :
Instituto Cultural de México, Paris.
Ministère de la Culture de l´Équateur.
Ambassade du Mexique en France.
Ambassade de l´Équateur en France.
CRIIA – EA 369, Université Paris Ouest Nanterre - La Défense.
Assumption College, USA.
Pôle Tout-Monde, projet "Postcolonial et transculturalité", Université Paris Ouest Nanterre - La Défense.
Fondation Museos de la Ciudad, Équateur.
UFR des Langues et Cultures Étrangères (LCE), Université Paris Ouest Nanterre - La Défense.
Entrée libre
Contact :
Emmanuelle Sinardet emmanuellesinardet@yahoo.fr ,
Juan Carlos Grijalva, jgrijalv@assumption.edu
Instituto Cultural de México
119 rue Vieille du Temple 75003 Paris.
Tél (33) 01 44 61 84 44
Métro : Filles du Calvaire.
Bus : 29
Site www.mexiqueculture.org
Programme
9:00 – 9:50, Presentación del evento
Carlos de Icaza, Embajador de México en Francia.
Carlos Játiva, Embajador del Ecuador en Francia.
Conferencia de inauguración :
Javier Garciadiego, Presidente de El Colegio de México.
9:50 - 11:00, MESA 1 : Literatura, Arte, Vanguardia
Moderador: Claude Lara, Ministro del Ecuador, UNESCO.
Françoise Perus (Instituto de Investigaciones Sociales, UNAM), “García Moreno, el santo del patíbulo y Ulises criollo: biografía y autobiografía en los bordes de la ficción”.
Yanna Hadatty Mora (Programa de Estudios Latinoamericanos, UNAM), “José Vasconcelos y Benjamín Carrión, suscitadores de las vanguardias”.
Carlos Jáuregui (University of Notre Dame), “Oswaldo Guayasamín y el modelo de mestizaje de Benjamín Carrión”.
11:00 – 12:40, Rostros del mestizaje en Ecuador y México
Moderadora: Rocío Durán Barba, Fundación Cultural Rocío Durán Barba.
Michael Handelsman (University of Tennessee), “Visiones del mestizaje en Indología de José Vasconcelos y Atahuallpa de Benjamín Carrión”.
Luis A. Marentes (University of Massachusetts), “Cuauhtémoc y Atahuallpa: símbolos del mestizaje iberoamericano en Vasconcelos y Carrión”.
Rocío Fuentes (Clark University), “José Vasconcelos y las políticas del mestizaje en la educación”.
Esteban Loustaunau (Assumption College), “Imaginar la ecuatorianidad en tiempos de crisis: Cartas al Ecuador y la representación cultural de la migración contemporánea”.
15:00 – 16:30, Intelectuales y cultura nacional
Moderadora: Esther Cuesta Santana, Cónsul del Ecuador en Génova, Italia.
Gustavo Salazar (Embajada del Ecuador en España), “Vasconcelos presidente. La utopía política de Cesar E. Arroyo”.
Juan Carlos Grijalva (Assumption College), “A caballo, por la ruta de los libertadores:
la misión mesiánica y elitista de José Vasconcelos y Benjamín Carrión”.
Emmanuelle Sinardet Seewald (Université Paris Ouest), “La revisión del proyecto cultural de Benjamín Carrión: los tzánticos parricidas”.
Ramiro Noriega (Embajada del Ecuador en Francia), “Benjamín Carrión y la actual ley de cultura del Ecuador”.
COCTEL DE CLAUSURA 16:30
Catégories
Représentations (Catégorie principale)
Esprit et Langage > Représentations > Histoire culturelle
Esprit et Langage > Pensée > Histoire intellectuelle
Périodes > Époque contemporaine > XXe siècle > 1918-1939
Espaces > Amériques > Amérique latine
Périodes > Époque contemporaine > XXe siècle > 1939-1945
Esprit et Langage > Représentations > Identités culturelles
Périodes > Époque contemporaine > XXe siècle > 1945-1989
Lieux
119 rue Vieille du Temple (instituto cultural de méxico)
Paris, France
Dates
vendredi 09 mars 2012
Mots-clés
identités nationales, nationalismes, culture, Vasconcelos, Carrion, Equateur, Mexique, métissage
Contacts
Emmanuelle Sinardet
courriel : emmanuellesinardet [at] yahoo [dot] fr
URLS de référence
Centre d´études équatoriennes, Université Paris Ouest Nanterre - La Défense, Département d´espagnol, UFR LCE, Recherche en civil
Centre d´études équatoriennes, Université Paris Ouest Nanterre - La Défense
Source de l'information
Emmanuelle Sinardet
courriel : emmanuellesinardet [at] yahoo [dot] fr
Pour citer cette annonce
« Les formations culturelles nationales en Équateur et au Mexique », Journée d'étude, Calenda, Publié le lundi 23 janvier 2012, http://calenda.org/207000
El viernes se dio el simposio La formación cultural de las naciones de Ecuador y México, en el Instituto Cultural de México, en Francia; que por error se dijo que sería en el país azteca.
Benjamín Carrión fue también fundador de la Casa de la Cultura Ecuatoriana.
Benjamín Carrión fue también fundador de la Casa de la Cultura Ecuatoriana.
Redacción Cultura
Con la participación de múltiples y reconocidos intelectuales, entre ellos Claude Lara (ministro, Embajada del Ecuador, Unesco), Françoise Perus (Instituto de Investigaciones Sociales de la Universidad Nacional Autónoma de México-UNAM), Yanna Hadatty (ecuatoriana colaboradora del Programa de Estudios Latinoamericanos UNAM), Carlos Jáuregui (Universidad de Notre Dame) y Michael Handelsman (académico estudioso del Ecuador, de la Universidad de Tennessee), el viernes 9 de marzo se realizó el simposio internacional La formación cultural de las naciones de Ecuador y México: análisis interdisciplinario en torno a Benjamín Carrión y José Vasconcelos.
Se efectuó en el Instituto Cultural de México (119 rue Vieille du Temple 75003), en la capital francesa, desde las 09:00 hasta pasadas las 15:00.
La jornada se dividió en 4 secciones, incluida una presentación a cargo de Carlos de Icaza, embajador de la República de México; Carlos Játiva, embajador de la República del Ecuador; y Javier Garciadiego, presidente de El Colegio de México.
La primera parte académica fue “Literatura, Arte, Vanguardia” con la intervención de Claude Lara, Françoise Perus, Yanna Hadatty y Carlos Jáuregui; la segunda, “Rostros del mestizaje en Ecuador y México” con ponencias de Rocío Durán-Barba (ecuatoriana radicada en Francia, directora de la Fundación Cultural RDB), Michael Handelsman, Luis A. Marentes (Universidad de Massachusetts Amherst), Rocío Fuentes (Clark University) y Esteban Loustaunau (Assumption College), y la tercera, “Intelectuales y Cultura Nacional”, a cargo de Esther Cuesta Santana (consulesa del Ecuador en Génova, Italia), Gustavo Salazar (ministro, Embajada del Ecuador, España), Juan Carlos Grijalva (Assumption College), Emmanuelle Sinardet (Universidad Paris Ouest, Nanterre) y Ramiro Noriega (ministro, Embajada del Ecuador).
El mexicano José Vasconcelos Calderón (1882-1959) y el ecuatoriano Manuel Benjamín Carrión Mora (1897-1979) representan dos figuras intelectuales paradigmáticas del proyecto nacionalista que se propuso, en la primera mitad del siglo XX, democratizar la cultura nacional en sus países. Vasconcelos, conocido en la década del 20 como “maestro de la juventud”, proporcionará a Carrión un modelo cultural para pensar lo mestizo ecuatoriano.
Vasconcelos fue rector de la Universidad Nacional Autónoma de México y secretario de Educación Pública y Carrión, poeta y promotor cultural.
En este coloquio internacional se exploraron facetas del proyecto nacionalista cultural compartido por los conocidos intelectuales latinoamericanos.
El simposio fue organizado en año y medio por el ecuatoriano Juan Carlos Grijalva, Profesor asociado de Español del Assumption College, Emmanuelle Sinardet, académico francés colaborador de la Université Paris Ouest Nanterre - La Défense (CRIIA - EA 369, Centre d´études équatoriennes), Ramiro Noriega Ministro de Cultura de la Embajada de Ecuador en Francia y Carolina Becerril, Directora del Instituto Cultural de México.
Contaron con el aval del Instituto Cultural de México, el Ministerio de Cultura del Ecuador, la Embajada de México en Francia, la Embajada de Ecuador en Francia, CRIIA - EA 369 de la Université Paris Ouest Nanterre - La Défense, Pôle "Tout-Monde" projet "Postcolonial et transculturalité" de la misma universidad francesa, UFR des Langues et Cultures Étrangères (LCE) también perteneciente a la Université Paris Ouest Nanterre - La Défense, y el Assumption College (EE. UU.).
Etiquetas:
Benjamin Carrion, Jose Vasconcelos, Paris, vida y obras
19 marzo, ore 19.00
Sala del Munizioniere
Columbus Didn't Discover Us (Colombo non ci ha scoperto)
di Robbie Leppzer (1992, 24 min.)
In occasione della commemorazione dei 500 anni dal viaggio di Cristoforo Colombo verso le “Indie”, 300 uomini e donne indígenas dell’Ecuador hanno partecipato alla I Conferenza Continentale delle Popolazioni Indigene. Attraverso interviste e filmati di questo storico raduno si testimoniano la resistenza, la sopravvivenza e l’alterazione che gli stili di vita delle popolazioni autoctone hanno subito con l’arrivo degli europei. ll punto di vista dei popoli indigeni sulla colonizzazione nel passato e nel presente.
Introduce Juan Carlos Grijalva, docente di Spagnolo e Letteratura Latino Americana, Assumption College Massachusetts.
In collaborazione con Consulado General del Ecuador en Génova.
Giornalismo femminile ecuadoriano
Venerdì scorso si è svolta presso la nostra Università la conferenza Giornalismo femminile ecuadoriano e cultura patriarcale nel XIX secolo: El tesoro del Hogar. Tenuta dal Dottor Juan Carlos Grijalva, professore di Letteratura Latino-americana presso l’Assumption College negli Stati Uniti, essa ha inoltre visto la partecipazione del Console generale dell’Ecuador a Genova, Esther Cuesta, e della professoressa Giuliana Franchini.
Analizzando contenuti e obiettivi di uno dei primi periodici del Sud America diretto da una donna e aperto a giornaliste e scrittrici emergenti, El tesoro del Hogar (Il tesoro del Focolare), pubblicato a Guayaquil dal 1887 al 1893, l’incontro ha offerto interessanti spunti di riflessione sul tema della libertà di espressione delle donne, nonché una breve panoramica sui movimenti emancipazionisti dell’America meridionale, spesso oscurati da una prospettiva di studio eurocentrica. Se qualcuno poi pensasse che la difficoltà di conciliare lavoro e famiglia sia tipica solo della donna di oggi, verrebbe smentito, fra le altre, dall’esperienza delle prime giornaliste sudamericane.
Come chiaramente espresso dal saggista Juan Montalvo in Las invasiones de las mujeres (Le invasioni delle donne) del 1885, in Ecuador alla fine dell’Ottocento la convinzione era quella diffusa che gli uomini fossero le figure naturali dell’autorità e che, altrettanto naturalmente, le dimensioni deputate alla realizzazione personale femminile fossero solo quelle del focolare domestico e della maternità. Una minoranza di donne istruite iniziava però ad “invadere” le università e ad ambire a professioni maschili, minacciando, secondo l’autore, l’ordine pubblico. Le donne scrittrici, prime fra tutte, dovevano essere contrastate, censurate e addirittura inabilitate a prime e seconde nozze. In un’epoca in cui una donna che si esprimeva in pubblico suscitava ancora sospetto e biasimo, El tesoro del Hogar rappresentò dunque una conquista, seppur nel solco della cultura patriarcale. La sua fondatrice e direttrice, Lastenia Larriva de Llona, arrivò nella città ecuadoriana di Guayaquil dal Perù nel 1860, nel pieno del boom economico derivato dalla crescente esportazione di cacao, dallo sviluppo della rete ferroviaria e da importanti riforme bancarie e postali. Dal 1875 inoltre, con l’assassinio del generale Gabriel Garcìa Moreno e la fine del suo regime di censura, si ebbe una vera e propria proliferazione della stampa, con pubblicazioni molto diversificate e la comparsa di un pubblico femminile. Il progetto editoriale realizzato da Larriva de Llona fu un settimanale di letteratura, atre, scienza, attualità e moda, una pubblicazione femminile cosmopolita, che uscì ogni sabato per sei anni, dal 1887 al 1893. Convinta che la stampa fosse il luogo dove “le belle arti femminili” potessero contrapporsi alla produzione pamphlettistica degli scrittori più importanti (fra gli altri José Martì, Juan Montalvo e Domingo Faustino Sarmiento), la direttrice voleva che la sua rivista fosse uno spazio apolitico proprio come quello domestico. L’autocensura era quindi d’obbligo per un progetto culturale elitario che non mirava a contrastare l’ordine precostituito. Il suo target erano donne istruite, colte, cattoliche e appartenenti alle classi più alte, donne che vestivano secondo i gusti della moda europea, in linea col sogno di fare di Guayaquil la nuova Parigi. Pur consapevole di vivere in un paese enormemente sfruttato dal punto di vista agricolo e dove la ricchezza era nelle mani di pochissimi, Larriva de Llona non diede mai voce alle classi povere né alle donne di colore, appoggiando una critica femminile mai aspra né diretta, giacchè per lei la donna era innanzitutto moglie e madre. Queste convinzioni, che le valsero il plauso dell’arcivescovo della capitale Quito, qualificano oggi El tesoro più come una semplice concessione della società patriarcale che come un luogo di effettiva rivendicazione; una rivista molto diversa dalle altre produzioni del giornalismo femminile sudamericano di quegli anni, come La Alborada del Plata, diretta dall’argentina Juana Manuela Gorriti, o l’Album de Señoritas della scrittrice Juana Manso, dove comparvero articoli di denuncia della condizione femminile. Quale fu dunque il merito di questa prima rivista femminile ecuadoriana? Lungi dal farsi portavoce del femminismo, anzi assimilando come propria la mentalità del patriarcalismo, Larriva de Llona riuscì tuttavia a creare uno spazio per la produzione artistica delle donne e per vere e proprie sorellanze letterarie. Scrittrici di fama internazionale, come Emilia Pardo Bazan, Dolores Sucre e Soledad Acosta de Samper, tennero a battesimo i primi numeri di El tesoro del Hogar, in un’ottica di legittimazione vicendevole: la loro collaborazione legittimava l’esistenza della rivista che, a sua volta, le consacrava come firme prestigiose. Pur restando di stampo cattolico e conservatore, questo periodico ha inoltre scoperto voci femministe e liberali, come quella della giornalista ecuadoriana Zoila Ugarte de Landivar, rendendosi protagonista di una trasgressione inconsapevole. Lastenia Larriva de Llona, del resto, ammise sempre quanto fosse più difficile per le donne svolgere un ruolo pubblico con l’attività di giornalista, una sfida intellettuale e pratica per la gestione delle mansioni più tecniche e meccaniche della vita di redazione, ma soprattutto incarnò il problema, sempre attuale per le donne, di conciliare lavoro e dimensione privata.
Giulia Sciola
Pubblicato da mmilan
Etichette: America Latina, Giornalismo femminile, Storia del giornalismo
Associate Professor of Spanish Department of Modern and Classical Languages and Cultures Assumption College, USA
Università di Genova, 16 marzo 2012
“TRAVESTIMENTI DELLA PAROLA E CENSURA MASCHILE NELLA LETTERATURA ECUADORIANA DEL XIX SECOLO”
venerdì, 16 marzo 2012 dalle 11.00 alle 13.00
Facoltà di Scienze Politiche. Aula Mazzini. Via Balbi, 5
La conferenza ha lo scopo di introdurre le forme di censura, castigo e seduzione presenti in Ecuador, durante la seconda metà del XIX secolo, nelle opere di Juan Montalvo e Juan León Mera, con riferimento alla partecipazione pubblica della donna, oltre che della donna scrittrice. La relazione vertirà, anche, sulle composizioni poetiche, apparse sempre nello stesso periodo, di Dolores Veintimilla de Galindo, Marietta de Veintimilla e sulla percezione delle opere di Suor Juana Inés de la Cruz.
Saluti:
Prof.ssa Maria Antonietta Falchi
Direttrice DISPOS-Unige
Prof.ssa Daniela Carpani
Facoltà di Scienze Politiche - Unige
Introduzione:
Esther Cuesta
Console Generale dell’Ecuador a Genova
“GIORNALISMO FEMMINILE ECUADORIANO E CULTURA PATRIARCALE NEL XIX SECOLO”
venerdì, 16 marzo 2012 dalle 17.00 alle 19.00
Facoltà di Lettere e Filosofia. Aula Magna. Via Balbi, 2
L’obiettivo di questa conferenza è quello di analizzare le forme di censura, di autocensura e trasgressione femminile presenti nel primo giornale femminile ecuadoriano El Tesoro del Hogar (1887-1893) pubblicato a Guayaquil, Ecuador, a cura dalla scrittrice peruviana Lastenia Larriva de Llona.
Saluti:
Esther Cuesta
Console Generale dell’Ecuador a Genova
Prof. Francesco Surdich
Preside Facoltà di Lettere e Filosofia - Unige
Prof. Roberto Sinigaglia
Direttore DAFIST - Unige
Introduzione:
Prof.ssa Giuliana Franchini
Facoltà di Lettere e Filosofia - Unige
Informazioni:
Consulado General del Ecuador en Génova
Via XX Settembre, 33/4
16121 Genova
T. 010 8680502
F. 010 8680803
info@consuldorgenova.it
Associate Professor of Spanish Department of Modern and Classical Languages and Cultures Assumption College, USA
Università di Genova, 16 marzo 2012
“TRAVESTIMENTI DELLA PAROLA E CENSURA MASCHILE NELLA LETTERATURA ECUADORIANA DEL XIX SECOLO”
venerdì, 16 marzo 2012 dalle 11.00 alle 13.00
Facoltà di Scienze Politiche. Aula Mazzini. Via Balbi, 5
La conferenza ha lo scopo di introdurre le forme di censura, castigo e seduzione presenti in Ecuador, durante la seconda metà del XIX secolo, nelle opere di Juan Montalvo e Juan León Mera, con riferimento alla partecipazione pubblica della donna, oltre che della donna scrittrice. La relazione vertirà, anche, sulle composizioni poetiche, apparse sempre nello stesso periodo, di Dolores Veintimilla de Galindo, Marietta de Veintimilla e sulla percezione delle opere di Suor Juana Inés de la Cruz.
Saluti:
Prof.ssa Maria Antonietta Falchi
Direttrice DISPOS-Unige
Prof.ssa Daniela Carpani
Facoltà di Scienze Politiche - Unige
Introduzione:
Esther Cuesta
Console Generale dell’Ecuador a Genova
“GIORNALISMO FEMMINILE ECUADORIANO E CULTURA PATRIARCALE NEL XIX SECOLO”
venerdì, 16 marzo 2012 dalle 17.00 alle 19.00
Facoltà di Lettere e Filosofia. Aula Magna. Via Balbi, 2
L’obiettivo di questa conferenza è quello di analizzare le forme di censura, di autocensura e trasgressione femminile presenti nel primo giornale femminile ecuadoriano El Tesoro del Hogar (1887-1893) pubblicato a Guayaquil, Ecuador, a cura dalla scrittrice peruviana Lastenia Larriva de Llona.
Saluti:
Esther Cuesta
Console Generale dell’Ecuador a Genova
Prof. Francesco Surdich
Preside Facoltà di Lettere e Filosofia - Unige
Prof. Roberto Sinigaglia
Direttore DAFIST - Unige
Introduzione:
Prof.ssa Giuliana Franchini
Facoltà di Lettere e Filosofia - Unige
Informazioni:
Consulado General del Ecuador en Génova
Via XX Settembre, 33/4
16121 Genova
T. 010 8680502
F. 010 8680803
info@consuldorgenova.it