Showing papers in "Hispanic Review in 2017"
TL;DR: In this article, Pardo-Bazan's novel Insolacion (1889) is examined in connection with the Spanish cultural and political context of the second half of the nineteenth century, focusing on the emergence of a racist Orientalist discourse against Andalusian culture.
Abstract: espanolEn este ensayo examino la novela de Emilia Pardo Bazan Insolacion (1889) en relacion con la situacion cultural y politica espanola de la segunda mitad del siglo XIX. Especialmente, me centro en la aparicion de un discurso orientalista de corte racista y antiandaluz que se utiliza para desvincular a Espana de lo que en el cambio de siglo se entiende como la decadencia de los pueblos latinos y orientales. Para poder argumentar este punto, leo la novela como una exposicion del estado nacional a traves del concepto de “exhibitionary complex” del critico cultural Tony Bennett. Finalmente, argumento que la obra, en cuanto exposicion nacional, se instituye como una herramienta educativa que pretende modificar la conducta de sus lectores. EnglishIn this essay, I examine Emilia Pardo Bazan’s novel Insolacion (1889) in connection with the Spanish cultural and political context of the second half of the nineteenth century. More specifically, I focus on the emergence within Spain of a racist Orientalist discourse against Andalusian culture. This discourse seeks to disassociate Spain from the decadence of both Latin and Oriental cultures. To prove this point, I use Tony Bennett’s idea of the “exhibitionary complex” in reading the novel as an exhibition of Spain’s social and political situation. Finally, I argue that Insolacion, as an exhibition, is a tool designed specifically to modify the behavior of its readers.
10 citations
TL;DR: In this paper, the transformation of the traditional role of women in the domestic sphere has generally been viewed as a gender issue within a national and peninsular context, with the confinement of women to the home as well as the introduction of liberal public practices to domestic sphere, which thereby acquires a public function.
Abstract: La transformacion del papel tradicional de la mujer en el ambito domestico por el llamado liberalismo respetable ha sido estudiada generalmente como una cuestion de genero circunscrita a un contexto nacional y peninsular. Aqui propongo que Las mujeres espanolas, americanas y lusitanas pintadas por si mismas (1881–1882), dirigida por Faustina Saez de Melgar, negocia un nuevo papel para la mujer en un contexto transatlantico especialmente desde la interseccionalidad de genero y raza. Combinando aspectos reformadores y tradicionales, esta coleccion defiende tanto la reclusion de la mujer en el hogar como la introduccion de practicas de la esfera publica liberal en el ambito domestico, que adquiere asi una funcion publica. Ademas, con base en la articulacion racial del modelo normativo femenino, esta renovacion del discurso domestico obtiene un significado imperial como instrumento de regulacion racial transatlantica en el nuevo contexto del abolicionismo en Cuba. ABSTRACT: The transformation, within the so-called liberalismo respetable , of the traditional role of women in the domestic sphere has generally been viewed as a gender issue within a national and peninsular context. Here I propose that Las mujeres espanolas, americanas y lusitanas pintadas por si mismas (1881–1882), edited by Faustina Saez de Melgar, negotiates a new role for women within a transatlantic context, drawing especially on the intersectionality of gender and race. Combining innovative and traditional aspects, this collection advocates the confinement of women to the home as well as the introduction of liberal public practices to the domestic sphere, which thereby acquires a public function. Furthermore, based on a racial articulation of the normative feminine ideal, this renewal takes on an imperial significance as an instrument of racial regulation in the new context of abolitionism in Cuba.
7 citations
TL;DR: The authors explored the role translation has played in the circulation and promotion of Basque writer Kirmen Uribe's first novel Bilbao-New York-Bilbao (2008) by examining the response both in and outside of the Basque Country.
Abstract: This article explores the role translation has played in the circulation and promotion of Basque writer Kirmen Uribe’s first novel Bilbao–New York–Bilbao (2008). By examining the response both in and outside of the Basque Country, the article shows how particular views of literature within the Basque Country have influenced the work’s reception. In particular, drawing from political theories on community formation, it highlights the way art and literature are represented in the novel as spaces in which Basque artist-citizens have the right to participate in the nonviolent creation of their collective reality and to exchange and inspire ideas on the global stage. The article argues that Uribe’s novel promotes a productive view of Basque identity as always in movement, and therefore it is not exclusively tied to previous generations and their more violent means of protecting Basque culture.
6 citations
TL;DR: In this paper, Isabel Franc reacts not only to the economic crisis in Spain, but also to a social crisis that could threaten the union of same-sex couples in crime fiction.
Abstract: With Spain’s financial downturn beginning in 2007–2008, crime fiction authors have responded by focusing on how the crisis has affected certain marginalized groups. In “El enigma de su voz” and “Sin tratamiento de cortesia,” Isabel Franc reacts not only to the economic crisis in Spain, but also to a social crisis that could threaten the union of same-sex couples. This article studies how Emma Garcia, now a private detective in Barcelona, must double as a bodyguard, a protector of the lesbian couples that are now her clients, to defend them against a return to invisibility. The lesbian utopia of the Lola Van Guardia trilogy and the later No me llames carino is now in danger as lo masculino invades to disrupt the space for lesbian love and marriage in these two short stories.
6 citations
TL;DR: In this article, Rocio expone como el sistema de dominación y sometimiento de la clase popular fue implementado a traves de un discurso plagado de silencios.
Abstract: Este articulo analiza Rocio (Fernando Ruiz Vergara), pelicula-ensayo secuestrada judicialmente y censurada en Espana desde 1977. En particular, se centra en la tercera version de la pelicula, aquella que incorpora las secuencias suprimidas acerca de la Guerra Civil y, sobre estas, unos rotulos que las identifican como censuradas. La obra puede ser leida como ensayo filmico interdisciplinario de la romeria del Rocio que, al trazar su genealogia, descubre la connivencia entre los poderes economico, eclesiastico y politico a lo largo de siglos. Concretamente, Rocio expone como el sistema de dominacion y sometimiento de la clase popular fue implementado a traves de un discurso plagado de silencios. Su critica, sin embargo, no se detiene en el pasado, sino que, gracias a la performatividad de su forma collage . ayuda a comprender tambien hasta que punto esta construccion de discursos siguio controlada por el poder durante la larga transicion a la democracia.
5 citations
TL;DR: In this paper, a close examination of the framing, texture, and focus of the glass man's story in the Dignotio et cura affectuum melancholicorum is presented.
Abstract: Composed around 1575 and published in 1622, Alfonso de Santa Cruz's Dignotio et cura affectuum melancholicorum was one of the most elaborate clinical texts written on melancholy in early modern Spain. Mostly known for its description of glass delusion, the Dignotio has been typically read either as possible "source material" for Cervantes's El licenciado Vidriera , or as a text whose literary features are, at best, accessory to scientific knowledge. Through a close examination of the framing, texture, and focus of the glass man's story, I complicate the facile identification of the narration as a case history, and showcase the importance of close, narratologically sensitive readings of early modern medical texts. Such readings, I argue, reveal the manifold—and sometimes contradictory—views on madness present in medical writing, and offer a new perspective on the medical–literary dialogue in early modernity, without confining it to mere "influence" or "inspiration."
5 citations
TL;DR: The authors examines the representation of nature in Tuntun de pasa y griferia (1937; 2nd ed. 1950), a poetry collection by the Puerto Rican poet Luis Pales Matos.
Abstract: This article examines the representation of nature in Tuntun de pasa y griferia (1937; 2nd ed. 1950), a poetry collection by the Puerto Rican poet Luis Pales Matos. Although Pales's poems do not explicitly address environmental concerns, they actively respond to colonial forms of capitalist developmentalism that shaped the Caribbean during the first half of the twentieth century. Pales offers a critical portrayal of a "natural" landscape dominated by multinational economic interests and by unsustainable models of tourism. In contrast, in some of his poems Pales offers a more ecological vision of nature anchored in the realm of Afro-Caribbean spiritual belief systems. However, Pales does not present an idealized view of nature—his ironic perspective remains ambivalent between a critique of a capitalist modernity in which nature is simply an exploitable resource, and a sacred vision to which modernity, including the poet himself, no longer has access.
4 citations
TL;DR: In this article, Guillen examines the effects on his poetry of his progressive return to Spain and connects them to the ethical awakening that exile provoked in his writing, and reveals that his return, far from becoming a break from his previous work, meant a conscious reiteration of the lessons that he had learned outside of Spain.
Abstract: Jorge Guillen interrupted his exile to visit Spain in the 1960s and 1970s before returning for good in 1977. This article examines the effects on his poetry of his progressive return to Spain. In Y otros poemas (1973) and Final (1981) Guillen rethinks his place and that of his works in Spanish reality and history. He insists on remembering the effects of the Civil War, brings attention to his exile poetry, and highlights the role of the reader in the survival of his work. In order to understand Y otros poemas and Final, it is key to connect them to the ethical awakening that exile provoked in his writing. The analysis of his acknowledgment of the relational dimension of poetry during his exile reveals that his return, far from becoming a break from his previous work, meant a conscious reiteration of the lessons that he had learned outside of Spain.
4 citations
TL;DR: In this paper, the authors consider the controversial debate around Celestina's intention by linking intention with irony and apophasis and studying the interrelationship of intention, meaning, and interpretation.
Abstract: In studying the Tragicomedia de Calisto y Melibea, This article reconsiders the controversial debate around Celestina’s intention by linking intention with irony and apophasis and by studying the interrelationship of intention, meaning, and interpretation. The split between words and intentions is seen through financial symbolism and in the way the author avoids the responsibility intrinsic to his intentions. By exploring intentio, one of the most ancient hermeneutical concepts, and by studying the tension between the paratexts of the Tragicomedia de Calisto y Melibea and the work itself, we can discover an internal resistance to the element of intention, which crystalizes as the “footprint fallacy.”
4 citations
TL;DR: In this article, the authors examine how science and technologies of representation and display intersect with modern spaces of visuality (theaters, museums, laboratories) in order to construct an epistemology of the human body and its legibility at individual and collective levels of existence.
Abstract: In Cuentos de vacaciones (1905), the collection of short fictions by Spanish histologist and Nobel Prize winner Santiago Ramon y Cajal, scientific and aesthetic discourses merge to interrogate the increasing complexity of life under modernity. This article examines how science and technologies of representation and display (dissection, “the theater of proof,” microscopy) intersect with modern spaces of visuality (theaters, museums, laboratories) in order to construct an epistemology of the human body and its legibility at individual and collective levels of existence. In my reading of “El pesimista corregido,” I argue that the story can be interpreted as a pseudoscientific experiment taking the form of a mise en scene which, as it exposes the constructed nature of human physiology, also foregrounds the centrality of theater and illusion as mechanisms and channels for subjectivization as well as for the production of aesthetic, cultural, and political consensus.
3 citations
TL;DR: Alejo Carpentier's voyages to the Amazon in 1947 and 1948 gave him plenty of inspiration to write his novel Los pasos perdidos as discussed by the authors, where the premise of the novel (the "problems" of the Latin American composer) predates these Amazonian expeditions.
Abstract: Alejo Carpentier's voyages to the Amazon in 1947 and 1948 gave him plenty of inspiration to write his novel Los pasos perdidos. However, the premise of the novel (the "problems" of the Latin American composer) predates these Amazonian expeditions. By examining the novel alongside several essays and cronicas, in this article I present Carpentier's hope for the Latin American artist's ability to create freely: disengaged from the pressure of having to either conform to European traditions or fully embrace Latin America's myths and natural landscape. In doing so, I analyze Carpentier's complex views towards Richard Wagner, which are informed by Nietzsche, and I ultimately propose that for Carpentier, the model for Latin American composers is Arnold Schoenberg, despite the disinterest expressed towards his compositional techniques by the unnamed protagonist in Los pasos perdidos.
TL;DR: The work Hada'iq al-azahir as discussed by the authors provides folklore with both universal versions and variants of previously undocumented types of short stories, which is considered essential for studying both Spanish folklore and short stories in Spanish literature.
Abstract: espanolA finales del siglo XIV, un reconocido jurista y literato granadino llamado Ibn ‘Asim (m. 1426) componia—entre otros materiales—una coleccion de cuentos y chistecillos fundamentalmente humoristicos titulada Hada’iq al-azahir. El presente articulo se propone sacar a la luz parte de la abundante cantidad de elementos folcloricos reunidos en este repertorio esencial en el estudio de los cuentos en la literatura y el folclore espanoles, que aporta al folclore universal versiones y variantes de tipos hasta ahora no documentadas. EnglishAt the end of the 14th century, Ibn ’Asim (d. 1426), a widely known jurist and man of letters from Granada, composed the work Hada’iq al-azahir, a collection of mostly humorous tales and jokes (among other materials). This article serves to bring to light just a part of the abundant folkloric materials collected in this work, which is considered essential for studying both Spanish folklore and the genre of short stories in Spanish literature. This work provides folklore with both universal versions and variants of previously undocumented types of short stories.
TL;DR: This article argued that scenes of shipwreck, piracy, and tempestuous seas in the Cantigas are carefully constructed narratives used to demonstrate the authority and influence of the empire beyond the limits of the Peninsula, into and throughout the Mediterranean space.
Abstract: Though studies on the Cantigas have emphasized them as a personal and collective plea for salvation, investigated the role of the troubadour, or highlighted depictions of daily life, very few have focused on the space and function of the sea in relation to the broader Alfonsine cultural and imperial project. In response to this lacuna, I argue that certain cantigas can and should be read as textual and visual manifestations (maps) of Alfonso's struggle for, and power over, the Mediterranean Sea. Moreover, and contrary to critical notions of the shipwreck text as a counterhistoriographical narrative of empire, as articulated by Josiah Blackmore, I suggest that scenes of shipwreck, piracy, and tempestuous seas in the Cantigas are, in fact, carefully constructed narratives used to demonstrate—by way of divine intercession—the authority and influence of Alfonso's empire beyond the limits of the Peninsula, into and throughout the Mediterranean space.
TL;DR: The authors examined four poems published by Cuban author Virgilio Pinera (1912-1979) in the official Revolutionary literary journal Casa de las Americas in 1961, which dramatize personal acts of transcendence in the face of social repression.
Abstract: This article examines four poems published by Cuban author Virgilio Pinera (1912–1979) in the official Revolutionary literary journal Casa de las Americas in 1961. The poems illustrate the depth of Pinera's optimism about the freedom of personal and artistic self-expression he believed Cuba's new government would allow. This attitude is evident in the fact that the texts dramatize personal acts of transcendence in the face of social repression. The speakers of the poems evidence a faith in the power of theatricality to allow the apprehension and revelation of an authentic self. The timing of the texts' publication is of poignant significance, given that later the same year, Pinera found himself the victim of the Revolution's intention to suppress both sexual and intellectual individuality.
TL;DR: This paper studied the lasting impressions of US liberationist discourses on Rosario Castellanos, who was simultaneously negotiating separation from her then-husband Ricardo Guerra, through a close reading of the letters she wrote to Guerra and through interviews with two of her former students.
Abstract: In September 1966, during the incipient stages of the US Women's Liberation Movement, Rosario Castellanos (1925–1974) began a yearlong stay in the United States as a visiting professor of Spanish at three state institutions. This article studies the lasting impressions of US liberationist discourses on Castellanos, who was simultaneously negotiating separation from her then-husband Ricardo Guerra. Through a close reading of the letters she wrote to Guerra and through interviews with two of her former students, this article contends that it was during this decisive year abroad that Castellanos began to reconcile the dissonance between her public feminist persona and its private enactment in her family life.
TL;DR: In a recent work as mentioned in this paper, a crisis of the escritura autobiográfica of the texto "The Autobiography of Género" is discussed.
Abstract: cultural, crı́tica literaria y crı́tica especı́fica del texto autobiográfico? ¿O —algo más complejo aun— es el reflejo de un espacio enunciativo marcado soterradamente por el escepticismo y la intolerancia ante las aspiraciones de representatividad que sigue queriendo atribuirse la literatura, en particular, y las humanidades en general? Tal vez otro mérito de este libro sea la capacidad de evidenciar una crisis. Crisis de un saber sobre la escritura autobiográfica que no puede ser entendida ni a través de la incorporación omnı́vora de todas las disciplinas y modelos crı́ticos a mano, ni de una visión anacrónica y reductiva de lo polı́tico. Crisis también de la autoridad intelectual, que propicia generalidades en cierta medida gratuitas o cuestionables como declarar la ausencia de memorias de infancia en Hispanoamérica, o que reduce a propósitos de trivial autoayuda la poderosa tradición autobiográfica anglosajona. Crisis también de la enunciación masculina porque revela una estrechez de criterios sobre la problemática de género y un anacronismo que se supondrı́a superado a la fecha de publicación de este libro. Crisis, en fin, de nuestro tiempo que no discierne entre “formación” e “información”, como advertı́a Walter Benjamin en su momento, y crisis del lugar que ocupa —una vez más, y siempre— la reflexión latinoamericana sobre su propia producción cultural.
TL;DR: In this article, the authors investigate how Bunuel recontextualizes a female corpse through its analogy with two central figures within the symbolic economy of the film: a mannequin and a praying mantis.
Abstract: En Ensayo de un crimen Luis Bunũel articula la indefinicion representacional del cadaver de manera excepcional. El cadaver no se revela como indice dentro de estructuras discursivas racionales, sino como simbolo, fuente de diversas alegorias. Para estructurar estas alegorias, la cinta expande y problematiza el paralelo entre los mecanismos de captura y reproduccion visuales y la estructura de lectura del psicoanalisis. En este contexto, este articulo indaga especificamente como Bunũel recontextualiza un cadaver femenino a traves de su analogia con dos figuras centrales dentro de la economia simbolica de la cinta: un maniqui y una mantis religiosa. Mediante estas figuras Bunũel sublima la presentacion directa del cadaver y, al mismo tiempo, estructura el caracter informe y siniestro en el que se enmarca el desdibujamiento de las matrices de la subjetividad implicitos en el cadaver, es decir, su posicion limite entre lo organico y lo simbolico, lo sublime y lo putrefacto. abstract: In Ensayo de un crimen (translated to English as The Criminal Life of Archibaldo de la Cruz ), Luis Bunuel articulates the representational indeterminacy of the corpse in an exceptional way. The corpse is revealed not as an index within rational discursive structures, but as a symbol, a source of various allegories. To structure these allegories, the film expands and problematizes the parallel between the mechanisms of visual capture and reproduction and the reading structure of psychoanalysis. In this context, this article investigates specifically how Bunuel recontextualizes a female corpse through its analogy with two central figures within the symbolic economy of the film: a mannequin and a praying mantis. Through these figures, Bunuel sublimates the direct presentation of the corpse, while at the same time structuring the formless and unheimlich character in which the blurring of the matrices of subjectivity implicit in the corpse is framed; that is, its liminal position between the organic and the symbolic, the sublime and the putrefied.
TL;DR: The Southern Cone from the 1500s to the present century will continue to figure in the discursive and political realms that Garibotto has so cogently mapped as mentioned in this paper. But it will, I think, begin to reveal the ideological blind spots that have shaped our subject-oriented ideas of history and habitation.
Abstract: century will continue to figure in the discursive and political realms that Garibotto has so cogently mapped. But it will, I think, begin to reveal the ideological blind spots that have shaped our subject-oriented ideas of history and habitation, and figure the land and the environment as primary actors in the saga of the Southern Cone from the 1500s to the present. The above suggestions are not offered as a critique of something missing from Garibotto’s thought-provoking book; rather, they are inspired by its brilliance. The strength of this work lies in the ways that it opens up the possibility of critically historicizing the present, and even the future.
TL;DR: A close reading of Lorca's Viaje a la luna as mentioned in this paper is based on three overlapping approaches: the complete segmentation of the text and the identification of discrete sequences and interpolations within it; the recognition that the work's cohesiveness, such as it is, depends much more on the symbolic rather than the narrative; and the use of imagery and themes found in the drama El publico to inform an analysis and interpretation of the film scenario.
Abstract: This close reading of Lorca’s Viaje a la luna is based on three overlapping approaches: the complete segmentation of the text and the identification of discrete sequences and interpolations within it; the recognition that the work’s cohesiveness, such as it is, depends much more on the symbolic rather than the narrative; and the use of imagery and themes found in Lorca’s drama El publico to inform an analysis and interpretation of the film scenario. The psychic journey obliquely depicted in Viaje traces in nonlinear fashion the protagonist’s trajectory from birth to death, and is focused above all on issues of sexuality, ranging from attitudes to intercourse and procreation to vacillation between heterosexuality and homosexuality. He submits to the forces of social convention (the wearing of the Harlequin suit), but a return to “authenticity” (the anatomical dummy) inevitably brings about his demise, demonstrating the inextricably interwoven nature of eros and thanatos .
TL;DR: In this article, the authors explore the work's delirous journey through the fantasy of the economic miracle, which ultimately reveals the obscene violence that underlies social space and everyday speech.
Abstract: El Paseo Ahumada (1983), del poeta chileno Enrique Lihn, es un periodico que emula el tono de la prensa amarilla con noticias concernientes a la vida cotidiana del Paseo Ahumada, paseo peatonal iconico del programa neoliberal impulsado por Pinochet a fines de los setenta. Sin embargo, la radicalidad de esta obra no reside unicamente en la referencialidad de sus poemas, sino en la nocion de ideologia que propone. Para Lihn la ideologia es algo estructural; es decir, no se puede desenmascarar sin destruir con ello todo su edificio. Tomando como base la nocion de ideologia propuesta por Slavoj Žižek, entendida como fantasia social, este articulo explora como El Paseo Ahumada se embarca en un viaje delirante por la fantasia del milagro economico con el fin de hacer perceptible la violencia obscena que subyace el espacio social y el habla cotidiana. Sugiero que, para Lihn, la produccion de una critica ideologica inmanente es una opcion etica que lo llevara al limite de la representacion. abstract: Enrique Lihn’s El Paseo Ahumada is formatted like a 28-page newspaper and emulates the sensationalist tone of the tabloid press, with news pieces and photographs reflecting day-to-day life on the Paseo Ahumada, a pedestrian boulevard iconic of Pinochet’s apparently miraculous neoliberal program at the end of the 70s. The radicality of this work resides not only in the referential and material dimensions of its poems, but also in the notion of ideology it promotes. For Lihn, ideology is something structural, which cannot be unmasked without bringing down the whole building. Using Slavoj Žižek´s concept of ideology as social fantasy, I explore the work’s delirous journey through the fantasy of the economic miracle, which ultimately reveals the obscene violence that underlies social space and everyday speech. I suggest that Lihn’s choice of an immanent ideological criticism is an ethical one that leads him inevitably down the path of a failure of naming
TL;DR: The passing of renowned Hispanist Donald L. Shaw on January 30, 2017 merits a moment to look back at the arc of Spanish American literary criticism, as its growth throughout the second half of the twentieth century rebalanced the scales in terms of Peninsular and Spanish American studies as discussed by the authors.
Abstract: The passing of renowned Hispanist Donald L. Shaw on January 30, 2017 merits a moment to look back at the arc of Spanish American literary criticism, as its growth throughout the second half of the twentieth century rebalanced the scales in terms of Peninsular and Spanish American studies. When Mr. Shaw (a professor at the University of Virginia, where all faculty are referred to as Mr. or Ms.) began his professional career in the 1950s, many Spanish programs at US and British universities, as well as journals and conferences, were primarily oriented towards Spain. Mr. Shaw’s own description of his early academic positions (1959–1961)
TL;DR: Martínez Pinzón as discussed by the authors analyzes la situación de la Cartagenera, representada by el presidente Rafael Núñez (87-96), in which ambos estarías cobijados bajo una teleología capitalista, aunque el otro del capitalismo no se haga explícitos.
Abstract: civilizatorio criollo, como lo entiende el pensamiento decolonial (que no se cita), es villano indiscutido. La cultura criolla se identifica con ese proyecto, las más de las veces, sin fisuras. Reiteradamente se critica a las élites capitalinas, dibujando un paı́s de Bogotá y resto del mundo, pero no se considera con atención la peculiar situación de las élites regionales, como por ejemplo la cartagenera, representada por el presidente Rafael Núñez (87–96). No hay cabida para un proyecto civilizador liberal y otro conservador, pues ambos estarı́an cobijados bajo una teleologı́a capitalista, aunque el otro del capitalismo no se haga explı́cito. Más que crı́ticas, estas últimas observaciones permiten apreciar el lugar que ocupa la aproximación de Martı́nez Pinzón, bien definida, dentro del campo. Algunos de los caminos que deja entrever son: correlacionar su análisis de discurso con trabajos de historia ambiental; encontrar formas de ahondar en la especificidad de lo literario sin sacrificar la dimensión ecológica; retomar los guiños a la ecocrı́tica o el nuevo materialismo; desarrollar la cuestión de la relación entre capitalismo y discurso civilizatorio en Colombia; ampliar el corpus a otros paı́ses latinoamericanos; plantear no solo lo que la teorı́a le aporta al paı́s, sino lo que el paı́s le aporta a la teorı́a. El balance final que propone el libro es “[tropicalizar] el trópico, para no ver al territorio como enemigo de la nación sino como una parte constitutiva de ella” (176). Con los mismos términos, cabe preguntar: ¿no habrı́a más bien que desnacionalizar el territorio, y con ello, al trópico y sus moradores?