Gisela Heffes – författare

The Latin American Eco-Cultural Reader is a comprehensive anthology of literary and cultural texts about the natural world. The selections, drawn from throughout the Spanish-speaking countries and Brazil, span from the early colonial period to the present. Editors Jennifer French and Gisela Heffes present work by canonical figures, including JosÉ MartÍ, BartolomÉ de las Casas, RubÉn DarÍo, and Alfonsina Storni, in the context of our current state of environmental crisis, prompting new interpretations of their celebrated writings. They also present contemporary work that illuminates the marginalized environmental cultures of women, indigenous, and Afro-Latin American populations. Each selection is introduced with a short essay on the author and the salience of their work; the selections are arranged into eight parts, each of which begins with an introductory essay that speaks to the political, economic and environmental history of the time and provides interpretative cues for the selections that follow.The editors also include a general introduction with a concise overview of the field of ecocriticism as it has developed since the 1990s. They argue that various strands of environmental thought - recognizable today as extractivism, eco-feminism, Amerindian ontologies, and so forth - can be traced back through the centuries to the earliest colonial period, when Europeans first described the Americas as an edenic 'New World' and appropriated the bodies of enslaved Indians and Africans to exploit its natural bounty.

Changes in the Landscape is a collection of timely essays that bring the methodologies and commitments of ecocriticism to bear on the study of Latin American literature and cultural production. The book’s eleven chapters, written by some of the leading voices in the field, invite readers to consider how the relationship between humans and nonhuman nature was fundamentally transformed during a period when new modes of capitalist production were emerging in the region and around the world. Jennifer L. French’s introductory essay provides a historical and theoretical framework for the collection.Ranging from the immediate aftermath of the Spanish‑American Wars of Independence (1810–1826) to the early twentieth century (1925), the volume’s essays cover a wide variety of genres and forms of cultural production, from JosÉ HernÁndez’s epic poem MartÍn Fierro to prose fiction, painting and photography, and the personal albums compiled by Spanish-American women. Individually and collectively, the essays engage with scientific writing as both a discourse of power and a source of potentially significant, even revelatory information about human and nonhuman nature. Changes in the Landscape enables readers to more fully understand the transition from colonial regimes to the ecocidal extractivism of the export boom (1870–1930) by drawing out and analyzing some of the cognitive resources and rhetorical strategies that were available to imagine, protest, or enact new norms and expectations regarding the relations between human and nonhuman life, be it the life of wildflowers, waterfalls, or Cuba’s CiÉnaga de Zapata.

Changes in the Landscape is a collection of timely essays that bring the methodologies and commitments of ecocriticism to bear on the study of Latin American literature and cultural production. The book’s eleven chapters, written by some of the leading voices in the field, invite readers to consider how the relationship between humans and nonhuman nature was fundamentally transformed during a period when new modes of capitalist production were emerging in the region and around the world. Jennifer L. French’s introductory essay provides a historical and theoretical framework for the collection.Ranging from the immediate aftermath of the Spanish‑American Wars of Independence (1810–1826) to the early twentieth century (1925), the volume’s essays cover a wide variety of genres and forms of cultural production, from JosÉ HernÁndez’s epic poem MartÍn Fierro to prose fiction, painting and photography, and the personal albums compiled by Spanish-American women. Individually and collectively, the essays engage with scientific writing as both a discourse of power and a source of potentially significant, even revelatory information about human and nonhuman nature. Changes in the Landscape enables readers to more fully understand the transition from colonial regimes to the ecocidal extractivism of the export boom (1870–1930) by drawing out and analyzing some of the cognitive resources and rhetorical strategies that were available to imagine, protest, or enact new norms and expectations regarding the relations between human and nonhuman life, be it the life of wildflowers, waterfalls, or Cuba’s CiÉnaga de Zapata.

Forthcoming

Sheds light on emergent Latin America cinema that addresses the politics of environmental destruction, the unevenness of climate change consequences, and new ways of visualizing the world beyond the human.Pushing Past the Human in Latin American Cinema brings together fourteen scholars to analyze Latin American cinema in dialogue with recent theories of posthumanism and ecocriticism. Together they grapple with how Latin American filmmakers have attempted to "push past the human," and destabilize the myth of anthropocentric exceptionalism that has historically been privileged by cinema and has led to the current climate crisis. While some chapters question the very nature of this enterprise-whether cinema should or even could actualize such a maneuver beyond the human-others signal the ways in which the category of the "human" itself is interrogated by Latin American cinema, revealed to be a fiction that excludes more than it unifies. This volume explores how the moving image reinforces or contests the division between human and nonhuman, and troubles the settler epistemic partition of culture and nature that is at the core of the climate crisis. As the first volume to specifically address how such questions are staged by Latin American cinema, this book brings together analysis of films that respond to environmental degradation, as well as those that articulate a posthumanist ethos that blurs the line between species.

Sheds light on emergent Latin America cinema that addresses the politics of environmental destruction, the unevenness of climate change consequences, and new ways of visualizing the world beyond the human.Pushing Past the Human in Latin American Cinema brings together fourteen scholars to analyze Latin American cinema in dialogue with recent theories of posthumanism and ecocriticism. Together they grapple with how Latin American filmmakers have attempted to "push past the human," and destabilize the myth of anthropocentric exceptionalism that has historically been privileged by cinema and has led to the current climate crisis. While some chapters question the very nature of this enterprise-whether cinema should or even could actualize such a maneuver beyond the human-others signal the ways in which the category of the "human" itself is interrogated by Latin American cinema, revealed to be a fiction that excludes more than it unifies. This volume explores how the moving image reinforces or contests the division between human and nonhuman, and troubles the settler epistemic partition of culture and nature that is at the core of the climate crisis. As the first volume to specifically address how such questions are staged by Latin American cinema, this book brings together analysis of films that respond to environmental degradation, as well as those that articulate a posthumanist ethos that blurs the line between species.

Ischia is a portrait of an unnamed narrator and her friends: wandering through the margins of different cities, especially Buenos Aires, they search for purpose in an increasingly uncertain world.An intricate, gutsy, and raw novel, Ischia is populated with outsiders who navigate the vicissitudes of life in Argentina and the world. Ischia, the female narrator, is the youngest in a family of seven brothers and relates her experiences as she waits for a ride to the airport. Told through dizzying would-have, could-have conditionals, Ischia overlaps and blurs the past, present, and future of three young characters defined by lack of certainty or expectation. These three lives unfold between disenchantment and humor, and the narration transports readers into a world of memories, desires, and dreams. The novel advances lyrically through themes both solemn and lighthearted, shaping the contours of imagined, hilarious, and surreal experiences.

Crocodiles at Night follows the difficult journey of death through the eyes of a woman as she travels between her home in Houston and her ailing father in Argentina."Dad died today. It was foretold, but I didn't see it coming."Although the outcome of Crocodiles at Night does not remain a surprise beyond the first paragraph, it expands outwards in philosophical, heartfelt reverberations true to Heffes's style. Crocodiles at Night explores familial ties, memories and images of places that are no longer the same, the vagaries of the medical system, and social critique in this unfeigned, excruciating view of death and how it affects all who experience it.

Visualizing Loss in Latin America engages with a varied corpus of textual, visual, and cultural material with specific intersections with the natural world, arguing that Latin American literary and cultural production goes beyond ecocriticism as a theoretical framework of analysis. Gisela Heffes poses the following crucial question: How do we construct a conceptual theoretical apparatus to address issues of value, meaning, tradition, perspective, and language, that contributes substantially to environmental thinking, and that is part and parcel of Latin America? The book draws attention to ecological inequality and establishes a biopolitical, ethics-based reading of Latin American art, film, and literature that operates at the intersection of the built environment and urban settings. Heffes suggests that the aesthetic praxis that emerges in/from Latin America is permeated with a rhetoric of waste—a significant trait thatoverwhelmingly defines it.

Visualizing Loss in Latin America engages with a varied corpus of textual, visual, and cultural material with specific intersections with the natural world, arguing that Latin American literary and cultural production goes beyond ecocriticism as a theoretical framework of analysis.

det gör mig ont att tänka på det som finns kvardet som är kvar av sommarendet som är kvar av världenjag tänker ofta på det som är kvar och på detsom är borta

Gisela Heffes är författare och lärare i latinamerikansk litteratur och kultur vid Johns Hopkins-universitetet. Utöver hennes banbrytande arbete i ekokritik och humanekologi, har hon publicerat en rad böcker, essäer och artiklar på olika teman, till exempel urbana utopier, folkförflyttningar och migration, moderskap och argentinsk judisk litteratur. Hon är bland annat författare till romantrilogin Ischia, Praga & Bruselas (2005). Hennes tvåspråkiga titlar omfattar kortromanen Sophie La Belle y las ciudades en miniatura / Sophie La Belle and The Miniature Cities (2016) och diktsamlingen El cero móvil de su boca / The Mobile Zero of Its Mouth (2020), vilken översatts till franska, portugisiska och tyska och som i och med denna utgåva nu finns tillgänglig även på svenska.