Ignacio M. Sanchez Prado - Böcker

Strategic Occidentalism examines the transformation, in both aesthetics and infrastructure, of Mexican fiction since the late 1970s. During this time a framework has emerged characterized by the corporatization of publishing, a frictional relationship between Mexican literature and global book markets, and the desire of Mexican writers to break from dominant models of national culture.In the course of this analysis, Ignacio M. Sanchez Prado engages with theories of world literature, proposing that “world literature” is a construction produced at various levels, including the national, that must be studied from its material conditions of production in specific sites. In particular, he argues that Mexican writers have engaged in a “strategic Occidentalism” in which their idiosyncratic connections with world literature have responded to dynamics different from those identified by world-systems or diffusionist theorists.Strategic Occidentalism identifies three scenes in which a cosmopolitan aesthetics in Mexican world literature has been produced: Sergio Pitol's translation of Eastern European and marginal British modernist literature; the emergence of the Crack group as a polemic against the legacies of magical realism; and the challenges of writers like Carmen Boullosa, Cristina Rivera Garza, and Ana García Bergua to the roles traditionally assigned to Latin American writers in world literature.

Strategic Occidentalism examines the transformation, in both aesthetics and infrastructure, of Mexican fiction since the late 1970s. During this time a framework has emerged characterized by the corporatization of publishing, a frictional relationship between Mexican literature and global book markets, and the desire of Mexican writers to break from dominant models of national culture.In the course of this analysis, Ignacio M. Sanchez Prado engages with theories of world literature, proposing that “world literature” is a construction produced at various levels, including the national, that must be studied from its material conditions of production in specific sites. In particular, he argues that Mexican writers have engaged in a “strategic Occidentalism” in which their idiosyncratic connections with world literature have responded to dynamics different from those identified by world-systems or diffusionist theorists.Strategic Occidentalism identifies three scenes in which a cosmopolitan aesthetics in Mexican world literature has been produced: Sergio Pitol's translation of Eastern European and marginal British modernist literature; the emergence of the Crack group as a polemic against the legacies of magical realism; and the challenges of writers like Carmen Boullosa, Cristina Rivera Garza, and Ana García Bergua to the roles traditionally assigned to Latin American writers in world literature.

Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal. The cinematic experience in Mexico is no less profound and has evolved in complex ways in recent years. Films like Y Tu Mama Tambien, El Mariachi, Amores Perros, and the work of icons like Guillermo del Toro and Salma Hayek represent much more than resurgent interest in the cinema of Mexico. In Screening Neoliberalism, Ignacio Sanchez Prado explores precisely what happened to Mexico's film industry in recent decades. Far from just a history of the period, Screening Neoliberalism explores four deep transformations in the Mexican film industry: the decline of nationalism, the new focus on middle-class audiences, the redefinition of political cinema and the impact of globalisation. This analysis considers the directors and films that have found international notoriety as well as those that have been instrumental in building a domestic market. Screening Neoliberalism exposes the consequences of a film industry forced to find new audiences in Mexico's middle-class in order to achieve economic and cultural viability.

Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal. The cinematic experience in Mexico is no less profound, and has evolved in complex ways in recent years. Films like Y Tu Mama Tambien, El Mariachi, Amores Perros, and the work of icons like Guillermo del Toro and Salma Hayek represent much more than resurgent interest in the cinema of Mexico. In Screening Neoliberalism, Ignacio Sanchez Prado explores precisely what happened to Mexico's film industry in recent decades. Far from just a history of the period, Screening Neoliberalism explores four deep transformations in the Mexican film industry: the decline of nationalism, the new focus on middle-class audiences, the redefinition of political cinema, and the impact of globalization. This analysis considers the directors and films that have found international notoriety as well as those that have been instrumental in building a domestic market. Screening Neoliberalism exposes the consequences of a film industry forced to find new audiences in Mexico's middle-class in order to achieve economic and cultural viability.

Cavernosa, usualmente fría, siempre oscura, con un ligero olor a palomitas de maíz en el aire: la experiencia de ir al cine es universal. No es menos intensa en México, donde la experiencia ha evolucionado de formas complejas en años recientes. Películas como Y tu mamá también, El Mariachi, Amores perros y las obras de los paradigmáticos Guillermo del Toro y Salma Hayek, reflejan mucho más un renovado interés por el cine en México. En La proyección del neoliberalismo, Ignacio Sánchez Prado explora precisamente los eventos que tuvieron lugar en la industria del cine mexicano durante las últimas décadas. Lejos de ser una simple historia del periodo, La proyección del neoliberalismo examina cuatro aspectos esenciales de las transformaciones ocurridas en la industria del cine mexicano: la caída del nacionalismo, un nuevo enfoque en audiencias de clase media, la redefinición del concepto de cine político y el impacto de la globalización. Este análisis incluye a directores y películas que han alcanzado notoriedad internacional o relevancia en la construcción de un mercado nacional. La proyección del neoliberalismo expone las consecuencias de una industria del cine forzada a encontrar nuevas audiencias entre la clase media mexicana para poder alcanzar el ansiado éxito económico y la aprobación cultural.

Cavernosa, usualmente fría, siempre oscura, con un ligero olor a palomitas de maíz en el aire: la experiencia de ir al cine es universal. No es menos intensa en México, donde la experiencia ha evolucionado de formas complejas en años recientes. Películas como Y tu mamá también, El Mariachi, Amores perros y las obras de los paradigmáticos Guillermo del Toro y Salma Hayek, reflejan mucho más un renovado interés por el cine en México. En La proyección del neoliberalismo, Ignacio Sánchez Prado explora precisamente los eventos que tuvieron lugar en la industria del cine mexicano durante las últimas décadas. Lejos de ser una simple historia del periodo, La proyección del neoliberalismo examina cuatro aspectos esenciales de las transformaciones ocurridas en la industria del cine mexicano: la caída del nacionalismo, un nuevo enfoque en audiencias de clase media, la redefinición del concepto de cine político y el impacto de la globalización. Este análisis incluye a directores y películas que han alcanzado notoriedad internacional o relevancia en la construcción de un mercado nacional. La proyección del neoliberalismo expone las consecuencias de una industria del cine forzada a encontrar nuevas audiencias entre la clase media mexicana para poder alcanzar el ansiado éxito económico y la aprobación cultural.

Mexican Literature in Theory is the first book in any language to engage post-independence Mexican literature from the perspective of current debates in literary and cultural theory. It brings together scholars whose work is defined both by their innovations in the study of Mexican literature and by the theoretical sophistication of their scholarship. Mexican Literature in Theory provides the reader with two contributions. First, it is one of the most complete accounts of Mexican literature available, covering both canonical texts as well as the most important works in contemporary production. Second, each one of the essays is in itself an important contribution to the elucidation of specific texts. Scholars and students in fields such as Latin American studies, comparative literature and literary theory will find in this book compelling readings of literature from a theoretical perspective, methodological suggestions as to how to use current theory in the study of literature, and important debates and revisions of major theoretical works through the lens of Mexican literary works.

Mexican Literature in Theory is the first book in any language to engage post-independence Mexican literature from the perspective of current debates in literary and cultural theory. It brings together scholars whose work is defined both by their innovations in the study of Mexican literature and by the theoretical sophistication of their scholarship. Mexican Literature in Theory provides the reader with two contributions. First, it is one of the most complete accounts of Mexican literature available, covering both canonical texts as well as the most important works in contemporary production. Second, each one of the essays is in itself an important contribution to the elucidation of specific texts. Scholars and students in fields such as Latin American studies, comparative literature and literary theory will find in this book compelling readings of literature from a theoretical perspective, methodological suggestions as to how to use current theory in the study of literature, and important debates and revisions of major theoretical works through the lens of Mexican literary works.

Honorable Mention from the 2022 International Latino Book Awards for Best Nonfiction - Multi-AuthorChapter 15 by Carolyn Fornoff is Winner of the 2022 Best Article in the Humanities Award, Latin American Studies Association, MexicoMexican Literature as World Literature is a landmark collection that, for the first time, studies the major interventions of Mexican literature of all genres in world literary circuits from the 16th century forward. This collection features a range of essays in dialogue with major theorists and critics of the concept of world literature. Authors show how the arrival of Spanish conquerors and priests, the work of enlightenment naturalists, the rise of Mexican academies, the culture of the Mexican Revolution, and Mexican neoliberalism have played major roles in the formation of world literary structures. The book features major scholars in Mexican literary studies engaging in the ways in which modernism, counterculture, and extinction have been essential to Mexico’s world literary pursuit, as well as studies of the work of some of Mexico’s most important authors: Sor Juana, Carlos Fuentes, Octavio Paz, and Juan Rulfo, among others. These essays expand and enrich the understanding of Mexican literature as world literature, showing the many significant ways in which Mexico has been a center for world literary circuits.

Honorable Mention from the 2022 International Latino Book Awards for Best Nonfiction - Multi-AuthorChapter 15 by Carolyn Fornoff is Winner of the 2022 Best Article in the Humanities Award, Latin American Studies Association, MexicoMexican Literature as World Literature is a landmark collection that, for the first time, studies the major interventions of Mexican literature of all genres in world literary circuits from the 16th century forward. This collection features a range of essays in dialogue with major theorists and critics of the concept of world literature. Authors show how the arrival of Spanish conquerors and priests, the work of enlightenment naturalists, the rise of Mexican academies, the culture of the Mexican Revolution, and Mexican neoliberalism have played major roles in the formation of world literary structures. The book features major scholars in Mexican literary studies engaging in the ways in which modernism, counterculture, and extinction have been essential to Mexico’s world literary pursuit, as well as studies of the work of some of Mexico’s most important authors: Sor Juana, Carlos Fuentes, Octavio Paz, and Juan Rulfo, among others. These essays expand and enrich the understanding of Mexican literature as world literature, showing the many significant ways in which Mexico has been a center for world literary circuits.

In Naciones intelectuales, Ignacio M. Sanchez Prado explores the processes and works that laid the foundations of a new literary modernity in the wake of the Mexican Revolution. Focusing on a period that goes from the signing of the Constitution in 1917 to the death of Alfonso Reyes in 1959, Sanchez Prado centers his analysis on the way in which four elements of Mexican cultural practice - the notion of literature, the figure of the intellectual, the creation of academic institutions and the definition of national identity - emerged through the various debates held by leading figures of the period. Through an appropriation of Pierre Bourdieu's notion of 'literary field', the book analyzes different key moments, controversies, and cultural interventions, which ultimately led the diverse aesthetic spectrum created by the Revolution into becoming a highly institutional system of literature. Sanchez Prado's work deals with a wide range of writers, including Alfonso Reyes, Jorge Cuesta, Manuel Maples Arce, Ramon Lopez Velarde, Francisco Monterde, Jose Gaos, the Hiperion philosophers, and Octavio Paz. As a result, this books offers a cartography of Mexican literary institutions unprecedented in scope, which will allow readers, students, and scholars to understand the construction of modern Mexican literature in a clear, rigorous, and systematic way.

Essays on the Mexican Revolution and its literary and cultural legaciesThe Mexican Revolution lives on in literature, film, song, and popular culture. An enduring part of the cultural memory of Mexican and Mexican American communities, the revolution has shaped—and continues to be shaped by—later generations' experiences and conceptions of history. This volume offers instructors a variety of vantage points for teaching the revolution, including the role of women as family protectors and soldiers, petroculture, the heroization of famous revolutionary figures, and contemporaneous corridos. Essays introduce students to comparative approaches framed by concepts of colonialism and borders. Several essays center the perspectives and experiences of Mexican American, Chicanx, and borderland communities, attending especially to remembrance and to the literary and cultural afterlives of the revolution. This volume also contains discussion of the following authors and works: Chinua Achebe, Anthills of the Savannah; Mariano Azuela, Los de abajo; Nellie Campobello, Cartucho; Cristina Rivera Garza, Nadie me verá llorar; Martín Luis Guzmán, La sombra del caudillo; Mónica Lavín, Café cortado; Josefina Niggli, Soldadera; Ousmane Sembène, Le dernier de l'empire; Chano Urueta, Los de abajo.

Essays on the Mexican Revolution and its literary and cultural legaciesThe Mexican Revolution lives on in literature, film, song, and popular culture. An enduring part of the cultural memory of Mexican and Mexican American communities, the revolution has shaped—and continues to be shaped by—later generations' experiences and conceptions of history. This volume offers instructors a variety of vantage points for teaching the revolution, including the role of women as family protectors and soldiers, petroculture, the heroization of famous revolutionary figures, and contemporaneous corridos. Essays introduce students to comparative approaches framed by concepts of colonialism and borders. Several essays center the perspectives and experiences of Mexican American, Chicanx, and borderland communities, attending especially to remembrance and to the literary and cultural afterlives of the revolution. This volume also contains discussion of the following authors and works: Chinua Achebe, Anthills of the Savannah; Mariano Azuela, Los de abajo; Nellie Campobello, Cartucho; Cristina Rivera Garza, Nadie me verá llorar; Martín Luis Guzmán, La sombra del caudillo; Mónica Lavín, Café cortado; Josefina Niggli, Soldadera; Ousmane Sembène, Le dernier de l'empire; Chano Urueta, Los de abajo.

"El fin de esta antología es mostrar, mediante la apreciación de algunos críticos contemporáneos, la actualidad del pensamiento de Reyes, su papel dentro de los debates sobre el latinoamericanismo y reivindicar su papel dentro de los campos de reflexión occidental y regional. La selección de autores es representativa en varios sentidos: lecturas provenientes tanto del ámbito nacional como del continental; de críticos en las academias de América latina, Estados Unidos y Europa; textos de autores especializados en la obra de Reyes y de no especialistas que reflexionan sobre su papel en campos de investigación afines; estudios de la obra de Reyes desde teoría literaria, los estudios culturales, el poscolonialismo y los estudios transatlánticos."Adela Pineda Franco e Ignacio M. Sánchez PradoColaboran: Sebastiaan Faber | Santiago Castro Gómez | Ignacio M. Sánchez Prado | Rafael Guitiérrez Girardot | Robert T. Conn | Amelia Barili | Evodio Escalante | Rose Corral | Joshua Lund | Elizabeth Monasterios | Margo Glantz | Marcela del Río Reyes | Adolfo Castañón | Arturo Dávila | Carlos Montemayor | Roberto Fernández Retamar~"The purpose of this anthology is to show, through the appreciation of various contemporary critics, the relevance of Reyes' thought, his role within the debates on Latin-Americanism and to claim his role within western and regional fields of thought. The selection of authors is representative in various ways: readings from both national and continental domains; from critics in the academies of Latin America, the United States and Europe; texts by authors specialised in the work of Reyes and by non-specialists who reflect on his role in related research fields; studies of Reyes's work from literary theory, cultural studies, post-colonialism and transatlantic studies."Adela Pineda Franco and Ignacio M. Sánchez PradoContributors: Sebastiaan Faber | Santiago Castro Gómez | Ignacio M. Sánchez Prado | Rafael Guitiérrez Girardot | Robert T. Conn | Amelia Barili | Evodio Escalante | Rose Corral | Joshua Lund | Elizabeth Monasterios | Margo Glantz | Marcela del Río Reyes | Adolfo Castañón | Arturo Dávila | Carlos Montemayor | Roberto Fernández Retamar

'A partir de la formulación de Goethe en las primeras décadas del siglo XIX, el concepto de “literatura mundial” ha constituido una propuesta a partir de la cual se han articulado disciplinas como la filología, la historiografía y la literatura comparada. En años recientes, las investigaciones de Franco Moretti y Pascale Casanova han puesto de nuevo el tema en el centro del debate. Ambos elaboran teorías que reformulan, de manera a veces radical, el objecto geoliterario de la literatura comparada. Los artículos del presente volumen plantean una respuesta a estos retos crítico-teóricos desde América Latina, evaluando sus contribuciones a la lectura de la producción literaria regional desde el paradigma de la “literatura mundial”. Asimismo, estos estudios plantean críticas alternativas a las limitaciones de modelos como la “república mundial de las letras” de Casanova y a metodologías basadas en instrumentos como las “gráficas, mapas y árboles” de Moretti. De esta manera algunas de las figuras señeras de los estudios literarios y culturales latinoamericanos se preguntan por la legitimidad de este nuevo modelo interpretativo y por sus implicaciones ideológicas y epistemológicas para el caso de América Latina.'Ignacio M. Sánchez Prado~'Since the first decades of the 19th century, Goethe's concept of ‘world literature’ has constituted a key approach to further disciplines such as philology, historiography and comparative literature. In recent years , the research conducted by Franco Moretti and Pascale Casanova has once again put this topic at the center of the debate. Both elaborate theories that reformulate, sometimes radically, the geoliterary object of comparative literature. The articles in this volume propose a response to these critical-theoretical challenges from Latin America, evaluating their contributions to the reading of regional literary production from the paradigm of ‘world literature’. Additionally, these studies propose alternative critiques to the limitations of models such as Casanova’s the ‘world republic of literature’ and to methodologies based on instruments such as Moretti's ‘graphs, maps and trees’. In this way, some of the leading figures of Latin American literary and cultural studies question the legitimacy of this new interpretative model and its ideological and epistemological implications for the case of Latin America.'Ignacio M. Sanchez Prado

Pierre Bourdieu in Hispanic Literature and Culture is a collective reflection on the value of French sociologist Pierre Bourdieu’s work for the study of Spanish and Latin American literature and culture.

El volumen analiza las implicaciones del concepto world exhaustion/agotamiento del mundo, que ha surgido en un contexto cultural post-global y cuyos efectos son particularmente destacados en las literaturas y culturas latinoamericanas. El término conceptual se adecua a la ambivalencia de las experiencias vividas por sociedades marcadas por siglos de globalización y a la producción artística que busca dar forma y sentido a estas experiencias.

Pierre Bourdieu in Hispanic Literature and Culture is a collective reflection on the value of French sociologist Pierre Bourdieu’s work for the study of Spanish and Latin American literature and culture.