Jerome Branche – författare

This collection of essays offers a comprehensive overview of colonial legacies of racial and social inequality in Latin America and the Caribbean. Rich in theoretical framework and close textual analysis, these essays offer new paradigms and approaches to both reading and resolving the opposing forces of race, class, and the power of states. The contributors are drawn from a variety of fields, including literary criticism, anthropology, politics, and sociology. The contributors to this book abandon the traditional approaches that study racialized oppression in Latin America only from the standpoint of its impact on either Indians or people of African descent. Instead they examine colonialism''s domination and legacy in terms of both the political power it wielded and the symbolic instruments of that oppression.The volume''s scope extends from the Southern Cone to the Andean region, Mexico, and the Hispanophone and Francophone Caribbean. It contests many of the traditional givens about Latin America, including governance and the nation state, the effects of globalization, the legacy of the region''s criollo philosophers and men of letters, and postulations of harmonious race relations. As dictatorships give way to democracies in a variety of unprecedented ways, this book offers a necessary and needed examination of the social transformations in the region.

This collection of essays offers a comprehensive overview of colonial legacies of racial and social inequality in Latin America and the Caribbean. Rich in theoretical framework and close textual analysis, these essays offer new paradigms and approaches to both reading and resolving the opposing forces of race, class, and the power of states.

Este índice de la Revista Iberoamericana representa la realización de un proyecto iniciado por el Director Ejecutivo del IILI, Alfredo Roggiano, nos años antes de su muerte en octubre de 1991. El nuevo Índice incluye los estudios, notas, entrevistas, bibliografías y reseñas de los 113 números dirigidos por él, más cinco de los nueve números publicados desde su desaparición. Consiste en más de 2,500 entradas que forman efectivamente dos índices de referencias cruzadas; uno es un índice de los autores por orden alfabético y el otro consiste en un índice de los temas referidos.~This index of Revista Iberoamericana represents the realisation of a project initiated by the Executive Director of IILI, Alfredo Roggiano, years before his death in October 1991. The new Index includes the studies, notes, interviews, bibliographies and reviews of the 113 issues directed by him, plus five of the nine issues published since his disappearance. It consists of more than 2,500 entries that effectively form two cross-reference indexes; one is an index of the authors in alphabetical order and the other consists of an index of the referred topics.

El título de este volumen, Lo que teníamos que tener: raza y revolución en Nicolás Guillén, como perífrasis del célebre verso de Guillén ‘tengo lo que tenía que tener’, encierra de forma nítida los dos hilos centrales de su amplia temática. Por un lado la cuestión racial con toda su complejidad y envergadura socioafectiva y por otro la cuestión de la revolución, tan profunda y provocadora como fue y sigue siendo. Divididos en tres secciones, los ensayos de este volumen comparten todos la premisa de la importancia de la obra de Nicolás Guillén, aun cuando no estén de acuerdo en cuanto a los ejes constitutivos de la misma. La primera sección analiza la historiografía y la crítica guilleneanas, y como su obra llamó la atención de muchos lectores anglófonos en los años setenta. Se destaca como su obra reflejaba el clima político-cultural del momento, su temática antifascista e antiimperialista y a su vez como el profundo humanismo del poeta las trascendencia alcanzando un verdadero valor universal y duradero. La segunda sección trata sobre el tema racial y político de manera más detallada. Guillén tenía una visión transracial que exploraba el juego dialéctico entre la identidad y la otredad reivindicando los valores ideológicos de la revolución cubana. Finalmente, la última sección explora el arte de Guillén al servicio del arte. El son cubano es convertido en poesía a su vez hecha canción. La cultura poética de Guillén tiene seguras y objetivas raíces expresadas tanto en forma musical como en producciones de teatro y cine.~The title of this volume, Lo que teníamos que tener: raza y revolución en Nicolás Guillén, comes from Guillén's famous verse 'I have what I had to have', which clearly encloses the two central themes of his work. On the one hand, the racial question with all its complexity and socio-affective magnitude, and on the other, the question of the revolution, as profound and provocative as it was and continues to be. Spread across three sections, the essays in this volume all share the premise of the importance of Nicolás Guillén's work, even when they disagree as to its constitutive axes. The first section analyzes Guillean historiography and criticism, and how his work caught the attention of many Anglophone readers in the 1970s. It explores how his work reflected the political-cultural climate of the moment, his anti-fascist and anti-imperialist themes and, in turn, how the profound humanism of the poet transcended them, reaching a true universal and lasting value. The second section deals with the racial and political issue in more detail. Guillén had a transracial vision that explored the dialectical game between identity and otherness, vindicating the ideological values of the Cuban revolution. Finally, the last section explores Guillén's art at the service of art. The Cuban son (Cuban sound) is turned into poetry which is then turned into song. Guillén's poetic culture has solid and objective roots expressed both in music, theater and film productions.

Esta novela de Guimarães narra la historia de emancipación de una mujer esclavizada en el Brasil del primer tercio del siglo XIX y es rescatada por un hombre de la élite que se enamora de ella. Reconocida como una de las pocas novelas de temática abolicionista en el Brasil decimonónico, La esclava Isaura (1875), avanza también la idea del derecho del individuo, aun el esclavizado, al amor y a la dignidad del espíritu, y protesta ante las ideas heredadas de la primacía social de la riqueza y el abolengo, temas que venían reivindicándose desde la literatura renacentista y que habían cobrado un mayor auge con la Ilustración. La contradicción que limita la proyección ideológica liberadora de esta obra de Guimarães, sin embargo, estriba en la temática racial y en la misma definición del abolicionismo. En cuanto el narrador enfatiza que la esclavitud que sufre su heroína mestiza es injusta porque ells es ‘demasiado blanca’ para ser esclavizada, revela una tácita aprobación de la naturalización de la relación entre los llamados negros y la subjetividad esclava. A pesar de su premisa abolicionista, el libro hace caso omiso de las grandes masas de esclavizados africanos y afrocriollos en Brasil. Esta toma de posición pone a Guimarães junto al resto de la intelectualidad brasileña decimonónica con respecto al tema de la esclavitud y contribuye a la narrativización fundacional de la nación.~This novel by Guimarães tells the story of the emancipation of an enslaved woman in Brazil in the first third of the 19th century and is rescued by a wealthy man who falls in love with her. Recognized as one of the few novels with an abolitionist theme in Brazil in the 19th century, La esclava Isaura (Isaura, the slave) (1875), also advances the idea of the right of the individual, even the enslaved, to love and the dignity of their spirit, and protests against the ideas inherited from the social primacy of wealth and ancestry, themes that had been claimed since the literature of the renaissance and that had gained greater momentum with the Enlightenment. The contradiction that limits the liberating ideological projection of this work by Guimarães, however, lies in the racial theme and in the very definition of abolitionism. As the narrator emphasises that the enslavement suffered by his mixed-race heroine is unjust because she is 'too white' to be enslaved, he reveals a tacit approval of the normalisation of the relationship between so-called blacks and slave subjectivity. Despite its abolitionist premise, the book ignores the great masses of enslaved Africans and Afro-Creoles in Brazil. This stance places Guimarães side by side with the rest of the 19th century Brazilian intellectuals regarding the issue of slavery and contributes to forming the founding narrative of the nation.

"Aquí en el Instituto Internacional de Literatura Iberoamericana, nos es motivo de gran honor, a través de nuestra Serie Malunga, poder aprovechar la oportunidad para rendir homenaje al gran poeta Jesús Cos Causse (1945- 2007), con una primera edición globalizante de su poesía, dispersa o repartida como ha estado en varias antologías pequeñas entre 1970 y 2007. Con ésta, ofrecemos a los que se entusiasman por su obra y al público lector dentro y fuera de Cuba una colección del que fuera no sólo poeta, sino también dramaturgo, antologista, periodista y diplomático. Aunque sí cabe enfatizar que, como queda constatado a menudo en sus versos, en los varios aspectos de su quehacer y su trayectoria vitales, es la poesía y aquella postura filosófica estetizante ante la vida la que más lo define."Jerome Branche, ed.~"Here at the International Institue of Iberoamerican Literature, it is a great honor for us, through our Malunga Series, to be able to take the opportunity to pay homage to the great poet Jesús Cos Causse (1945-2007), with a first global edition of his poetry, as it has been so far spread or distributed in various small anthologies between 1970 and 2007. With this, we offer those who are enthusiastic about his work and readers inside and outside Cuba, a collection of works by not only a poet, but also a playwright, anthologist, journalist and diplomat. It is however worth emphasizing that it is his poetry and his aestheticizing philosophical position towards life that most define him, as is often confirmed in his verses, in the various aspects of his life work and career."Jerome Branche, ed.