Monica Hanna – författare

The first sustained critical examination of the work of Dominican-American writer Junot DÍaz, this interdisciplinary collection considers how DÍaz's writing illuminates the world of Latino cultural expression and trans-American and diasporic literary history. Interested in conceptualizing DÍaz's decolonial imagination and his radically re-envisioned world, the contributors show how his aesthetic and activist practice reflect a significant shift in American letters toward a hemispheric and planetary culture. They examine the intersections of race, Afro-Latinidad, gender, sexuality, disability, poverty, and power in DÍaz's work. Essays in the volume explore issues of narration, language, and humor in The Brief Wondrous Life of Oscar Wao, the racialized constructions of gender and sexuality in Drown and This Is How You Lose Her, and the role of the zombie in the short story "Monstro." Collectively, they situate DÍaz’s writing in relation to American and Latin American literary practices and reveal the author’s activist investments. The volume concludes with Paula Moya's interview with DÍaz.Contributors: Glenda R. Carpio, Arlene DÁvila, Lyn Di Iorio, Junot DÍaz, Monica Hanna, Jennifer Harford Vargas, Ylce Irizarry, Claudia Milian, Julie Avril Minich, Paula M. L. Moya, Sarah Quesada, JosÉ David SaldÍvar, RamÓn SaldÍvar, Silvio Torres-Saillant, Deborah R. Vargas

The first sustained critical examination of the work of Dominican-American writer Junot DÍaz, this interdisciplinary collection considers how DÍaz's writing illuminates the world of Latino cultural expression and trans-American and diasporic literary history. Interested in conceptualizing DÍaz's decolonial imagination and his radically re-envisioned world, the contributors show how his aesthetic and activist practice reflect a significant shift in American letters toward a hemispheric and planetary culture. They examine the intersections of race, Afro-Latinidad, gender, sexuality, disability, poverty, and power in DÍaz's work. Essays in the volume explore issues of narration, language, and humor in The Brief Wondrous Life of Oscar Wao, the racialized constructions of gender and sexuality in Drown and This Is How You Lose Her, and the role of the zombie in the short story "Monstro." Collectively, they situate DÍaz’s writing in relation to American and Latin American literary practices and reveal the author’s activist investments. The volume concludes with Paula Moya's interview with DÍaz.Contributors: Glenda R. Carpio, Arlene DÁvila, Lyn Di Iorio, Junot DÍaz, Monica Hanna, Jennifer Harford Vargas, Ylce Irizarry, Claudia Milian, Julie Avril Minich, Paula M. L. Moya, Sarah Quesada, JosÉ David SaldÍvar, RamÓn SaldÍvar, Silvio Torres-Saillant, Deborah R. Vargas

The rise of digital media and globalization's intensification since the 1990s have significantly refigured global cinema's form and content. The coincidence of digitalization and globalization has produced what this book helps to define and describe as a flourishing border cinema whose aesthetics reflect, construct, intervene in, denature, and reconfigure geopolitical borders. This collection demonstrates how border cinema resists contemporary border fortification processes, showing how cinematic media have functioned technologically and aesthetically to engender contemporary shifts in national and individual identities while proposing alternative conceptions of these identities to those promulgated by the often restrictive current political rhetoric and ideologies that represent a backlash to globalization.

The rise of digital media and globalization's intensification since the 1990s have significantly refigured global cinema's form and content. The coincidence of digitalization and globalization has produced what this book helps to define and describe as a flourishing border cinema whose aesthetics reflect, construct, intervene in, denature, and reconfigure geopolitical borders. This collection demonstrates how border cinema resists contemporary border fortification processes, showing how cinematic media have functioned technologically and aesthetically to engender contemporary shifts in national and individual identities while proposing alternative conceptions of these identities to those promulgated by the often restrictive current political rhetoric and ideologies that represent a backlash to globalization.

When ancient Egypt is mentioned, images often come to mind of tombs covered in hieroglyphs being opened by Victorian-era explorers, revealing "wonderful things"—as Howard Carter famously described upon first glimpsing the treasures of Tutankhamun. But how did Egyptology become the preserve of wealthy Europeans? And what can be done today to restore agency and rightful ownership to the country where this field was born?