Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-2brh9 Total loading time: 0 Render date: 2024-11-27T22:52:30.293Z Has data issue: false hasContentIssue false

Part V - Latin American Literature in Global Markets

Published online by Cambridge University Press:  24 November 2022

Mónica Szurmuk
Affiliation:
Universidad Nacional de San Martín and National Scientific and Technical Research Council, Argentina
Debra A. Castillo
Affiliation:
Cornell University, New York
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Andermann, Jens. “Turn of the tide? Cultural critique and the New Right.” Journal of Latin American Cultural Studies, 27:1, 13 (2018): 13.Google Scholar
Degiovanni, Fernando. Vernacular Latin Americanisms: War, the Market, and the Making of a Discipline. Pittsburgh, PA: University of Pittsburgh Press, 2018.Google Scholar
Derrida, Jacques. Archive Fever: A Freudian Impression. Chicago, IL: University of Chicago Press, 2017.Google Scholar
Diego, José Luis de and Fernando Larraz. La edición iberoamericana. Alicante: Cervantes Virtual Miguel de Cervantes, 2016.Google Scholar
Groys, Boris. Under Suspicion: A Phenomenology of the Media. Trans. Carsten Strathausen. New York: Columbia University Press, 2012.Google Scholar
Ludmer, Josefina. “Literaturas postautónomas.” www.lehman.cuny.edu/ciberletras/v17/ludmer.htm.Google Scholar
Padilla, José Ignacio. “¿Circuitos editoriales en América Latina?Insula, 814 (October 2014).Google Scholar
Richard, Nelly. Eruptions of Memories. Cambridge: Polity Press, Critical South Book Series, 2018.Google Scholar
Said, Edward W. The World, the Text, and the Critic. Cambridge, MA: Harvard University Press, 1983.Google Scholar
Schwarz, Roberto. “As idéias fora do lugar.” In Ao vencedor as batatas. São Paulo: Duas cidades, 1977. Misplaced Ideas: Essays on Brazilian Culture. Trans. Edmund Leites and the author. London and New York: Verso, 1992.Google Scholar
Virno, Paolo. Esercizi di esodo: linguaggio e azione politica. Verona: Ombre Corte, 2002.Google Scholar

Works Cited

Estado, Agência. “Galvão Bueno leva bronca de comentarista da BBC: ‘Precisa calar a boca’.” Diario de Pernambuco, August 11, 2016, www.diariodepernambuco.com.br/noticia/viver/2016/08/galvao-bueno-leva-bronca-de-comentarista-da-bbc.html.Google Scholar
Association of Internet Researchers. Ethics. n.d., http://aoir.org/ethics.Google Scholar
Bueno, Galvão, and Ostrovsky, Ingo. Fala, Galvão! Porto Alegre: Editora Globo, 2015.Google Scholar
Cánepa, Laura and Suppia, Alfredo. “O filme espírita brasileiro: entre dois mundos.” ALCEU, 17.34 (2017): 8197.Google Scholar
Consumoteca. “In meme we trust.” gente.com.br, May 29, 2019, https://gente.globosat.com.br/meme-we-trust.Google Scholar
Dwyer, Jim. “A Brazilian Twitter campaign that really is for the birds.” The New York Times, June 15, 2010, www.nytimes.com/2010/06/16/nyregion/16about.html?_r=0.Google Scholar
Eakin, Marshall C. Becoming Brazilians: Race and National Identity in Twentieth-Century Brazil. Cambridge: Cambridge University Press, 2017.Google Scholar
Edwards, Brian T. After the American Century: The Ends of U.S. Culture in the Middle East. New York: Columbia University Press, 2016.Google Scholar
Edwards, Brian T.The world, the text, and the Americanist.” American Literary History, 25.1 (2013): 231246.Google Scholar
de São Paulo, Folha. “Faixa ‘Cala Boca Galvão!’ é retirada com menos de dois minutos de jogo.” Folha de São Paulo, June 15, 2010, www1.folha.uol.com.br/esporte/751363-faixa-cala-boca-galvao-e-retirada-com-menos-de-dois-minutos-de-jogo.shtml.Google Scholar
G1. “Brasil tem o segundo maior número de usuários do Twitter no mundo.” January 15, 2010, http://g1.globo.com/Noticias/Tecnologia/0,MUL1449515-6174,00-BRASIL+TEM+O+SEGUNDO+MAIOR+NUMERO+DE+USUARIOS+DO+TWITTER+NO+MUNDO.html.Google Scholar
Greenlee, William Brooks. The Voyage of Pedro Álvares Cabral to Brazil and India, from Contemporary Documents and Narratives. New Delhi: Asian Educational Services, 1995.Google Scholar
Hine, Christine. Ethnography for the Internet: Embedded, Embodied and Everyday. London: Bloomsbury Academic, 2015.Google Scholar
Holmes, Tori. “Ethical dilemmas in studying blogging by Favela residents in Brazil.” Theorizing Fieldwork in the Humanities: Methods, Reflections, and Approaches to the Global South. Eds. Castillo, Debra and Puri, Shalini. London: Palgrave, 2016. 131149.Google Scholar
Horst, Heather. “Free, social and inclusive: Appropriation and resistance of new media technologies in Brazil.” International Journal of Communication, 5 (2011), http://ijoc.org/ojs/index.php/ijoc/article/view/699.Google Scholar
Leavitt, Alex. “From #FollowFriday to YOLO: Exploring the cultural salience of Twitter memes.” Twitter and Society. Eds. Katrin Weller et al. Bern: Peter Lang Publishing, 2014. 137154.Google Scholar
Lunardi, Gabriela M. “Meet Gretchen, meme queen of the Brazilian internet.” Medium, July 13, 2017, https://medium.com/dmrc-at-large/meet-gretchen-meme-queen-of-the-brazilian-internet-675cf587364.Google Scholar
Malini, Fábio. “Narrativas no Twitter: o fenômeno no Brasil e as suas implicações na produção da verdade.” Lugar Comum, 31 (2010): 121142.Google Scholar
Milner, Ryan. The World Made Meme. Cambridge, MA: MIT Press, 2016.Google Scholar
NerdsKamikaze. “CALA BOCA GALVAO – Save Galvao Birds Campaign.” 2010. YouTube, www.youtube.com/watch?v=bdTadK9p14A.Google Scholar
NerdsKamikaze “CALA BOCA GALVAO Campaign Report.” 2010. YouTube, www.youtube.com/watch?v=aEn_NytCzNw.Google Scholar
Globo, O. “Vídeo-Remix sai do YouTube para ganhar as telas e debates do Festival Visões Periféricas.” O Globo, 2010, https://oglobo.globo.com/cultura/megazine/video-remix-sai-do-youtube-para-ganhar-as-telas-debates-do-festival-visoes-perifericas-2938238.Google Scholar
Owen, Hilary and Williams, Claire, eds. Transnational Portuguese Studies. Liverpool: Liverpool University Press, 2020.Google Scholar
Pessoa, Daniela. “Galvão Bueno lança livro de memórias, revela histórias curiosas do esporte e confessa: ‘Sou quase que doentiamente competitivo’.” Veja Rio, February 25, 2017, https://vejario.abril.com.br/blog/beira-mar/galvao-bueno-lanca-livro-de-memorias-revela-historias-curiosas-do-esporte-e-confessa-8220-sou-quase-que-doentiamente-competitivo-8221.Google Scholar
Pitman, Thea and Taylor, Claire. “Where’s the ML in DH? And where’s the DH in ML? The relationship between modern languages and digital humanities, and an argument for a critical DHML.” Digital Humanities Quarterly, 011.1 (February 2017).Google Scholar
João Cezar de Castro, Rocha. “Brazil as exposition.” Ciberletras, 8 (2003), www.lehman.cuny.edu/ciberletras/v08/rocha.html#1.Google Scholar
Rohter, Larry and Fisher, Ian. “Pope canonizes Brazil’s first native-born saint.” The New York Times, May 11, 2007, www.nytimes.com/2007/05/11/world/americas/11cnd-pope.html.Google Scholar
Sadlier, Darlene J. Brazil Imagined: 1500 to the Present. Austin: University of Texas Press, 2008.Google Scholar
Shifman, Limor. Memes in Digital Culture. Cambridge, MA: MIT Press, 2014.Google Scholar
Stycer, Mauricio. “Muito ensaiado, ‘Adnight’ falha na proposta de ‘desconstruir’ Galvão.” August 26, 2016, https://mauriciostycer.blogosfera.uol.com.br/2016/08/26/muito-ensaiado-adnight-falha-na-proposta-de-desconstruir-galvao.Google Scholar
Viktor, Success. “Pesquisa com memes: Serious business.” #MUSEUdeMEMES, 2015, www.museudememes.com.br/pesquisa-com-memes-serious-business.Google Scholar
Taylor, Claire. Electronic Literature in Latin America: From Text to Hypertext. London: Palgrave Macmillan, 2020.Google Scholar
Taylor, Claire and Pitman, Thea. Latin American Identity in Online Cultural Production. London: Routledge, 2012.Google Scholar
Taylor, Claire and Thornton, Niamh. “Modern languages and the digital: The shape of the discipline.” Modern Languages Open, January 2017, www.modernlanguagesopen.org/articles/10.3828/mlo.v0i0.156.Google Scholar
UOL. “‘Agradeço pelo que você fez’, diz Galvão para autor do ‘Cala Boca, Galvão’.” TV e Famosos, August 25, 2016, https://tvefamosos.uol.com.br/noticias/redacao/2016/08/25/agradeco-pelo-que-voce-fez-diz-galvao-para-autor-do-cala-boca-galvao.htm.Google Scholar
Winocur, Rosalía. “Digital culture.” Dictionary of Latin American Cultural Studies. Eds. Robert Irwin, McKee and Szurmuk, Mónica. Gainesville: University of Florida Press, 2012. 131136.Google Scholar

Works Cited

Betancourt, Manuel. “Adrian Molina’s journey from growing up second-gen to co-directing ‘Coco,’ Mexico’s biggest box office hit.” Remezcla, February 27, 2018.Google Scholar
Castillo, Debra A.Mexican migrations: Intercultural flows.” The Cambridge History of Latin American Women’s Literature. Eds. Rodríguez, Ileana and Mónica, Szurmuk. Cambridge: Cambridge University Press, 2016. 311325.Google Scholar
Ricalde, Castro, Maricruz, . “Transnacionalización y género en el cine mexicano del siglo XXI.” Miradas del cine actual: Transnacionalidad, literatura y género. Eds. Juan Carlos Vargas and Guadalupe Mercado. Guadalajara: Universidad de Guadalajara, 2014. 1139.Google Scholar
Ricalde, Castro, Maricruz, Mauricio Calderón, Díaz, and Ramey, James, Eds. Mexican Transnational Cinema and Literature. London: Peter Lang, 2017.Google Scholar
Coco. Directed by Lee Unkrich and Adrian Molina, Disney-Pixar, 2017.Google Scholar
del Toro, Guillermo. At Home with My Monsters. Exhibition. Museum of the Arts of University of Guadalajara, June to October 2019.Google Scholar
Higbee, Will and Lim, Song Hwee. “Concepts of transnational cinema: Towards a critical transnationalism in film studies.” Transnational Cinemas, 1.1 (2010): 721.Google Scholar
Hjort, Mette. “On the plurality of cinematic transnationalism.” World Cinemas, Transnational Perspectives. Eds. Ďurovičová, Nataša and Kathleen, Newman. New York: AFI, Routledge, 2010. 1233.Google Scholar
Irwin, Robert and Ricalde, Maricruz Castro. Global Mexican Cinema: Its Golden Age. London: British Film Institute, 2013.Google Scholar
Ludmer, Josefina. Aquí América Latina: Una especulación. Buenos Aires: Eterna Cadencia, 2010.Google Scholar
Poblete, Juan. “New national cinemas in a transnational age.” Discourse, 26.1 (2004): 214234.Google Scholar
Roma. Directed by Alfonso Cuarón, Netflix, Participant Media, Esperanto Filmoj, 2018.Google Scholar
Semple, Kirk. “Alfonso Cuarón: Regreso a Roma.” El País Semanal, February 14, 2019.Google Scholar
Shaw, Deborah. The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón. Manchester: Manchester University Press, 2013.Google Scholar
Smith, Paul Julian. Mexican Screen Fictions: Between Cinema and Television. Cambridge: Polity Press, 2014.Google Scholar
Smith, Paul Julian Foreword. The Transnational Fantasies of Guillermo del Toro. Eds. Davies, Anne, Shaw, Deborah, and Tierney, Dolores. London: Palgrave Macmillan, 2014. ixxi.Google Scholar
Tierney, Dolores. “Transnational political horror in Cronos (1993), El espinazo del diablo (2001), and El laberinto del fauno (2006).” The Transnational Fantasies of Guillermo del Toro. Eds. Davies, Anne, Shaw, Deborah, and Dolores, Tierney. London: Palgrave Macmillan, 2014. 161182.Google Scholar
Tierney, Dolores. “Alejandro González Iñárritu: Director without borders.” New Cinemas: Journal of Contemporary Film, 7.2 (2009): 101117.Google Scholar
Wilson, Ricardo A.In the blind: Alfonso Cuarón and the question of futurity.” CR: The New Centennial Review, 16.2 (2016): 151182.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×