Search

The paper proposes a reflection on the configuration of temporality in 21st century Latin American narratives that, directly or indirectly, fictionalize recent historical events. We start from the hypothesis that, in these narratives, through a phantasmatic aesthetic that metaphorizes bodies, the past gains centrality as a temporal dimension that imposes itself on the present. To develop this hypothesis, contemporary cinematographic and literary works will be put into dialogue, such as the films Aranha, by Andrés Wood, A Chorona, by Jayro Bustamante, and novels, such as O corpo interminável, by Cláudia Lage, Degeneração, by Fernando Bonassi. [ABSTRACT FROM AUTHOR]

This How may indigenous practices from Oceania open up the possibility of a future occluded by the long epoch of surplus accumulation? This future is not unforeseeable, but rather one that co-exists as an impeded possibility in the present. The global South--whether as time, space, value or figure--inhabits the order of the non-synchronous and archaic vis-à-vis the global north as dictated by the normative law of surplus accumulation. In this paper I draw on Theodor Adorno's insight concerning the co-presence of the archaic in the time of modernity to argue that the perspectival aspect of modernity is built on the act of looking at something while looking through it. In other words, seeing concerns the paradoxical act of not-seeing, of looking through some aspect or dimension of whatever one is looking at. If, however, silence were to discover speech, and we commenced to look at what we have been taught to look through, modernity starts to take on an altogether different aspect. The Global South of Oceania, in particular, turns into a region of innovative archaisms, counter-national imaginings, surplus-subverting practices and communal forms of ecological ethics. This paper contends that archaic indigenous practices, in concert with scientific knowledge, may be in advance of the modern in offering a pragmatic response to the climate-related crisis generated by modernity. [ABSTRACT FROM AUTHOR]

We propose to understand the relationship between media culture and modern life, based on the assumption that communication is a social practice, thought here under the aspects of temporality. Our premise is to seek the past as a tool to understand the present. In this paper we will assume the illustrated magazines as constructors of the city spectacle and the staging of modernity, translating to readers the ways of sociability suitable for that time and acting as mediators in this transformation stage. Our corpus will be composed of 12 editions of Fon-Fon!, published in 1908. We will take the sections "Na Calçada" and "O Rio Elegante", as well as some advertisements as objects of this analysis. [ABSTRACT FROM AUTHOR]

Taking the example of Pape Pathé Diop's urban novel La poubelle (1984), the present article demonstrates that the description of structures and functions in the Global South city requires not only spatial but also temporal categories. Starting from the guiding metaphors of transitivity, daily rhythm and footprint effects developed by urban geographers Amin and Thrift (2002), as well as from Achille Mbembe's concept of time of entanglement, the paper analyzes the different regimes of temporality and the temporal entanglements that determine the relation between subject and community in Dakar. It shows that by focussing on temporality, Diop manages to integrate in his portrait of Dakar historical dimensions as well as global entanglements. [ABSTRACT FROM AUTHOR]