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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.

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 M&#233xico, donde la experiencia ha evolucionado de formas complejas en años recientes. Películas como Y tu mamá tambi&#233n, El Mariachi, Amores perros y las obras de los paradigmáticos Guillermo del Toro y Salma Hayek, reflejan mucho más un renovado inter&#233s por el cine en M&#233xico. En La proyección del neoliberalismo, Ignacio Sánchez Prado explora precisamente los eventos que tuvieron lugar en la industria del cine mexicano durante las últimas d&#233cadas. 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 &#233xito económico y la aprobación cultural.

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. Sánchez 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.

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. The authors deploy Bourdieu's concepts in the study of Modernismo, avant-garde Mexico, contemporary Puerto Rican literature, Hispanism, Latin American cultural production, and more. Each essay is also a contribution to the study of the politics and economics of culture in Spain and Latin America. The book, as a whole, is in dialogue with recent methodological and theoretical interventions in cultural sociology and Latin American and Iberian studies.

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.

Partió de la sociología política, transitó críticamente por la fi losofía alemana contemporánea y la antropología de lo simbólico, examinó la historia de las ideologías y, más recientemente, se ha ocupado de la vasta reciprocidad entre cerebro y conciencia. El pensamiento de Roger Bartra recorre la totalidad del pensamiento antropológico, engarzándolo con otras fuentes del conocimiento, ya sea el arte o la historia. Bartra se ha ocupado de los movimientos campesinos, del marxismo como ideología, de la vinculación entre democracia y capitalismo, de los dilemas de izquierda, derecha y populismo, del neoliberalismo y la socialdemocracia, de la otredad en las representaciones simbólicas, además de analizar los procesos de globalización y el dispositivo epistémico que denomina exocerebro, entre numerosos temas.

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.

Dentro de un campo crítico dominado por un debate sobre la construcción de feminidades, los contribuyentes proponen desviar la mirada hacia la forma en que también la masculinidad fue un constructo cultural y performativo que se dio en el marco de los debates sobre la construcción y modernización de las naciones. A través de un recorrido continental que se detiene en diferentes poses masculinas (dandis, flâneurs, masculinidades domésticas, heroicas, homo-sociales, sentimentales) los autores exploran cómo estas categorías de identidad entran en conflicto con algunos de los paradigmas críticos que han dominado los estudios del siglo XIX (civilización / barbarie; público / privado; tradición / modernidad; campo / ciudad). Es por eso que los ensayos que constituyen este volumen tienen orientaciones teóricas muy diferentes aunque comparten una visión socio-histórica del género que busca apartarse de esencialismos, binarismos y biologismos. En este sentido, hace hincapié en que no existen conceptos unívocos o monolíticos de la masculinidad en el siglo XIX. Más que pensar la identidad masculina como el espacio de la autoridad simbólica en la cultura occidental y, como tal, genéricamente invisible, llama la atención sobre la forma en que ésta se resiste, en sus múltiples poses, a ser encasillada dentro de un concepto normativo de la identidad sexual.