Latin American Identities After 1980 takes an interdisciplinary approach to Latin American social and cultural identities. With broad regional coverage, and an emphasis on Canadian perspectives, it focuses on Latin American contact with other cultures and nations. Its sound scholarship combines evidence-based case studies with the Latin American tradition of the essay, particularly in areas where the discourse of the establishment does not match political, social, and cultural realities and where it is difficult to uncover the purposely covert. This study of the cultural and social Latin America begins with an interpretation of the new Pax Americana, designed in the 1980s by the North in agreement with the Southern elites. As the agreement ties the hands of national governments and establishes new regional and global strategies, a pan–Latin American identity is emphasized over individual national identities. The multi-faceted impacts and effects of globalization in Bolivia, Ecuador, Mexico, Cuba, Brazil, Chile, Argentina, and the Caribbean are examined, with an emphasis on social change, the transnationalization and commodification of Latin American and Caribbean arts and the adaptation of cultural identities in a globalized context as understood by Latin American authors writing from transnational perspectives.
Analyses three important Latin American novels in an attempt to redefine the nature of the picaresque, especially in regard to the roles of spontaneous play and carnivalesque laughter.
Contributors to the book suggest an alternative discourse and value system to that of the market-led corporate global agenda, one that does not directly challenge corporate globalization but recognizes a parallel reality. Need and ingenuity are creating a culture that is clearly different from both North American pop culture and the high culture of the intellectual elites, and which can lead the world away from an "economics of death" to a more positive world. The New World Order does not, however, encourage naive optimism, as it recognizes that the lethal inversion of our value system, which is only beginning to be recognized, may not be acknowledged and counteracted in time to prevent disaster. Contributors include Meenakshi Bharat (University of New Delhi), James Bisset (former Canadian ambassador to Yugoslavia), Leigh S. Brownhill (OISE, University of Toronto), Keith Ellis (University of Toronto), María Figueredo (University of Toronto), Michael Mandel (Osgoode Hall Law School), John McMurtry (University of Guelph), J. Nef (University of Guelph), Jennifer Sumner (University of Guelph), Terisa E. Turner (University of Guelph), Edward Vargo (the Assumption University in Bangkok), and Gordana Yovanovich.
Contributors to the book suggest an alternative discourse and value system to that of the market-led corporate global agenda, one that does not directly challenge corporate globalization but recognizes a parallel reality. Need and ingenuity are creating a culture that is clearly different from both North American pop culture and the high culture of the intellectual elites, and which can lead the world away from an "economics of death" to a more positive world. The New World Order does not, however, encourage naive optimism, as it recognizes that the lethal inversion of our value system, which is only beginning to be recognized, may not be acknowledged and counteracted in time to prevent disaster. Contributors include Meenakshi Bharat (University of New Delhi), James Bisset (former Canadian ambassador to Yugoslavia), Leigh S. Brownhill (OISE, University of Toronto), Keith Ellis (University of Toronto), María Figueredo (University of Toronto), Michael Mandel (Osgoode Hall Law School), John McMurtry (University of Guelph), J. Nef (University of Guelph), Jennifer Sumner (University of Guelph), Terisa E. Turner (University of Guelph), Edward Vargo (the Assumption University in Bangkok), and Gordana Yovanovich.
Analyses three important Latin American novels in an attempt to redefine the nature of the picaresque, especially in regard to the roles of spontaneous play and carnivalesque laughter.
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