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La novela La burladora de Toledo (2008) de Angelina Muñiz-Huberman es una recreación ficticia de la vida errante de un individuo que vivió en la España del siglo XVI como, en diversos momentos, mujer y hombre. A primera vista la novela parece tener dos temas: el género irreconocible del/la protagonista y su vida religiosa, sumamente sincrética y extraoficial. Según la tesis que propongo aquí, en La burladora el género y la religión, que al principio se manifiestan como dos preocupaciones, son en realidad dos facetas de un concepto más amplio que promueve la novela. La burladora reiteradamente les asigna un valor positivo a las identidades fluidas, mutables e indefinibles. The 2008 novel La burladora de Toledo by Angelina Muñiz-Huberman is the fictional recreation of the wandering life of an individual who lived in sixteenth-century Spain as, at various times, a man and as a woman. The novel at first appears to have two themes: the main character's unrecognizable gender and their highly syncretistic and extraofficial religious life. My thesis is that in La burladora gender and religion, which initially manifest as two concerns, are facets of a broader concept that the narrative promotes. Burladora assigns a positive value to identities that are fluid, mutable, and indefinable.

Over the course of his lengthy career, Dorfman (1942) has pursued a transnational intellectual path, participating in Spanish American social criticism, cultural analysis, and literature while also becoming increasingly a part of English-language U.S. culture. Until well into middle age, he refrained from discussing his Jewish family background and current identity, attempting to remain within an ethnically unmarked tradition of progressive social thought. In the latter part of the 1990s he grew more forthcoming on these topics and his work and person began to circulate in intellectual venues marked as Jewish. While Dorfman's ability to move in and out of diverse cultural spaces is impressive, it has not been unlimited. As the author observes, his plan to end his exile and reintegrate himself into Chilean cultural life following the end of the military dictatorship in 1990 met with frustration. Though he maintains a residence in Chile and visits the country, Dorfman's English-language career has continued to outpace the more limited success of his recent work in Spanish American countries. Dorfman has only inserted himself into Jewish intellectual life to a modest extent, apparently by choice, since his custom is to discuss matters of which he possesses significant knowledge, particularly expertise gained through first-hand experience.

This response paper explores the significance of Judit Bokser Liwerant, not just as an individual researcher and theorist, but as a highly collaborative intellectual who is able to bring together scholars from the social sciences, history, and the humanities. Literary and cultural critics would benefit from Liwerant's guidance to move away from ingrained \"methodological nationalism\" and to take into account the increasingly transnational flow of creative people, cultural products, and ideas. I sketch out some avenues of research that might be pursued by applying Liwerant's concepts to the study of Jewish Latin American literary and cultural phenomena.

The Year is set mostly in the apartments, shops, and public spaces of the Bom Retiro neighborhood of Säo Paulo, a historically Jewish part of the city that also includes residents of other ethnicities; the child protagonist lodges in an unequivocally Jewish home. The principal responsibility for disposing of Nora's remains falls upon her ex-husband José. [...]as will be seen in the following analysis, the film treats, although in a subtle and humorous way, such social issues as tensions within the Mexico City Jewish community and relations with those of unlike class and ethnic origin. In the opening sequence, Nora, her face out of camera range, is setting a festive table, placing the plates and utensils with exceptional precision; the flawlessly set table is then seen from above.

The world discovered Latin American literature in the twentieth century, but the roots of this rich literary tradition reach back beyond Columbus's discovery of the New World. The great pre-Hispanic civilizations composed narrative accounts of the acts of gods and kings. Conquistadors and friars, as well as their Amerindian subjects, recorded the clash of cultures that followed the Spanish conquest. Three hundred years of colonization and the struggle for independence gave rise to a diverse body of literature-including the novel, which flourished in the second half of the nineteenth century. To give everyone interested in contemporary Spanish American fiction a broad understanding of its literary antecedents, this book offers an authoritative survey of four centuries of Spanish American narrative. Naomi Lindstrom begins with Amerindian narratives and moves forward chronologically through the conquest and colonial eras, the wars for independence, and the nineteenth century. She focuses on the trends and movements that characterized the development of prose narrative in Spanish America, with incisive discussions of representative works from each era. Her inclusion of women and Amerindian authors who have been downplayed in other survey works, as well as her overview of recent critical assessments of early Spanish American narratives, makes this book especially useful for college students and professors.

Este estudio se propone una lectura de la poesía ostensiblemente católica del poeta judeoargentino Jacobo Fijman (1898-1970) en su Estrella de la mañana (1931) como un ejemplo modernizado, ecléctico e idiosincrásico del género apocalíptico. A pesar de la fuerte intertextualidad con el Libro de Revelación, la característica que más diferencia los poemas de Estrella del discurso apocalíptico tradicional, y en efecto de la expresión visionaria o mística en general, es la autocaracterización del sujeto hablante como una entidad dotada de atributos divinos. This study proposes a reading of the ostensibly Catholic poetry of the Jewish Argentine poet Jacobo Fijman (1898-1970) in his Estrella de la mañana (1931) as a modernized, eclectic, and idiosyncratic example of the apocalyptic genre. Despite the strong intertextuality with the book of Revelation, the feature that mostly sets the poems of Estrella apart from traditional apocalyptic discourse, and indeed from visionary or mystical expression in general, is the self-characterization of the speaking subject as an entity endowed with divine attributes.

Abstract This study proposes a reading of the ostensibly Catholic poetry of the Jewish Argentine poet Jacobo Fijman (1898-1970) in his Estrella de la mañana (1931) as a modernized, eclectic, and idiosyncratic example of the apocalyptic genre. Despite the strong intertextuality with the book of Revelation, the feature that mostly sets the poems of Estrella apart from traditional apocalyptic discourse, and indeed from visionary or mystical expression in general, is the self-characterization of the speaking subject as an entity endowed with divine attributes. El libro bíblico describe una montaña en llamas que cae al mar y convierte la tercera parte de sus aguas en sangre (Rev. 8:8), una estrella gigantesca que aplasta gran parte de la tierra (Rev. 8:10); la huida de todas las islas y montañas (Rev. 16:20); el terremoto más fuerte desde la creación de la humanidad (Rev. 18:18); y al final la llegada de la Nueva Jerusalén como una \"novia\" y la abolición de la dicotomía entre tierra y cielo (Rev. 21). Web. 18 enero 2016. < http://www.lehman.cuny.edu/ ciberletras/v22/lindstrom.html> Lupieri, Edmondo F. A Commentary on the Apocalypse of John.

Jose de Alencar's prose-poem Iracema, first published in 1865, is a classic of Brazilian literature--perhaps the most widely-known piece of fiction within Brazil, and the most widely-read of Alencar;s many works.Set in the sixteenth century, it is an extremely romantic portrayal of a doomed live between a Portuguese soldier and an Indian maiden.