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Ensayo inscrito en una pesquisa más amplia sobre cómo se construye la ciudad de Nueva York en el imaginario latinoamericano. De manera particular, se reflexiona sobre la manera en que Victoria Ocampo traduce  en el sentido más amplio del término— Nueva York para sí y para sus lectores cómplices, en sus autobiografías, cartas y testimonios. Así, se consignan intercambios notables con intelectuales contemporáneos: Waldo Frank y Roger Caillois, entre los considerados.

This essay examines how Ernest Hemingway’s The Torrents of Spring satirizes the primitivist movement and subverts racial, national and gender stereotypes in his depiction of White Americans and Native Americans. It argues that Hemingway challenges the purported supremacy of Whiteness and stability of a normative national identity, while also undercutting generalized assumptions about Native Americans. It moreover probes the connection between David Garnett’s A Man in the Zoo and Hemingway’s novella to show Hemingway’s early inversions of the male gaze in relation to performances of manhood and Whiteness. It concludes that The Torrents of Spring is not a simple parody of the primitivist movement, but a complex and nuanced satire that reflects the author’s early engagement with the formation and subversion of dominant ideas about national identity in the modernist era.

A biographical novel depicting Victoria Ocamp's friendships, debates, and conflicts with poet Rabindranath Tagore, philosopher José Ortega y Gasset, and the writers Pierre Drieu de la Rochelle, Hermann von Keyserling, and Waldo Frank, witnessed by the fictional Carmen Brey, a Galician-Spanish immigrant whose story is skilfully interwoven with that of Ocampo.

Though Jean Toomer's Cane (1923) is one of the best-known texts of the Harlem Renaissance, it has rarely been discussed with the text alongside which it was initially imagined: Waldo Frank's Holiday (1923). These works were inspired by a joint trip to Spartanburg, South Carolina and were conceptualized as a shared project, what the authors termed “Holiday + Cane.” This essay tracks their coproduction with particular attention to their parallax vision of lynching to theorize what we call, building on Achille Mbembe's work, “sex under necropolitics.” This dispensation does not take shape within a privatized notion of sexuality, but instead is “ungendered” and unindividuated in the ways that Hortense Spillers has described through the notion of the flesh. We take up her work to suggest that black bodily practices and corporeal intimacies are governed by a regime other than sexuality. In this essay, we map the contours of this regime and its effects on both sides of the color line. Our new cartography promises to reconfigure understandings of the sexuality of Toomer and Frank and of the Harlem Renaissance, and to clarify the relationship between (white) queer theory and queer-of-color critique.

Barcelona. Los vagabundos de la chatarra es un cómic de no ficción que problematiza la situación de los trabajadores de la chatarra en la Barcelona contemporánea. Este artículo presenta un análisis de la obra que delimita su relación genérica con el New Journalism y su consecuente búsqueda de nuevas narrativas estéticamente vinculadas a la novela gráfica y éticamente al periodismo. La “marca Barcelona”, entendida como un proceso estructural que fomenta la discriminación física e identitaria de los chatarreros y colectivos no-productivistas, será el principal objeto de estudio en dos movimientos: la “marca Barcelona” vista como marca identitaria y la dicotomía nuevo/viejo empleada por la ciudad-marca para justificar la remodelación del territorio según una lógica productivista. Por último, se estudia la relación entre “marca Barcelona” y “progreso”, siguiendo las intuiciones de Walter Benjamin expresadas en el Libro de los pasajes. Concretamente, se discute la posible analogía entre el trapero y el chatarrero empleada, en este caso, para cuestionar el discurso optimista del progreso. Barcelona. Los vagabundos de la chatarra is a non-fiction comic that problematizes the situation of scrap metal workers in contemporary Barcelona. This article presents an analysis of this work that identifies its generic relationship with New Journalism and its consequent search for new narratives linked aesthetically to the graphic novel form and ethically to journalism. The “Barcelona brand,” understood as a structural process that foments physical and identitarian discrimination against scrap metal dealers and other non-productivist groups, will be the main object of study, undertaken in two movements, in which the “marca Barcelona” is seen as an identity brand, and the dichotomy of old and new is employed by the city-brand to justify the remodeling of territory according to a logic emphasizing productivity. Finally, relying on Walter Benjamin’s intuitions expressed in the Arcades Project, this article studies the relationship between the “marca Barcelona” and progress. Specifically, this essay discusses the possible analogy between the ragman and the scrap dealer in order to interrogate the optimistic discourse of progress.

KEYWORDS: Jean Toomer, \"The Blue Meridian,\" race, modernist anthropology Jean Toomer's seldom-discussed long poem \"The Blue Meridian,\" which he drafted over a long period beginning in the early 1920s, proposes an amalgamation of race and national belonging in the new type of the \"American,\" Seeing himself as a precursor to this new hybrid, Toomer often polemicized against the limiting logic of race. In proposing such an understanding of race in relation to nation, Toomer drew on the work of anthropologists such as Franz Boas, Edward Sapir, and Melville J. Herskovits.

Ultimately, wherever (or rather: whenever) you look, the aesthetic is still around or not quite gone. It continuously changed its form and function, however, with the debates that tried to keep track of its status. In my contribution to this volume I would like to cast a closer look at this process of retreat or fluctuation, by zooming in on moments in time when mass culture manifested as an aesthetic configuration, and when the figures of mass entertainment and aesthetic experience were conjoined as opponents or allies or partners in an eternal love-hate plot. My point of departure will be in the 1940s, with one of the arguably most consequential takes on mass culture and its challenge to classical and bourgeois aesthetics—Theodor Adorno’s and Max Horkheimer’s seminal essay on the culture industry from 1944. This text is also important to me since it pulls together mass cultural aesthetics and totalitarian control in ways that should profoundly change the discourse on both issues. Instead of tracking the text’s well-researched impact and consequences (Kellner, Ross, Beaty, Fluck) one more time, however, I will then move backwards in time from the 1940s, to explore some dimensions of Adorno’s and Horkheimer’s text that are almost submerged in the text of 1944, but resonate with earlier considerations of the subject matter, coming into ever sharper relief the farther we move away from the 1940s.

In recent decades, historians and social theorists have given much thought to the concept of \"culture,\" its origins in Western thought, and its usefulness for social analysis. In this book, Susan Hegeman focuses on the term's history in the United States in the first half of the twentieth century. She shows how, during this period, the term \"culture\" changed from being a technical term associated primarily with anthropology into a term of popular usage. She shows the connections between this movement of \"culture\" into the mainstream and the emergence of a distinctive \"American culture,\" with its own patterns, values, and beliefs. Hegeman points to the significant similarities between the conceptions of culture produced by anthropologists Franz Boas, Edward Sapir, Ruth Benedict, and Margaret Mead, and a diversity of other intellectuals, including Randolph Bourne, Van Wyck Brooks, Waldo Frank, and Dwight Macdonald. Hegeman reveals how relativist anthropological ideas of human culture--which stressed the distance between modern centers and \"primitive\" peripheries--came into alliance with the evaluating judgments of artists and critics. This anthropological conception provided a spatial awareness that helped develop the notion of a specifically American \"culture.\" She also shows the connections between this new view of \"culture\" and the artistic work of the period by, among others, Sherwood Anderson, Jean Toomer, Thomas Hart Benton, Nathanael West, and James Agee and depicts in a new way the richness and complexity of the modernist milieu in the United States.