Allison Ramay
PONTIFICIA UNIVERSIDAD CATÓLICA DE CHILE, Facultad de Letras, Faculty Member
En este trabajo mantengo que en “Kowkülen” (2020) de Seba Calfuqueo y Río herido (2016) de Daniela Catrileo, les artistas-poetas practican manifestaciones de itrofil mongen y “relacionalidad crítica” a través de la sensualidad y visceral... more
En este trabajo mantengo que en “Kowkülen” (2020) de Seba Calfuqueo y Río herido (2016) de Daniela Catrileo, les artistas-poetas practican manifestaciones de itrofil mongen y “relacionalidad crítica” a través de la sensualidad y visceral kinship (o “parentesco visceral”) (Nelson, 2020) con cuerpos de agua. Un análisis de sus obras a través de y junto con itrofil mongen, permite apreciar cómo les artistas-poetas intencionan reflexiones críticas sobre la epistemología mapuche y la relacionalidad, y los obstáculos de ponerlas en práctica.
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This article explores how friendship, as a discursive act, plays out in communications between indigenous Mapuche leaders and non-Mapuche Chileans. It traces the continuities and shifts between Mapuche political leaders’ references to and... more
This article explores how friendship, as a discursive act, plays out in communications between indigenous Mapuche leaders and non-Mapuche Chileans. It traces the continuities and shifts between Mapuche political leaders’ references to and understandings of friendship in the nineteenth and twentieth centuries, and then compares these historical articulations of friendship with the present-day, when conflict and violence seem to eclipse friendship in most discussions about Mapuche-Chilean (state) relations. We seek to map out some of the changes in language acts from the early nineteenth century through to the twenty-first century, in order to further understand how the current stalemate has come about. There is a vast body of primary source material available from which we can draw these language acts. To allow for in depth analysis in each of the three sections of the paper, we use key written exchanges as snapshots of what we see as broader scenarios of interaction and negotiation
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Within the past thirty years, the work of Mapuche poets in Chile has become increasingly visible, with numerous anthologies and individual publications circulating each year within the country and abroad. (1) While the themes and styles... more
Within the past thirty years, the work of Mapuche poets in Chile has become increasingly visible, with numerous anthologies and individual publications circulating each year within the country and abroad. (1) While the themes and styles of Mapuche poets vary, many use their writing to expose abuses carried out against the Mapuche during Spanish colonization which, they argue, have continued with Chilean governance. To denounce historical and present mistreatment, several poets incorporate official versions of the past within their poetry to emphasize the symbolic violence they constitute and to invite readers to consider alternative versions. Chilean critic and academic Mabel Garcia Barrera observes that by incorporating dominant discourses in their poetry, some Mapuche poets "invert the immobilizing function with which European rationality sees 'the other'" (177), thus becoming important sources of counter histories. This poetic technique forms part of a trajector...
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Drawing on Cherríe Moraga’s semi-autobiographical writings and varied scholarly work, this article contends that in her play, The Hungry Woman: A Mexican Medea (2001), she not only critiques patriarchal heteronormativity, but she goes... more
Drawing on Cherríe Moraga’s semi-autobiographical writings and varied scholarly work, this article contends that in her play, The Hungry Woman: A Mexican Medea (2001), she not only critiques patriarchal heteronormativity, but she goes further by naming the necessary elements for a society in which her “Queer Aztlán” (1993), would be possible. Through a close reading of The Hungry Woman: A Mexican Medea (2001), this article demonstrates that the play not only focuses on the necessary deconstruction of patriarchal nationalism, but it also offers the unexpected seeds of change, found in the secondary character of Luna. By shifting our focus onto this character, we may better appreciate Moraga’s forward thinking and the kernels of “Queer Aztlán” expressed in this play.
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Research Interests:
Research Interests: Literacy, Feminist Theory, Action Research, Digital Literacy, Academic Writing, and 15 moreCollaboration, Gender and Sexuality, New literacy studies, Computer Supported Collaborative Learning CSCL, New Literacies, Academic Literacies, Feminist activism, Mulitiple LIteracies, Human Sexuality, Critical Literacy, Literacidad, Literacies, Literacidad académica, La formación de docentes para atender la literacidad académica, and Literacidad Democrática
<p>Mapuche intellectuals and political activists in early- to mid-20th-century Chile both worked within and subverted dominant modernizing and "civilizing" educational discourses. Mapuche women played an important role in... more
<p>Mapuche intellectuals and political activists in early- to mid-20th-century Chile both worked within and subverted dominant modernizing and "civilizing" educational discourses. Mapuche women played an important role in the movement to democratize schooling in early-20th-century Chile by publishing articles in little-known Mapuche-run newspapers and advocating for Mapuche education broadly as well as specifically for women. There was also an important transnational dimension of Mapuche political organizing around education rights during this period. These two underexplored but important aspects of indigenous activism in Chile open interesting questions about the intersections between race, gender, and nation in the sphere of education.</p>
Research Interests:
Research Interests:
Drawing on Cherríe Moraga's semi-autobiographical writings and varied scholarly work, this article contends that in her play, The Hungry Woman: A Mexican Medea (2001), she not only critiques patriarchal heteronormativity, but she goes... more
Drawing on Cherríe Moraga's semi-autobiographical writings and varied scholarly work, this article contends that in her play, The Hungry Woman: A Mexican Medea (2001), she not only critiques patriarchal heteronormativity, but she goes further by naming the necessary elements for a society in which her "Queer Aztlán" (1993), would be possible. Through a close reading of The Hungry Woman: A Mexican Medea (2001), this article demonstrates that the play not only focuses on the necessary deconstruction of patriarchal nationalism, but it also offers the unexpected seeds of change, found in the secondary character of Luna. By shifting our focus onto this character, we may better appreciate Moraga's forward thinking and the kernels of "Queer Aztlán" expressed in this play.
Research Interests:
Research Interests:
Research Interests:
Introduction: Within the past thirty years, the work of Mapuche poets in Chile has become increasingly visible, with numerous anthologies and individual publications circulating each year within the country and abroad.1 While the themes... more
Introduction: Within the past thirty years, the work of Mapuche poets in Chile has become increasingly
visible, with numerous anthologies and individual publications circulating each year within the
country and abroad.1 While the themes and styles of Mapuche poets vary, many use their writing
to expose abuses carried out against the Mapuche during Spanish colonization which, they argue,
have continued with Chilean governance. To denounce historical and present mistreatment,
several poets incorporate official versions of the past within their poetry to emphasize the
symbolic violence they constitute and to invite readers to consider alternative versions. Chilean
critic and academic Mabel García Barrera observes that by incorporating dominant discourses in
their poetry, some Mapuche poets “invert the immobilizing function with which European
rationality sees ‘the other’” (177), thus becoming important sources of counter histories. This
poetic technique forms part of a trajectory of Mapuche resistance through writing, and serves as
one of the most effective ways to understand Mapuche writers as agents engaged in a centurieslong
struggle rather than a phenomenon that began in the late twentieth century.2
visible, with numerous anthologies and individual publications circulating each year within the
country and abroad.1 While the themes and styles of Mapuche poets vary, many use their writing
to expose abuses carried out against the Mapuche during Spanish colonization which, they argue,
have continued with Chilean governance. To denounce historical and present mistreatment,
several poets incorporate official versions of the past within their poetry to emphasize the
symbolic violence they constitute and to invite readers to consider alternative versions. Chilean
critic and academic Mabel García Barrera observes that by incorporating dominant discourses in
their poetry, some Mapuche poets “invert the immobilizing function with which European
rationality sees ‘the other’” (177), thus becoming important sources of counter histories. This
poetic technique forms part of a trajectory of Mapuche resistance through writing, and serves as
one of the most effective ways to understand Mapuche writers as agents engaged in a centurieslong
struggle rather than a phenomenon that began in the late twentieth century.2
Research Interests:
INTRODUCCIÓN La ―interculturalidad‖ se refiere a la presencia e interacción equitativa de diversas culturas y la posibilidad de generar expresiones culturales compartidas, alcanzadas por medio del diálogo y una actitud de respeto mutuo... more
INTRODUCCIÓN La ―interculturalidad‖ se refiere a la presencia e interacción equitativa de diversas culturas y la posibilidad de generar expresiones culturales compartidas, alcanzadas por medio del diálogo y una actitud de respeto mutuo (Unesco). Como enfoque pedagógico metodológico (López), la interculturalidad permite el aprendizaje enfocado en los sujetos, en sus historias, culturas, lenguas, saberes, experiencias y valores. Por lo mismo, se basa en la pertinencia cultural y en la relevancia social del proceso de enseñanza-aprendizaje en diálogo con las diferentes culturas presentes en el aula. Se considera que el aprendizaje es posible en la lengua materna, lo que significa, muchas veces, recuperar la lengua del alumno. La interculturalidad necesariamente implica asumir una posición política frente a las relaciones asimétricas que caracterizan la convivencia de la sociedad hegemónica y pueblos minorizados (Schmelkes, 2). Hay interculturalidad cuando hay simetría cultural: los indígenas tienen oportunidades, son incluidos en la toma de decisiones, y sus culturas y lenguas son usadas públicamente; en la academia, en la calle, en medios de comunicación, en trabajos y en textos escolares. Durante la segunda mitad del siglo XX los distintos movimientos indígenas han venido potenciando el concepto intercultural, y hoy se ha incorporado como categoría esencial el concepto intracultural (Guftason, 102). Con este concepto se asume que un diálogo enriquecedor solo es posible cuando los que están en este diálogo valoran su propia cultura e historia. Consecuente con ello, se plantean nuevos paradigmas educativos dentro de la EIB donde tienen cabida propuestas para la educación propia, la educación endógena y la educación autónoma. También se ha 1 Para el desarrollo de la investigación se contó con el Studies) (Código del proyecto: Conicyt/Fondap/15110006), y se realizó en el marco del Proyecto Fondecyt N° 1140562 ―Construcción social del conocimiento educativo mapuche: doble racionalidad y desafíos para una escolarización intercultural‖.
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This article describes how through the innovative use of an Internet platform, Ese:o, a Chilean nongovernmental organization grounded on a critical and feminist perspective, contributed the communication strategies for the Sexualities... more
This article describes how through the innovative use of an Internet platform, Ese:o, a
Chilean nongovernmental organization grounded on a critical and feminist perspective, contributed the
communication strategies for the Sexualities Project. This 5-year academic collaboration involvedmore
than 30 researchers in five countries and four continents. The results include transformation of Ese:o’s
research and writing methodologies into daily practices—occurring across borders and disciplines—
capable of achieving two primary objectives: (1) generating a progressively self-run, self-sustaining
online community, owner and producer of its own discourse; and (2) making work modes visible
discursively and materially (through platforms, forums, and workbooks) focused on the objectives
and products of the Sexualities Project (documents, reports, papers, books, conference, and meeting
organization).
Chilean nongovernmental organization grounded on a critical and feminist perspective, contributed the
communication strategies for the Sexualities Project. This 5-year academic collaboration involvedmore
than 30 researchers in five countries and four continents. The results include transformation of Ese:o’s
research and writing methodologies into daily practices—occurring across borders and disciplines—
capable of achieving two primary objectives: (1) generating a progressively self-run, self-sustaining
online community, owner and producer of its own discourse; and (2) making work modes visible
discursively and materially (through platforms, forums, and workbooks) focused on the objectives
and products of the Sexualities Project (documents, reports, papers, books, conference, and meeting
organization).