Faride Amero
Faride Amero es graduada de la Licenciatura en Letras Inglesas de la Facultad de Filosofía y Letras (UNAM) y está en proceso de titulación. Forma parte del Seminario de Estudios Críticos de Cultura Popular, un proyecto de la Coordinación de Investigación de la FFyL, donde es becaria. Durante su trayectoria académica, se ha especializado en el área de Teoría y Crítica Literaria, siendo su principal interés el entretenimiento de terror en la cultura popular japonesa y norteamericana. Tiene un Diplomado en Estudios de Asia, impartido por el Programa Universitario de Estudios de Asia y África (PUEAA) y actualmente coordina la compilación de la antología "Dimensiones del Cuerpo", parte de la incubadora de proyectos para estudiantes (PROINC). Trabajó durante cuatro años como Directora Editorial del sitio de noticias Apalancado, iniciativa del Grupo Editorial Cúspide, y ha publicado su trabajo como escritora creativa en la revista "Voices of Mexico" (CISAN, UNAM).
less
InterestsView All (17)
Uploads
Papers
technology is constantly present in the shape of spacecrafts that can only be piloted with the
use of alien language systems, or complex interfaces that connect the human mind to a reality
constructed solely on binary code. Yet in the case of Suzanne Collins’s teenage dystopia, The
Hunger Games (2008), the most significant display of high technology is found in
entertainment.
Cornwall country and her tortuous stay at her uncle’s hotel is filled with omens that work as
warnings of the horrors she will encounter and as premonitions of her own destiny. This bad
luck is understood as a heritage from the Merlyns’ cursed bloodline that has now intoxicated
her family due to her aunt’s marriage. However, Mary’s prejudice will keep her wary of
mystic elements along the story, thus restraining her from understanding a bigger picture of
the threats that surround her.
embrujados han desplazado su significado a lo largo de los siglos para transformarse en
decadentes mansiones norteamericanas y casas que, tras una historia de violencia, ahora
pertenecen a familias de bajos recursos en la Nueva Inglaterra suburbana. Sin embargo, el
concepto de la casa embrujada, que rompe con la función de seguridad y privacidad con la
que se asocia una vivienda, vuelve a distorsionarse a inicios del siglo veintiuno con novelas
de terror cuyos inmuebles desafían las leyes del tiempo y el espacio. Este es el caso de la
novela Horrorstör (2012), escrita por Grady Hendrix, cuya trama sigue a los empleados de
Orsk: una tienda de muebles que se encuentra acechada por almas torturadas siglo atrás,
cuando el inmueble funcionaba como cárcel.
embodiment of late Victorian fears regarding the loss of moral values, social organization,
and the invasion of Eastern cultures over Western Europe. Nevertheless, the constant
reimagining of Bram Stoker’s millenary monster through popular culture and entertainment
has highlighted specific traits of Dracula’s behavior in response to the different political
motivations at the time. Although read from feminist, gender and even poscolonial lenses,
vampires have become symbols of marginalized groups that defy the patriarchal order of
society, the twenty-first century literature targeted towards teenagers and young adults has a
different take on the Count: that of Dracula as a conservative and controlling father.
after leaving behind a series of clues, hidden within the lines of Walt Whitman’s “Song of
Myself,” that will guide her childhood friend, Quentin, to find her. However, because it is
considered a romance novel, the intertextuality between this book and Whitman’s poem is
understood superficially as the tool that enables Quentin to escape his own comfort zone and
follow his love interest. In this paper, I will recover the quotation of this poem and the
references to American transcendentalism in Paper Towns to demonstrate that Magot’s
disappearance is her own praxis of this thought, which enables her to establish a new
perception of her identity through the exploration of her bedroom. I will prove that her
actions allow Margo to escape from the stereotypes that her social circle has imposed over
her and to shapeshift into meaningful places and objects in her life.
ingenioso hidalgo Don Quijote de la Mancha, de Miguel de Cervantes, resalta la importancia
del dinero en una sociedad que se ha integrado completamente al capitalismo y la tajante
división entre clases sociales que este sistema económico genera. Sin embargo, a diferencia
de otros géneros literarios que también desarrollan estos temas mediante el humor, como la
novela picaresca; El Quijote contrasta la cotidianidad de su contexto social con los valores de
la literatura caballeresca. Al parodiar el código caballeresco a través de su protagonista, El
Quijote resalta la desigualdad y el materialismo de los Siglos de Oro españoles desde una
perspectiva humorística y cruda.
sido empleada bajo múltiples significados y contextos. Aunque de herencia romana, la
representación medieval de esta alegoría es atribuida a Boecio, quien la personifica en su
obra De Consolatione Philosophiae (524 d.C.). Sin embargo, las producciones artísticas y
literarias por las que la Fortuna es tan conocida empezaron a producirse hasta la Plena Edad
Media (s. XI–XV). El presente trabajo observará la evolución de las representaciones de la
Fortuna y buscará el motivo de su reintegración al canon de la iconografía medieval. En el
primer apartado se comparará a la antigua diosa Fortuna Panthea con la alegoría de Boecio
para observar su sincretismo en la rueda de la fortuna medieval. En el segundo apartado se
analizará dos de las principales causas que, según los medievalistas, pudieron haber
popularizado esta imagen: la movilidad entre clases sociales y la transición filosófica entre
las doctrinas patrística y escolástica.
infamous attack on Pearl Harbor triggered a wave of systemic discrimination against
Japanese immigrant communities settled in North America. The threat of incarceration and
the expropriation of their properties by the government pushed first generation immigrants to
an isolated life, restrained by the limits of concentration areas, and pressured the second and
third generations of Japanese-Americans to adopt Western traditions. Therefore, family
members born in the United States and Canada would identify themselves with a hybrid
experience between Japanese culture, inherited by older relatives, and the anglophone society
where they were raised. In this paper, I will analyze the form and imagery adopted in “Grief
Poem,” a piece written by Japanese-Canadian author Joy Kogawa, to understand the
influence of the haiku writing tradition in English free-verse poetry
English, despite it being the Empire’s language, or published in a non-Western language at
the risk of not reaching wider audiences is a common discussion. Under this logic, the use of
English can be understood as a reaffirmation of the language hierarchy established by
colonizers in pluricultural territories, where Western tongues were prioritized in fields like
public education and the legal system (Tymoczko 16). Nevertheless, some postcolonial
authors like Chinua Achbe have developed strategies to appropriate this language and use it
in their stories to subvert and deconstruct the European superiority arguments used to justify
the colonization of Africa. In this paper, I will analyze chapter twenty-two of Achebe’s novel
Things Fall Apart to provethat the English language becomes a tool used by the narrator to
resist religious and political indoctrination through the exposition of the colonizer’s
fundamental binary conception of opposed cultures.
by its protagonist’s experience of paralysis: the shock caused by the sudden realization of
an illusion built by the protagonist and proved wrong by the events in the story. In this
sense, even though Joyce’s “Araby” follows a young boy who falls in love with his friend’s
older sister in an early twentieth century Dublin context, the concept of paralysis in this
story is a universal experience that represents the clash of expectations with reality lived by
pre-teenagers in their growing-up process. This statement is reaffirmed in John Boyne’s
rewriting of “Araby” for the commemorative collection Dubliners 100 (2014), where the
author reimagines the paralyzing experience of Joyce’s version from a twenty-first century
perspective, as reality shatters a young boy’s expectations on being noticed by his
handsome rugby player neighbor. In this paper, I will analyze the idealization that both
protagonists make of their love interests to explain the difference in their romantic
expectations and how these are influenced by the period’s ideology.
argues that it was the American writer’s ability to fuse popular culture with the classical
imaginary and the careful writing style of the academy that made novels like Moby Dick and
The Scarlet Letter complex pieces worthy of inclusion in the literary canon (Reynolds 10).
However, this type of cultural clash, from which revolutionary art expressions are born, still
struggles to be taken seriously by institutions that represent an authority in the art world. One
of the most outstanding examples of this phenomenon is Hirohiko Araki: a Japanese manga
artist who, after more than two decades of publication, was invited to exhibit his pieces at the
Louvre museum.
mostly remembered because of Alfred Hitchcock’s cinematographic production, the
multiplicity of stories developed during this period would provide common tropes that, when
exploited by the media, helped consolidate horror as a popular genre. This is the case of
Lucille Fletcher’s “Sorry, Wrong Number” (1952), the story of a disabled woman who listens
to the plotting of her own murder through the phone, the forgotten classic that initiated a
tradition of missed calls and bad connections in the horror industry. In fact, Fletcher’s trope
of a vulnerable woman who, trapped inside her house, is stalked by a serial killer and tries to
seek help through the phone would be rewritten in movies like When A Stranger Calls (1979)
and Black Christmas (1974), thus consolidating the “final girl” figure: the heroine of a slasher
film.
technology is constantly present in the shape of spacecrafts that can only be piloted with the
use of alien language systems, or complex interfaces that connect the human mind to a reality
constructed solely on binary code. Yet in the case of Suzanne Collins’s teenage dystopia, The
Hunger Games (2008), the most significant display of high technology is found in
entertainment.
Cornwall country and her tortuous stay at her uncle’s hotel is filled with omens that work as
warnings of the horrors she will encounter and as premonitions of her own destiny. This bad
luck is understood as a heritage from the Merlyns’ cursed bloodline that has now intoxicated
her family due to her aunt’s marriage. However, Mary’s prejudice will keep her wary of
mystic elements along the story, thus restraining her from understanding a bigger picture of
the threats that surround her.
embrujados han desplazado su significado a lo largo de los siglos para transformarse en
decadentes mansiones norteamericanas y casas que, tras una historia de violencia, ahora
pertenecen a familias de bajos recursos en la Nueva Inglaterra suburbana. Sin embargo, el
concepto de la casa embrujada, que rompe con la función de seguridad y privacidad con la
que se asocia una vivienda, vuelve a distorsionarse a inicios del siglo veintiuno con novelas
de terror cuyos inmuebles desafían las leyes del tiempo y el espacio. Este es el caso de la
novela Horrorstör (2012), escrita por Grady Hendrix, cuya trama sigue a los empleados de
Orsk: una tienda de muebles que se encuentra acechada por almas torturadas siglo atrás,
cuando el inmueble funcionaba como cárcel.
embodiment of late Victorian fears regarding the loss of moral values, social organization,
and the invasion of Eastern cultures over Western Europe. Nevertheless, the constant
reimagining of Bram Stoker’s millenary monster through popular culture and entertainment
has highlighted specific traits of Dracula’s behavior in response to the different political
motivations at the time. Although read from feminist, gender and even poscolonial lenses,
vampires have become symbols of marginalized groups that defy the patriarchal order of
society, the twenty-first century literature targeted towards teenagers and young adults has a
different take on the Count: that of Dracula as a conservative and controlling father.
after leaving behind a series of clues, hidden within the lines of Walt Whitman’s “Song of
Myself,” that will guide her childhood friend, Quentin, to find her. However, because it is
considered a romance novel, the intertextuality between this book and Whitman’s poem is
understood superficially as the tool that enables Quentin to escape his own comfort zone and
follow his love interest. In this paper, I will recover the quotation of this poem and the
references to American transcendentalism in Paper Towns to demonstrate that Magot’s
disappearance is her own praxis of this thought, which enables her to establish a new
perception of her identity through the exploration of her bedroom. I will prove that her
actions allow Margo to escape from the stereotypes that her social circle has imposed over
her and to shapeshift into meaningful places and objects in her life.
ingenioso hidalgo Don Quijote de la Mancha, de Miguel de Cervantes, resalta la importancia
del dinero en una sociedad que se ha integrado completamente al capitalismo y la tajante
división entre clases sociales que este sistema económico genera. Sin embargo, a diferencia
de otros géneros literarios que también desarrollan estos temas mediante el humor, como la
novela picaresca; El Quijote contrasta la cotidianidad de su contexto social con los valores de
la literatura caballeresca. Al parodiar el código caballeresco a través de su protagonista, El
Quijote resalta la desigualdad y el materialismo de los Siglos de Oro españoles desde una
perspectiva humorística y cruda.
sido empleada bajo múltiples significados y contextos. Aunque de herencia romana, la
representación medieval de esta alegoría es atribuida a Boecio, quien la personifica en su
obra De Consolatione Philosophiae (524 d.C.). Sin embargo, las producciones artísticas y
literarias por las que la Fortuna es tan conocida empezaron a producirse hasta la Plena Edad
Media (s. XI–XV). El presente trabajo observará la evolución de las representaciones de la
Fortuna y buscará el motivo de su reintegración al canon de la iconografía medieval. En el
primer apartado se comparará a la antigua diosa Fortuna Panthea con la alegoría de Boecio
para observar su sincretismo en la rueda de la fortuna medieval. En el segundo apartado se
analizará dos de las principales causas que, según los medievalistas, pudieron haber
popularizado esta imagen: la movilidad entre clases sociales y la transición filosófica entre
las doctrinas patrística y escolástica.
infamous attack on Pearl Harbor triggered a wave of systemic discrimination against
Japanese immigrant communities settled in North America. The threat of incarceration and
the expropriation of their properties by the government pushed first generation immigrants to
an isolated life, restrained by the limits of concentration areas, and pressured the second and
third generations of Japanese-Americans to adopt Western traditions. Therefore, family
members born in the United States and Canada would identify themselves with a hybrid
experience between Japanese culture, inherited by older relatives, and the anglophone society
where they were raised. In this paper, I will analyze the form and imagery adopted in “Grief
Poem,” a piece written by Japanese-Canadian author Joy Kogawa, to understand the
influence of the haiku writing tradition in English free-verse poetry
English, despite it being the Empire’s language, or published in a non-Western language at
the risk of not reaching wider audiences is a common discussion. Under this logic, the use of
English can be understood as a reaffirmation of the language hierarchy established by
colonizers in pluricultural territories, where Western tongues were prioritized in fields like
public education and the legal system (Tymoczko 16). Nevertheless, some postcolonial
authors like Chinua Achbe have developed strategies to appropriate this language and use it
in their stories to subvert and deconstruct the European superiority arguments used to justify
the colonization of Africa. In this paper, I will analyze chapter twenty-two of Achebe’s novel
Things Fall Apart to provethat the English language becomes a tool used by the narrator to
resist religious and political indoctrination through the exposition of the colonizer’s
fundamental binary conception of opposed cultures.
by its protagonist’s experience of paralysis: the shock caused by the sudden realization of
an illusion built by the protagonist and proved wrong by the events in the story. In this
sense, even though Joyce’s “Araby” follows a young boy who falls in love with his friend’s
older sister in an early twentieth century Dublin context, the concept of paralysis in this
story is a universal experience that represents the clash of expectations with reality lived by
pre-teenagers in their growing-up process. This statement is reaffirmed in John Boyne’s
rewriting of “Araby” for the commemorative collection Dubliners 100 (2014), where the
author reimagines the paralyzing experience of Joyce’s version from a twenty-first century
perspective, as reality shatters a young boy’s expectations on being noticed by his
handsome rugby player neighbor. In this paper, I will analyze the idealization that both
protagonists make of their love interests to explain the difference in their romantic
expectations and how these are influenced by the period’s ideology.
argues that it was the American writer’s ability to fuse popular culture with the classical
imaginary and the careful writing style of the academy that made novels like Moby Dick and
The Scarlet Letter complex pieces worthy of inclusion in the literary canon (Reynolds 10).
However, this type of cultural clash, from which revolutionary art expressions are born, still
struggles to be taken seriously by institutions that represent an authority in the art world. One
of the most outstanding examples of this phenomenon is Hirohiko Araki: a Japanese manga
artist who, after more than two decades of publication, was invited to exhibit his pieces at the
Louvre museum.
mostly remembered because of Alfred Hitchcock’s cinematographic production, the
multiplicity of stories developed during this period would provide common tropes that, when
exploited by the media, helped consolidate horror as a popular genre. This is the case of
Lucille Fletcher’s “Sorry, Wrong Number” (1952), the story of a disabled woman who listens
to the plotting of her own murder through the phone, the forgotten classic that initiated a
tradition of missed calls and bad connections in the horror industry. In fact, Fletcher’s trope
of a vulnerable woman who, trapped inside her house, is stalked by a serial killer and tries to
seek help through the phone would be rewritten in movies like When A Stranger Calls (1979)
and Black Christmas (1974), thus consolidating the “final girl” figure: the heroine of a slasher
film.
collection of poems that explores the memories of a Chinese teenager living in the United
States as he matures and struggles with this cultural clash to define his own identity. Parting
from its author’s experience as a Chinese-born American poet, this collection dives into
memories related to popular culture, sexual orientation, and even language. Such a variety of
topics becomes the source of a set of imagery built to stimulate the reader’s senses. The
hissing phonetics of the Chinese language, the smell of street food in the middle of a crowded
city, and even an ever-burning pink, so essential to identity that it becomes hard to hide from
judgmental opinions, accompanied by a dazzling use of free verse, create a unique experience
that no reader interested in Queer and Asian Studies can miss
William Shakespeare, ha sido resignificada múltiples veces desde la perspectiva de épocas
y latitudes distantes a su origen en el renacimiento inglés. Sin embargo, para la tradición
literaria japonesa, la reescritura de una obra tan difundida en occidente representó un acto
de rebeldía ante la radical política nacionalista promovida por el Imperio durante la
Segunda Guerra Mundial. En esta ponencia, presentaré un análisis sobre la reinterpretación
del Príncipe Hamlet en la obra A New Hamlet (1941), de Osamu Dazai, para demostrar que
la pasividad de este personaje, así como el desinterés que siente por cumplir con su rol
como protagonista y vengar a su padre, funcionan como un símbolo de resistencia ante el
tradicionalismo y la exaltación de la identidad nacional (kokutai) que fueron promovidas
como parte de la cultura militar al inicio de la Era Showa.
futuro de las mujeres desde que nacen: servir a su familia y someterse a los abusos de su
esposo. Ante esta situación, activistas como Fawzia Koofi han encontrado en la literatura
una herramienta para denunciar el sexismo inscrito en su cultura y dar testimonio de la
lucha por la equidad de género. En esta ponencia se analizará el discurso que Koofi
construye en su novela autobiográfica The Favored Daughter; mediante el cual entiende la
resistencia de las mujeres afganas como una valiosa herencia, transmitida de madres a hijas,
que rompe con el predestinamiento. A partir de esta lectura se observará la importancia de
la memoria como un recurso que visibiliza la violencia de género y busca inspirar a las
futuras generaciones a seguir defendiendo sus derechos humanos.