In this article, I analyze Rosita Beas's artistic work in the context of the 2019 Chilean Social outbreak, focusing on her proposal of "santos pop" and the redefinition of the Sacred Heart in cultural and political figures. Using an interdisciplinary approach that articulates the philosophy of the image and the Warburgian dynamogram, I argue that the pictures created by Beas-such as Felipe Camiroaga's Sacred Heart- function as agents of memory and hope in times of social crisis. Far from being simple representations, the images activate embodied memories, engage in dialogue with collective emotions, and update ancient religious symbols in new bodies and media. In this process, Beas's art articulates irony and spirituality, configuring a form of aesthetic resistance that responds to the political and social tensions of the moment. Likewise, the migration of the Sacred Heart from its traditional Catholic matrix to new popular expressions is examined, highlighting its capacity to redefine collective pain and offer horizons of hope. In this way, I conclude that the artist achieves a dialogue in the multiplicity of time that resonates as memory and freedom in bodies, our bodies and those who challenge us from their candles, T-shirts and cups, as they did on the walls of the Estallido Social.
This article proposes a reflective analysis of ecocriticism and the resistance of Regina and Lupe in the novel A extin & ccedil;& atilde;o das abelhas (2021) by Natalia Borges Polesso. In this context, ecocriticism addresses environmental issues, which are present in Polesso's novel through the fictionalization of environmental catastrophe due to the extinction of bees. Regina and Lupe resist environmental chaos, and the narrative infers about the resistance of the two protagonists demonstrated in the novel through feminine experiences that face barriers determined by society and environmental issues. Thus, the characters re-signify themselves, resist, and seek to affirm their identities, choices, and relationships within the context of environmental crisis. The article is divided into two sections: initially, a brief commentary is made on ecocriticism, followed by the resistance of the characters Regina and Lupe and environmental chaos. The theoretical framework supporting the reflection is based on Glotfelty (1996), Slovic (1999), and Garrard (2006), analyzing a narrative with a critical approach.
In "Hist & oacute;ria dos feminismos na Am & eacute;rica Latina" (2022), Dora Barrancos elaborates an activism cartography based on the reclamation of the right to life. But not just any kind of life, the right to a life without violence, the life of all womanhood. This inspiring history motivated the writing of this article regarding the investigation of the "imagined collectives" - movements created by female writers in the fiction of this global South. Based on the theoretical-critical readings of Dora Barrancos (2022), Yuderkys Espinosa Minoso (2020), and Rita Laura Segato (2018), we came across three representations of women's collective fight and resistance: through denunciation (the short story "They will dream in the garden" by Gabriela Miravete), through action (the short story "Things we lost in the fire" by Mariana Enriquez), and through change (the novel "O pa & iacute;s das mulheres" by Gioconda Belli). In both short stories, the starting point for the fight is the memory of femicide, with memory being a turning point for what must be preserved and for what can no longer be accepted. In the novel, a utopia created by women points to alternative worlds of coexistence, knowledge, and affections in conflict. In conclusion, we can say that female writing has allowed us to experience literature as universal awareness of the struggle for life.
Aline Zouvi is a Brazilian comic artist who produces fictional and autobiographical narratives in which queer bodies are protagonists. In this article, her books S & iacute;ncope (Self-published, 2017) and N & atilde;o nasci sabendo (Selo Harvi, 2022) will be analyzed, investigating how such comics are representative for understanding the current Brazilian scene of this cultural medium, as well as the possible reflections from the aesthetic genres in which they are inscribed and the themes of these books. In this sense, Zouvi's work denotes key elements of the Brazilian comic book context, such as the predominance of self-publishing and publication through small publishing labels, in addition to the active use of social media for promoting work and engaging with readers. Furthermore, the format of the books under analysis, closer to a chronicle than to a novel, suggests that experimentalism and creative freedom stem more from transformations in the social landscape, such as the increasing openness to works by women and to queer themes, than from a specific publishing format like graphic novels. In her work, experimentation, both with the medium and with herself, paves the way for interaction between forms and works, shaping, in this process, a style of her own.
This article investigates how the tragedies resulting from the Colombian armed conflict are represented by authors Jairo Buitrago and Rafael Yockteng in the illustrated children's book Camino a casa (2008). Initially, the study presents the concepts of collective memory, according to Maurice Halbwachs (1990), and childhood and trauma, based on Walter Benjamin (1940), outlining the theoretical framework employed. It then offers a description of the book, emphasizing how verbal and visual texts intertwine to construct the narrative. The analysis is organized into two categories: collective memory and subjective memory. It highlights how images, objects, and historical events are approached, on one hand, through the narrative perspective of a child and, on the other, as a denunciation of the "memoricide" that took place in Colombia between 1948 and at least 1985.
