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Centred around Antonio Gramsci's concept of hegemony, this paper employs a critical globalisation theory framework to argue that the 1990s notion of ‘changing the world from below', understood as resistance to capitalist globalisation through a ‘transnational civil society', requires re-theorisation in the light of the contemporary developments in Our America. I make a methodological case for a neo-Gramscian approach to argue that ‘counter-hegemony', together with an adequate theorisation of the state and power, should be the preferred concept over the inherently apolitical and under-theorised ‘alter-globalisation'. Whilst the alter-globalisation movement's ideational and normative challenges to hegemony (captured in ex-British prime minister Thatcher's There-Is-No-Alternative-Doctrine, TINA) are undisputed, the transformation of the global geographies of power through local actors alone has remained illusory. Rather, the experience of the Bolivarian Alliance for the Peoples of Our America - Peoples' Trade Agreement (ALBA-PTA) strongly suggests that counter-hegemonic globalisation theory will have to consider the roles of both the ‘state-in-revolution' and the ‘transnational organised society'. This will be shown through the analysis and theorisation of the ALBA-PTA as a multi dimensional inter and transnational counter-hegemonic regionalisation and globalisation project that operates across a range of sectors and scales.

Professionalization and political engagement are usually placed as incompatible in the case of journalism and the mainstream press, resulting in an identification of cultural resistance exclusively with alternative/amateur vehicles. I will use the concept of journalistic field as introduced by Pierre Bourdieu to review these assumptions and discuss a form of political resistance that acts in one's own area of knowledge, is not overtly political and whose effects are not immediately accountable for. Drawing examples from my research on two literary newspapers published in the 1950s in Brazil and Uruguay, this paper will focus on the implications of didacticism for literary criticism as a genre of newswriting. The analysis of these newspapers will lead to a reflection on two main issues: a) the conflict between the professionalization and democratization of literature; and b) the definition of resistance as necessarily an action that is against something. The article will reconsider education in journalism as a form of resistance, taking into account its risks of becoming political indoctrination and commercial manipulation, but emphasizing its potential as a way of expanding access to literature.

This article analyses a range of discourses articulated around the figure of the film archive between the late nineteenth and the early twenty-first centuries, accounting for the various possibilities that they open up for considering audiovisual heritage as a potential space either for revolutionary change or for political or textual resistance. Focused mainly on archival discourses in Mexico, the article traces their interaction with both national-historical and anti-imperialist narratives, and the implications of digital and online culture for the encounter between the archiving of film and resistance. It accounts for the position of the archive in negotiations between state and private capital and spaces of artistic autonomy, and for the relationships between the archive, modernity, postmodernity and the notion of posterity.

In October 2007, over the course of a weekend, several hundred people descended on Coronel Pringles, a small town in the Argentine pampas. For two days they would participate, along with many of the town’s residents, in a series of workshops and performances held under the aegis of the Asociación Civil Estación Pringles, an organization founded in 2006 and headed by the poet Arturo Carrera. This inaugural event centered on the practice of declamation, one of the ‘viejas prácticas sociales y artı́sticas’ (‘timeworn social and artistic practices’) that Estación Pringles seeks to place into dialogue with the work of contemporary artists, writers and performers. In its founding statement, the project casts this dialogue in theatrical terms, calling itself ‘una plataforma o una escena donde prácticas estéticas dispersas en un espacio lateral puedan agregarse, articularse, hacerse visibles’ (‘a platform or scene where aesthetic practices, scattered throughout a lateral space, might come together, be articulated, become visible’). Indeed, an emphasis on theatricality would reappear in Carrera’s closing remarks to the 2007 gathering, in which he couches the practice of declamation in terms of a ‘teatrito,’ a ‘little theater’ (Estación Pringles).

Leggeremo ancora, forse leggeremo più di prima, allo stesso modo e diversamente, ma qualcosa cambierà nelle nostre abitudini, inequivocabilmente. La diffusione degli strumenti elettronici per la scrittura, la lettura e la comunicazione ha portato a una vera e propria "esplosione testuale": oggi viviamo letteralmente immersi nei testi, li scriviamo, li scambiamo, li stampiamo, li leggiamo su carta, su schermi piccoli e grandi. Ma non è una semplice questione di quantità. Il rapporto con il testo si è modificato profondamente con i supporti digitali. Si legge, si scrive, si pubblica in spazi, tempi e modi mai sperimentati prima. I testi ora si possono leggere ma anche ascoltare, guardare, toccare; si possono attraversare sfuggendo alla lettura lineare; si possono scrivere collettivamente in modo interattivo; si possono mescolare alla realtà in forme inedite di testualità aumentata. Questo libro offre un’illuminante esplorazione delle nuove forme di testualità, di scrittura, di lettura e di pubblicazione, collocando la riflessione in una prospettiva storica. Partendo dall’analisi della tradizione, l’autrice ci guida attraverso considerazioni e sviluppi tecnologici, intuizioni di geniali visionari e abitudini quotidiane, ripresa di forme comunicative e sperimentazioni di un futuro che possiamo solo intravedere. Il testo digitale 1 Presentazione 10 Introduzione 16 Capitolo 1 - Tutti i testi del mondo / 1.1 E-text 18 1.2 Testo/scrittura 22 1.3 Il testo da ascoltare 27 1.4 Un mondo da leggere 30 1.5 Il testo come intenzione comunicativa 34 1.6 Dialogare con il lettore 35 1.7 Il testo come oggetto 38 1.8 Il testo senza materia 40 Capitolo 2 - Il testo per pensare / 2.1 Scrittura e conoscenza 44 2.2 Appunti, commenti, note 46 2.3 Le mappe del testo 51 2.4 Scritture di servizio 54 2.5 Testi in gestazione 58 2.6 Le grammatiche invisibili 64 2.7 Opere aperte 68 Capitolo 3 - Leggere l'alfabeto / 3.1 Leggere libri 72 3.2 Breve storia del testo a stampa 78 3.3 Le parti del testo 83 3.4 Impaginato e pagine 86 3.5 Caratteri 90 3.6 Tra passato e presente 94 3.7 Caratteri liquidi e testi aumentati 97 Capitolo 4 - Testi da guardare / 4.1 Immersi nel testo 102 4.2 Libri illustrati e affini 107 4.3 Immagini da leggere 113 4.4 Leggere le immagini 117 4.5 Audio 122 4.6 Multimedia 128 4.7 Digital storytelling 132 4.8 Magic text 136 Capitolo 5 - Testi da esplorare / 5.1 Navigare tra le pagine 140 5.2 Scritture ipertestuali 143 5.3 La Rete, ipertesto per eccellenza 148 5.4 Alla ricerca di informazioni 152 5.5 Fidarsi di ció che si legge 156 5.6 Testi a scoperta 160 5.7 Il testo di studio 164 Capitolo 6 - Testi condivisi / 6.1 Leggere insieme 170 6.2 Scrivere insieme 173 6.3 Strumenti per la scrittura collaborativa 177 6.4 Esperienze di testi a piú mani 179 Capitolo 7 - I proprietari del testo / 7.1 Autori 184 7.2 Editori 191 7.3 Lettori 195 7.4 Collezionisti e biblioteche 199 Conclusioni - ebook: leggere senza pagine 204 Bibliografia 214 La relación con el texto se ha modificado profundamente desde que el mundo se ha vuelto digital: se lee, se escribe, nos vemos y escuchamos en espacios, tiempos y modos que nunca fueron experimentados hasta ahora. Hoy los textos pueden ser leídos, pero también escuchados. Podemos escribir colectivamente en modo interactivo y se pueden mezclar a la realidad en formas inéditas de textualidad aumentada.

This is a book about the politics of alternative poetries and poetic practices, and the ways that experiments in poetry have provided 'spaces' within which radical or revolutionary perspectives can be developed. It explores social and cultural ideas that more normative mainstream cultural representations might seek to suppress. It demonstrates the ways that poems say things about cultural and social issues, and can say them in new and different ways. My work is conceptual, drawing on a variety of theoretical positions to help read poems that are resistant to giving up an easily digested meaning. It is also empirical, and begins with the material evidence of the poems, worrying away at individual words in detailed analyses of the semantic and syntactical relationships in the work. I try to show that any difficulty is worth the effort, and that poems that try to reflect the complexities of modern and contemporary culture and society are not only sometimes difficult to read, but they often have to be.

Josefina Ludmer en el ensayo más esperado de la década deja de lado las categorías de la teoría literaria utilizadas hasta el momento en busca de nuevas articulaciones y nociones que recorran todas las divisiones actuales y permitan entender la configuración política económica y social de los años 2000 en América latina. El resultado es una serie de esbozos teóricos que parten de un universo sin afueras real virtual al que llama imaginación pública o fabrica de realidad. Un universo que no diferencia entre realidad y ficción y cuya lógica es el movimiento la conectividad la superposición y la sobreimpresión de todo lo visto y oído. La literatura es hilo conductor de la imaginación pública y la vía por la que la especulación entra en esa fábrica de realidad. Las temporalidades y los territorios que instalan las ficciones literarias latinoamericanas de los últimos años (como las de Fernando Vallejo, Horacio Castellanos Moya, Martín Kohan, Perla Suez o Diamela Eltit) definen una forma determinada de “realidadficción”. Un libro decisivo de una de las figuras más lúcidas de la crítica actual indispensable para pensar la América latina del siglo XXI.

El objetivo de este trabajo es realizar un análisis comparativo de la semiosis del espacio urbano en cinco poemarios publicados recientemente en la ciudad de Buenos Aires: Aquel corazón descamisado (2002) de Luis Tedesco, El carrito de Eneas (2003) de Daniel Samoilovich, La rebelión del instante (2005) de Diana Bellessi, Solos y solas (2005) de Tamara Kamenszain y Poemas del sin trabajo (2007) de Eduardo Mileo. En todos ellos se textualizan voces, miradas e itinerarios que atraviesan la ciudad contemporánea, apelando a una gran diversidad de imágenes, tópicos y estrategias discursivas. La tríada conceptual crisis-deconstrucción-empatía permitirá leer en conjunto diferentes modalidades en que los textos poéticos traducen y reenvían a las complejidades del imaginario social.