By J. Brown
Cyborgs in Latin the United States explores the methods cultural expression in Latin the USA has grappled with the altering relationships among know-how and human identification. The e-book takes a literary and cultural experiences technique in analyzing narrative, movie and ads campaigns from Argentina, Bolivia, Chile, Mexico and Uruguay by means of such artists as Ricardo Piglia, Edmundo Paz Sold?n, Carmen Boullosa and Alberto Fuguet between others. Using and criticizing theoretical types constructed via Katherine Hayles, Donna Haraway, Gilles Deleuze and Michel Foucault, the booklet will entice experts and scholars of Latin American stories; Posthuman idea; and Literature, technological know-how, and know-how stories.
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Extra info for Cyborgs in Latin America
It simultaneously anticipates a remark made by Elena a few pages later in the Molly Bloomesque monologue that concludes the novel, where she has completely revealed her mechanical nature: ¿Y ahora quién está ahí? ¿Fuyita? ¿Russo? No, quién va a venir a esta hora, sos loca, por qué esperás, te morís de cáncer, sos otra loca más, una loca cualquiera al borde de la muerte y ahora siento como un golpe de corriente, el suave refucilo en las vértebras, el electroshock que hacía empalidecer de terror a mi hermana María.
At the same time, being mute distinguishes him and, through this difference, converts him into evidence of those abuses—evidence that resists being silenced and forgotten. Aristarain develops the paradox of the victim whose voice has been silenced and magnified simultaneously with a series of images that once again emphasize the cybernetic nature of the oppressed body. Upon losing his voice, Bengoa begins to acquire several prosthetic devices to resolve his newfound inability to communicate. He first uses a small chalkboard, employing the written word to replace the spoken.
Aristarain accents this moment with a series of electronic beeps and chirps that accompany the computerized phrase, relating Bengoa’s resistance to his prosthetic tongue. The moment is climactic, then, on several levels. In terms of plot, it is the point at which Bengoa decides to eschew a monetary reward that a private settlement would bestow for the social justice that a public trial could achieve, a decision that affirms his father’s anarchist ideals. At the same time, this moment marks the revenge of the cyborg, a figure who is, after all, the product of the corrupt machinery of the corporation.