Alberto Guevara
Biographic Data
| ID | 3673196 |
|---|---|
| NAME | Alberto Guevara |
| GIVEN NAMES | Alberto |
| FAMILY NAME | Guevara |
| SIGNATURE | GUEVARA A |
| AFFILIATIONS | York University |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
In the Balance
O]ne positive force that encourages an emancipatory politics of globalization is the role of the imagination in social life
Fun and Games - Playing to the Limits
To play is human. Play is a social act of often-unclear boundaries. The delineation of playing as a special conditional form of doing or acting in the world relies upon registers of seriousness, authenticity, consequence and import, yet these registers are multivocal. Play can materialize and relativize banal affective and social relations. Play can imagine, insist on the possibility of, or suppress, difference. Play may provoke shock or distract…
Mind the gap
A group of elderly women set up prayer camps in public roundabouts throughout Nicaragua’s capital, Managua, to pray for ‘peace and reconciliation.’ A few miles away, in a humble barrio, escaping sexual discrimination and violence, a 24-year-old transvestite performs a sexually charged act in a circus. Meanwhile, across from the national parliament, hundreds of ex-agricultural workers exposed to the pesticide nemagon exhibit their dying flesh to t…
I'll Show You My Wounds”
This article draws on the authors’ experience making a film about pesticide‐afflicted ex‐banana plantation workers in N icaragua. Addressed are the practical, ethical, and aesthetic possibilities and challenges of visualizing the bodily dimensions of social inequality through film. How can one represent bodily dimensions of structural violence given the particularity of all visceral knowledge? How can one, in the making of films that travel acros…
Performance, Revolution, Pedagogy
Augusto Boal, perhaps best known for his Theatre of the Oppressed (1985 [1979]), critiqued Aristotelian aesthetics that left spectators in passive states. He turned to Brechtian proposals that would move spectators to revolutionary action, but also became critical of any straightforward didactic approach to revolutionary theatre. The whole world was indeed a stage and all spectators were also potential actors or “spect-actors.” Boal’s work was sh…
Suspended
To be suspended is to feel oneself hanging, to be stretched between structured forms and towards the impossible. It is to occupy spaces, times, and/or bodies in between and in transition. It is to materialize the social in its tremulating forms, not knowing exactly what lies beneath one’s feet, where and how, when and if one will touch down. States of suspension involve a reaching or an impulse towards a different social, without knowing what tha…
Pesticide, Performance, Protest
This paper explores affliction in the intersection between the human body, social violence and theatricality. It argues that in Nicaragua, ‘victims’ of pesticide contamination wield their suffering flesh as theatrical weapons. Banned in the USA as early as the 1970s, but used since in banana plantations by multinational companies in many developing nations, the pesticide nemagón has become the perfect metaphor for evoking structural violence in N…
Aesthetics of Affliction
In making Aesthetics of Affliction our theme for this first issue, our goal was to engage immediately with questions that must remain central in a journal dealing with corpo-realities of structural violence, the senses, and the theatricality of power. These questions are: how can we talk to experiences and situations that evade translation and that are mired with legacies of objectification? What are the possibilities, limits, hopes, and risks wh…
La Ventana Indiscreta
I'll Show You My Wounds”
This article draws on the authors’ experience making a film about pesticide‐afflicted ex‐banana plantation workers in N icaragua. Addressed are the practical, ethical, and aesthetic possibilities and challenges of visualizing the bodily dimensions of social inequality through film. How can one represent bodily dimensions of structural violence given the particularity of all visceral knowledge? How can one, in the making of films that travel acros…
La Ventana Indiscreta
Pesticide, Performance, Protest
This paper explores affliction in the intersection between the human body, social violence and theatricality. It argues that in Nicaragua, ‘victims’ of pesticide contamination wield their suffering flesh as theatrical weapons. Banned in the USA as early as the 1970s, but used since in banana plantations by multinational companies in many developing nations, the pesticide nemagón has become the perfect metaphor for evoking structural violence in N…
Aesthetics of Affliction
In making Aesthetics of Affliction our theme for this first issue, our goal was to engage immediately with questions that must remain central in a journal dealing with corpo-realities of structural violence, the senses, and the theatricality of power. These questions are: how can we talk to experiences and situations that evade translation and that are mired with legacies of objectification? What are the possibilities, limits, hopes, and risks wh…
Suspended
To be suspended is to feel oneself hanging, to be stretched between structured forms and towards the impossible. It is to occupy spaces, times, and/or bodies in between and in transition. It is to materialize the social in its tremulating forms, not knowing exactly what lies beneath one’s feet, where and how, when and if one will touch down. States of suspension involve a reaching or an impulse towards a different social, without knowing what tha…
Performance, Revolution, Pedagogy
Augusto Boal, perhaps best known for his Theatre of the Oppressed (1985 [1979]), critiqued Aristotelian aesthetics that left spectators in passive states. He turned to Brechtian proposals that would move spectators to revolutionary action, but also became critical of any straightforward didactic approach to revolutionary theatre. The whole world was indeed a stage and all spectators were also potential actors or “spect-actors.” Boal’s work was sh…
I'll Show You My Wounds”
This article draws on the authors’ experience making a film about pesticide‐afflicted ex‐banana plantation workers in N icaragua. Addressed are the practical, ethical, and aesthetic possibilities and challenges of visualizing the bodily dimensions of social inequality through film. How can one represent bodily dimensions of structural violence given the particularity of all visceral knowledge? How can one, in the making of films that travel acros…
Fun and Games - Playing to the Limits
To play is human. Play is a social act of often-unclear boundaries. The delineation of playing as a special conditional form of doing or acting in the world relies upon registers of seriousness, authenticity, consequence and import, yet these registers are multivocal. Play can materialize and relativize banal affective and social relations. Play can imagine, insist on the possibility of, or suppress, difference. Play may provoke shock or distract…
Mind the gap
A group of elderly women set up prayer camps in public roundabouts throughout Nicaragua’s capital, Managua, to pray for ‘peace and reconciliation.’ A few miles away, in a humble barrio, escaping sexual discrimination and violence, a 24-year-old transvestite performs a sexually charged act in a circus. Meanwhile, across from the national parliament, hundreds of ex-agricultural workers exposed to the pesticide nemagon exhibit their dying flesh to t…
In the Balance
O]ne positive force that encourages an emancipatory politics of globalization is the role of the imagination in social life
Art (6 works) · Law (6 works) · Political science (6 works) · Sociology (6 works) · Aesthetics (4 works) · Psychology (4 works) · Politics (3 works) · Social Psychology (3 works) · Gender Studies (2 works) · History (2 works)