David T. Mitchell

Sharon L. Snyder

Susan Antebi

Breaks new ground by exploring the limits and transformations of the social model of disability

Materiality, Biopolitics, Crip Affect

The Matter of Disability

Beth E. Jörgensen

Analyzes the diverse roles and pervasive presence of disability in Latin American literature and film. Libre Acceso stages an innovative encounter between disciplines that have remained quite separate: Latin American literary, film, and cultural studies and disability studies. It offers a much-needed framework to engage the representation, construction, embodiment, and contestation of human differences, and provides tools for the urgent resignification of a robust and diverse Latin American literary and filmic tradition. The contributors discuss such topics as impairment, trauma, illness and the body, performance, queer theory, subaltern studies, and human rights, while analyzing literature and film from Argentina, Brazil, Chile, Colombia, Cuba, Mexico, and Peru. They explore these issues through the work of canonical figures Jorge Luis Borges, Gabriel García Márquez, João Guimarães Rosa, and others, as well as less well-known figures, including Mario Bellatin and Miriam Alves. Susan Antebi is Associate Professor of Spanish at the University of Toronto and the author of Carnal Inscriptions: Spanish American Narratives of Corporeal Difference and Disability. Beth E. Jörgensen is Professor of Spanish at the University of Rochester. She is the author of Documents in Crisis: Nonfiction Literatures in Twentieth-Century Mexico and the coeditor (with Ignacio Corona) of The Contemporary Mexican Chronicle: Theoretical Perspectives on the Liminal Genre, both also published by SUNY Press.

Latin American Literature and Film through Disability Studies

Libre Acceso

Disability and racial difference in Mexico's early post-revolutionary period

Disability in Post-Revolutionary Mexican Cultural Production

Embodied Archive

Freya Schiwy

Alessandro Fornazzari

This collection of essays explores the interfaces between new information technologies and their impact on contemporary culture, and recent transformations in capitalist production. From a transnational frame, the essays investigate some of the key facets of contemporary global capitalism: the ascendance of finance capital, and the increasing importance of immaterial labor (understood here as a post-Fordist notion of work that privileges the art of communication, affect, and virtuosity). The contributors address these transformation by exploring their relation to new digital media (YouTube, MySpace, digital image and video technology, information networks, etc.) and various cultural forms including the Hispanic television talk show, indigenous video production, documentary film in Southern California, the Latin American stock market, German security surveillance, transnational videoconferencing, and Japanese tourists’ use of visual images on cell phones. The authors argue that the seemingly radical newness and alleged immateriality of contemporary speculative capitalism, turns out to be less dramatically new and more grounded in colonial/racial histories of both material and immaterial exploitation than one might at first imagine. Similarly, human interaction with digital media and virtuality, ostensibly a double marker for the contemporary and economically privileged subject, in fact reveals itself in many cases as transgressive of racial, economic and historical categories.

Susan Antebi

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