En este trabajo se ha seleccionado un recorrido donde la ciudad emerge de la narración que de ella hacen quienes la habitan, pero también de la manera como surge de su literatura, sus textos, sus imágenes, sus historias. No es un análisis sobre la ciudad, sino una mirada a partir de ella entendida como una construcción compleja, multicultural, social, educativa, comunicacional, simbólica, histórica y política.

A NEW YORKER BEST BOOK OF THE YEAR A WALL STREET JOURNAL TOP 10 BOOK OF THE YEAR ONE OF NPR’S “BOOKS WE LOVE” “A tender and funny story about love, family and the peculiar position of being a stepparent…[Chilean Poet] broadens the author’s scope and quite likely his international reputation.” —Los Angeles Times “Zambra [is] one of the most brilliant Latin American writers of his generation.” —The New York Review of Books “Zambra's books have long shown him to be a writer who, at the sentence level, is in a world all his own.” —Juan Vidal, NPR.org A writer of “startling talent” (The New York Times Book Review), Alejandro Zambra returns with his most substantial work yet: a story of fathers and sons, ambition and failure, and what it means to make a family After a chance encounter at a Santiago nightclub, aspiring poet Gonzalo reunites with his first love, Carla. Though their desire for each other is still intact, much has changed: among other things, Carla now has a six-year-old son, Vicente. Soon the three form a happy sort-of family—a stepfamily, though no such word exists in their language. Eventually, their ambitions pull the lovers in different directions—in Gonzalo’s case, all the way to New York. Though Gonzalo takes his books when he goes, still, Vicente inherits his ex-stepfather’s love of poetry. When, at eighteen, Vicente meets Pru, an American journalist literally and figuratively lost in Santiago, he encourages her to write about Chilean poets—not the famous, dead kind, your Nerudas or Mistrals or Bolaños, but rather the living, striving, everyday ones. Pru’s research leads her into this eccentric community—another kind of family, dysfunctional but ultimately loving. Will it also lead Vicente and Gonzalo back to each other? In Chilean Poet, Alejandro Zambra chronicles with enormous tenderness and insight the small moments—sexy, absurd, painful, sweet, profound—that make up our personal histories. Exploring how we choose our families and how we betray them, and what it means to be a man in relationships—a partner, father, stepfather, teacher, lover, writer, and friend—it is a bold and brilliant new work by one of the most important writers of our time.

A Chilean writer named Julio and his wife, Gloria, are at a low point in their lives. Constantly bickering, the pair are beset by worries about money, their writing, and their son (who may or may not be plying the oldest profession in Marrakesh). When Julio's boyhood best friend, now a famous artist, lends the couple his luxurious Madrid apartment for the summer, it is an escape for both - but in particular for Julio, who fantasizes about the garden next door and the erotic life of the lovely young aristocratic woman who inhabits it. But Julio's life - and career - unravel In Madrid: he is rebuffed by a famous literary agent, Nuria Monclus, who detests him and his novel; his son's friend from Marrakesh moves in and causes havoc; and Gloria begins to drink. In the face of pitiless adversity, Julio's talent inexorably begins to fade. The garden next door, however, is also Gloria, who has been doing some creating of her own. It is this twist that transforms Donoso's brilliant satire of the writer's life into something even greater: a carefully crafted and bitteily comic meditation on gardens, deceit, and the nature of a writer's muse.

Jesús Martín-Barbero es conocido como el «maestro» de los estudios sobre Juventud y el gran especialista en cultura popular. Además, es considerado uno de los mayores expertos a nivel internacional en temas de comunicación, unos de los principales fundadores de los estudios comunicacionales y el autor de la Teoría de la mediación. Es el autor de referencia internacional para los análisis sobre sujetos juveniles y protagonismo social, palimpsestos de identidad, desafíos de la juventud, educación de los jóvenes, mundo digital y transformaciones de la subjetividad. Sus aportes en los estudios sobre la globalización y en la relación entre medios de comunicación y público le han proyectado como uno de los autores más sugestivos y relevantes de la intelectualidad crítica latinoamericana. En las dos últimas décadas, Jesús Martín-Barbero ha recopilado una serie de estimulantes textos sobre los jóvenes, reunidos ahora en este libro. La mayor parte de ellos giran en torno a dos conceptos centrales que el autor utiliza de manera metafórica y que se reflejan en el título. El palimsesto hace referencia a los antiguos pergaminos y remite a la constante rescritura y reciclaje que las culturas juveniles hacen del pasado. El hipertexto, por el contrario, nos conduce a las modernas ciberculturas y a las novedosas formas de comunicación a través de las cuales los jóvenes imaginan el futuro. Este uso creativo sobre ambos conceptos ha tenido un gran impacto en los estudios culturales y sobre la juventud en el ámbito iberoamericano.

From today’s vantage point it can be denied that the confidence in the abilities of globalism, mobility, and cosmopolitanism to illuminate cultural signification processes of our time has been severely shaken. In the face of this crisis, a key concept of this globalizing optimism as World Literature has been for the past twenty years necessarily is in the need of a comprehensive revision. World Literature, Cosmopolitanism, Globality: Beyond, Against, Post, Otherwise offers a wide range of contributions approaching the blind spots of the globally oriented Humanities for phenomena that in one way or another have gone beyond the discourses, aesthetics, and political positions of liberal cosmopolitanism and neoliberal globalization. Departing basically (but not exclusively) from different examples of Latin American literatures and cultures in globalized contexts, this volume provides innovative insights into critical readings of World Literature and its related conceptualizations. A timely book that embraces highly innovative perspectives, it will be a mustread for all scholars involved in the field of the global dimensions of literature.

Only a decade ago, the notion that museums, galleries and heritage organisations might engage in activist practice, with explicit intent to act upon inequalities, injustices and environmental crises, was met with scepticism and often derision. Seeking to purposefully bring about social change was viewed by many within and beyond the museum community as inappropriately political and antithetical to fundamental professional values. Today, although the idea remains controversial, the way we think about the roles and responsibilities of museums as knowledge based, social institutions is changing. Museum Activism examines the increasing significance of this activist trend in thinking and practice. At this crucial time in the evolution of museum thinking and practice, this ground-breaking volume brings together more than fifty contributors working across six continents to explore, analyse and critically reflect upon the museum’s relationship to activism. Including contributions from practitioners, artists, activists and researchers, this wide-ranging examination of new and divergent expressions of the inherent power of museums as forces for good, and as activists in civil society, aims to encourage further experimentation and enrich the debate in this nascent and uncertain field of museum practice. Museum Activism elucidates the largely untapped potential for museums as key intellectual and civic resources to address inequalities, injustice and environmental challenges. This makes the book essential reading for scholars and students of museum and heritage studies, gallery studies, arts and heritage management, and politics. It will be a source of inspiration to museum practitioners and museum leaders around the globe.