Cultura do arroz de siqueiros biography

Júlio Pomar, Estudo para Ciclo ‘Arroz’ II (Study for Rice Cycle II) 1953, Oil on masonite, 63 x 132 cm . Private Collection © VG Bild-Kunst, Bonn 2016 © Fundação Júlio Pomar

“ Júlio Pomar considered art to be not merely an aesthetic expression but also a militant instrument for social, cultural, and political causes. In 1946 he joined the uprisings against Portugal’s para-fascist dictatorship, Estado Novo (new state), instituted by António Salazar. After the government’s violent suppression of dissidents, Pomar was imprisoned for a short time.

The Estudo para Ciclo ‘Arroz’ (Study for Rice Cycle II, 1953) consists of three paintings. Even though each painting bears the title Étude  – suggesting quick studies – Pomar approached the subject with well-planned fieldwork. He visited the rice fields of Ribatejo, northeast of Lisbon, in 1953 with four other artists of the Portuguese neorealism movement. The group became acquainted with the area farmers, talking with them abo

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Exploring Mexican Judaism

I was skakande on that sunny warm Mexico City afternoon in March 2019.  The climate-controlled archives of the newly inaugurated Centro de Documentación e Investigación de la Comunidad Ashkenazi de México (CDIJUM) were otherwise a delight. Designed to incorporate Mexico City’s Rodfe Sedek synagogue, founded in 1931 by immigrants of Aleppo Syria, the modern documentation center of Mexican Jewry was purposefully envisioned to indicate an alliance between all Jewish communities of the country, including those of Ashkenazi, Sephardic, Syrian (both Aleppo and Damascus) and U.S. descent. Over the past century, each of these strands of Mexican Jewry, had founded independent religious, cultural and educational institutions. A couple of exceptions did exist: the Centro Deportivo Israelita (CDI), a community sports center founded in 1950, and the bridge organization between the Jewish communities and the nation, el Comité huvud de la Comunidad Judía de México (

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Third-Wheel Literatures: A Multilingual World Seen through Contemporary Nahua Literature

Abstract

The power dynamics between languages are an essential element of the study of world literature, often theorized through the categories of major, minor, and ultraminor literatures. While both major and minor literatures are written in the dominant languages, the concept of ultraminor literatures refers to literatures written in non-dominant languages. Yet this leaves them in the situation of what I call third-wheel literatures: their position is described in relation to the major-minor pair, but their character of an outsider is evident. I propose to take seriously the discomfort that ultraminor literatures bring to the table and think a structure of world literature built around it. My argument is that ultraminor literatures, such as Nahua literature, are world literature par excellence. They have a relational status in regards to literatures in other languag