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Art, Ethics and Provocation


Anna Suwalska-Kolecka and Izabella Penier

The main purpose of this volume is to look into a wide spectrum of artistic ventures which cross boundaries and challenge habitual thinking, consequently involving an element of provocation. While it is true that not all great art is provocative, the most memorable artefacts are these which have confounded our aesthetic expectations or stirred our moral imagination. However, as the turn of the millennium witnessed ever more shocking artistic gestures of provocation, the question arises if there are any limits to artistic freedom. The essays collected in this book offer a truly interdisciplinary perspective and deal with creative acts of transgression from a broad range of fields: literature, theatre, visual art, film, anthropology, and others. This volume will appeal to readers interested in artistic and academic pursuits that are subversive and irreverent.
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Tomás Rivera’s Vignettes and the Tradition of American Modernist Fiction: Hemingway and Faulkner


Abstract: The article traces correspondences between Tomás Rivera’s book …y no se lo tragó la tierra/…And the Earth Did Not Devour Him (1971), Ernest Hemingway’s In Our Time (1925) and William Faulkner’s As I Lay Dying (1930). The techniques it shares with the works of the two American modernist writers – the narrowing of the perspective, rhythmical narrative patterns, the effect of flow and continuity achieved through accumulation of isolated fragments of the text – give Rivera’s book a sense of density, saturation, and emotional intensity. In Rivera’s collection of vignettes, where individual voices are called forth into their provisional existence and merge into a community of voices to speak of the dramatic experiences of Mexican migrant farm workers, “he” is Rivera himself, a writer coming to the awareness of his vocation and of the powers of identification with the other.

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