“The conclusions corroborate that the work of Llorens constitutes the first and the most urgent and ubiquitous literary anti-neocolonial response. He articulated strategies of cultural resistance defined in terms of race and gender to establish a dialogue with the colonizer to state similarities, differences and the supremacy of the colonized. Although in his attempt Llorens became a negative model of what the pos-colonial theory critics censor, indirectly, his influence persists. One example is found in the literary works of Edgardo Rodríguez Juliá. As Llorens did, when Rodríguez Juliá tries to decolonize the writer affected by the modernity brought back by the neo-colonizer..” (Literature and Neocolonialism: The Luis Llorens Torres’ Case:: A Thesis in Spanish. Carmen J. Jiménez.
https://etda.libraries.psu.edu/files/final_submissions/1000)
https://etda.libraries.psu.edu/files/final_submissions/1000)
Modernity in “las letras” or in “la kultur” or in its latter recycled version, the formalist-verborrea-multipisos-estructuralista, “quizás” influnced, but did not determine Bad Bunny’s “seguir el flujo del flow” or a great deal of the “consciencia colectiva” expressed thru the ways and ways of the “bregar portoricensis”: perreo as opposed to pasos, having to put up with the use of the “tú” without any kind of class, age, space distinction, or “cabrón” acquiring as many meanings as the young speakers in Santurce choose to refer to, when talking about an innocent trip to the beach: “estaba cabrón”.
A few decades later (the course on the education of the Puerto Rican child was a quality leap on my own education), much against my “décima-inclined” taste, ideas on the topic are triggered by the force of what Mayra Montero called a new language, “reguetón”. Mostly developed in the urban proletariat communities in Puerto Rico, according to Montero, it transcends musical issues, and has affected a lot of the young Latin American world beyond the island. The idea -in need of further study- is placed in a larger context and llnked to the adolescent-young adult generation, leading a revolt (“resistencia” es como ellos lo llaman) that forced for the first time in the island’s history, the resignation of the governor and his cabinet.
Questions and wonders “destapados” by language changes, reguetón, “la resistencia de los milenials”, how Puerto Ricans are currently educated, their responses to what it is essentially a colonialist enterprise: culturally, economically, military, constitutionally (or lack of, as it is currently being demonstrated by “La Junta de Obama”); and, most of all, by a very strong collective-self, quite different from Joe and Mary’s picket-fence, plastered cardboard, faux-genre homes, “en las tierras marcians de Ray Bradbury”.
The young Puerto Rican does not to have wait any longer until "que los gatos meen", to state her opinion, "mozos” are milenials; and he might wear fashion’s latest in Paris, New York or Villa Carolina or form a cooperative in Adjuntas, growing and selling organic coffee in a kiosko in the Hatillo mall. Some continue to move beyond the island's geography; others are represented by hipsters in La Placita, not longer calling “viandas majadas” by its old name; but, instead, changing it to “majado de viandas”, proving that Peyo Mercé and “el jíbaro que dijo ‘unjú’” are still there forming and informing the Puerto Rican child.
No comments:
Post a Comment