Portal de Periódicos da CAPES

China in Argentine Exotismo : Contemporary Inventions of the Orient

2007; Routledge; Volume: 85; Issue: 1 Linguagem: Inglês

10.1080/14753820701791528

1478-3428

Amanda Holmes,

Asian Culture and Media Studies

Click to increase image sizeClick to decrease image size Notes 1The dates for Aira's novels in the text are those of the first edition of publication, rather than those that appear at the end of each novel. 2Martín Caparrós, ‘Nuevos avances y retrocesos de la nueva novela argentina en lo que va del mes de abril’, Babel, 2:10 (1989), 43–45 (p. 43). 3Graciela Montaldo, ‘Un argumento contraborgiano en la literatura argentina de los años 80 (Sobre C. Aira, A. Laiseca y Copi)’, Hispamérica: Revista de Literatura, 19:55 (1990), 105–12. 4Sandra Contreras, Las vueltas de César Aira (Rosario: Beatriz Viterbo Editora, 2002). 5César Aira's essay ‘Exotismo’ also debates Borges’ article. Here Aira argues against Borges that it is impossible for the author to shed his or her national identity. See César Aira, ‘Exotismo’, Boletín del Grupo de Estudios de Teoría Literaria, 3 (1993), 73–79. For a lucid discussion of the argumentation used in this essay by Aira, see Contreras, Las vueltas de César Aira, 74–85. 6Caparrós, ‘Nuevos avances’, 44. 7Montaldo, ‘Un argumento contraborgiano’, 106. 8Caparrós, ‘Nuevos avances’, 45. 9Edward W. Said, Orientalism (New York: Vintage Books, 1979). 10Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (New York: Routledge, 1992); Néstor García Canclini, Culturas híbridas: estrategias para entrar y salir de la modernidad (México DF: Consejo Nacional para la Cultura y las Artes, 1990). 11Julia A. Kushigian, Orientalism in the Hispanic Literary Tradition: In Dialogue with Borges, Paz, and Sarduy (Albuquerque: Univ. of New Mexico Press, 1991). 12Araceli Tinajero, Orientalismo en el modernismo hispanoamericano (West Lafayette: Purdue U. P., 2004). 13Peter Hulme, Colonial Encounters: Europe and the Native Caribbean (London: Routledge, 1992), 21. 14Nancy Vogeley, ‘China and the American Indies: A Sixteenth-Century “History” ’, Colonial Latin American Review, 6:2 (1997), 165–84. 15Tinajero, Orientalismo en el modernismo hispanoamericano, 9–11. 16Roberto Echevarría cites this as the first year in which Chinese were brought to Cuba. According to his research, by 1858 a Chinese restaurant had already been opened in Havana (Roberto González Echevarría, ‘Introducción’, in Severo Sarduy, De donde son los cantantes [Madrid: Cátedra, 1993], 15–83 [pp. 50–51]). 17Wei Djao, Being Chinese: Voices from the Diaspora (Tucson: Univ. of Arizona Press, 2003), 23. 18Cuba was the first Latin-American country to establish relations with China in 1961, but it is only since the collapse of the Soviet Union that Cuba's ties with China have increased significantly. 20Ferry, ‘China as Utopia’, 250. 19Megan M. Ferry, ‘China as Utopia: Visions of the Chinese Cultural Revolution in Latin America’, Modern Chinese Literature and Culture, 12:2 (2000), 236–69 (p. 239). 21In her incisive study, Ferry observes similarities between the propaganda posters circulated by the Chinese government and those produced by the Shining Path in the 1980s. The second half of her article focuses on the Peruvian interpretation of China during the Cultural Revolution. 22Ferry, ‘China as Utopia’, 254–56. 23Contreras, Las vueltas de César Aira, 68–72. 24César Aira, Copi (Rosario: Beatriz Viterbo Editora, 1991), 21. 25Aira follows Copi in his use of the image of the miniature in his work. See Aira's series of essays, Copi. 26Ferry, ‘China as Utopia’, 254. 27César Aira, Una novela china (Buenos Aires: Javier Vergara Editor, 1987), 8. All subsequent references to the novel are to this edition. 28Reinaldo Laddaga, ‘Una literatura de la clase media. Notas sobre César Aira’, Hispamérica: Revista de Literatura, 30:88 (2001), 37–48. 29Verónica Delgado, ‘Las poéticas antirrepresentativas en la narrativa argentina de las dos últimas décadas: César Aira, Alberto Laiseca, Copi, Daniel Guebel’, Celehis: Revista del Centro de Letras Hispanoamericanas, 6:6–8 (1996), 255–68. 30Instead of having his own child, Lu Hsin adopts Hin, reflecting the lot of the contemporary artist to recycle, or to employ artistic strategies that have already been used.