I am an interdisciplinary scholar working at the intersections of Latinx, American, and Latin American studies, with an emphasis on transnational approaches to these fields. My scholarship is animated by two commitments. First, I aim to recover and foreground the voices and forms of knowledge produced by colonized and dispossessed peoples. Second, I am dedicated to examining the transnational and historically informed presence and contributions of Latinx people to the making of the U.S. nation. To these ends, my work foregrounds the continuous life of Mexican Americans within and around the United States, especially through an analysis of their literary and cultural expressions, a focus on Spanish-language print culture materials, and by seeking out archives that illuminate Mexican American struggles over inequalities. I also examine Mexico’s continuing role as a protagonist in the making of Mexican American political subjectivities. By this I mean that I consider Mexican Americans’ continuing commitment to Mexican politics and culture even as their lives were embedded in the U.S. imperial order as a consequence of the U.S.-Mexican war. Such work not only provides a historical grounding for contemporary Chicanx identities, it adds an attention to the long history of their roles as dynamic agents in multiple nations, and to the influence of other national projects in the U.S. national space. I am currently working on a book manuscript that grapples with such issues by studying Mexican American engagements with the Mexican Revolution. Titled “Revolutionary Subjects: The Mexican Revolution in Mexican American Cultural Politics, 1910-1959,” the book argues that Mexicans in the United States responded to the political and social exigencies arising from the Revolution in ways that were influenced by their conditions as members of an embattled and emerging ethnic group. These engagements resulted in a geopolitically-grounded border knowledge that imagined Mexican American relationships to and critiques of the United States in ways that were mediated by their engagements with Mexican politics and culture. This project allows for a continued examination of how Mexican Americans have been excluded from the United States, but adds a focus on how they have operated as dynamic parts of multiple nations and of transnational phenomena. I have published essays related to this work in Women’s Studies Quarterly, CR: The New Centennial Review, and in the volume Open Borders to a Revolution: Culture, Politics, and Migration (eds. Jaime Marroquín Arredondo, Adela Pineda Franco, and Magdalena Mieri). Moreover, my research emphasizes the collective effort of recovering and examining little-known source materials that are vital to continued innovation of thought. Most of the literary works I examine in my book manuscript were originally written in the early twentieth century and have been recovered recently. I have engaged most directly in the process of recovery through my work on Spanish-language newspapers in the U.S. Southwest—an archive I draw from extensively in my scholarship. My work on early twentieth-century newspaper and literary writings by Mexicans in the United States led to my appointment as a contributing editor for the Heath Anthology of American Literature in 2011. I am also on the national advisory board for the Recovering the U.S. Hispanic Literary Heritage Project directed by Nicolás Kanellos and based at the University of Houston.
Dr. Cynthia Gabbay holds a PhD (2012) in Romanic and Latin American Studies from The Hebrew University of Jerusalem. Her book Los ríos metafísicos de Julio Cortázar: de la lírica al diálogo was published in 2015. A manuscript on Street Art in Buenos Aires: Symbols of a Revolution, resulting from a fellowship from The Harry S. Truman Research Institute for the Advancement of Peace at The Hebrew University of Jerusalem is in preparation. She completed a second postdoctoral research on comparative literature at the University of Haifa and actually she is in postdoctoral research at The Elyachar Center at Ben Gurion University. She is also a research associate at the European Research Council’s project “Apartheid–The Global Itinerary: South African Cultural Formations in Transnational Circulation, 1948-1990” directed by Dr. Louise Bethlehem. Further research interests are studies on intertextuality and architextuality, Latin American modern poetry and literature, converso literature in the Spanish colonies, political art, anarchist phenomena, semiotics and metafiction.
Donald Judd’s 1964 essay ‘Specific Objects’ probably remains his most well-known. In it, he described new artworks characterized by, among other features, ‘a quality as a whole’ instead of conventional ‘part-by-part structure,’ the ‘use of three dimensions’ and ‘real space’ as opposed to depiction, ‘new materials [that] aren’t obviously art,’ and the unadorned appearance and ‘obdurate identity’ of materials as they are. Judd held that the ‘shape, image, color and surface’ of these objects were more ‘specific,’ that is to say, ‘more intense, clear and powerful,’ than in previous art. While these positions demonstrate Judd’s subjective preferences as an artist and art critic, they also convey some of the wider debates driving American avant-garde practices in the 1960s, such as the supposed ‘insufficiencies of painting and sculpture’ as mediums. Art historians tend to find such breadth appealing of course – sweeping statements bring retrospective order to what was actually haphazard and unruly. But Judd knew that you lose much in eliminating complexity for the sake of clarity. He emphasized this point in his earlier essay ‘Local History’ so as to qualify the more general of his own arguments. ‘The history of art and art’s condition at any time are pretty messy,’ he declared. ‘They should stay that way.’
If we distinguish phenomenal effects from their noumenal causes, the former being our conceptual(ized) experiences, the latter their grounds or causes in reality ‘as it is’ independent of our experience, then two contradictory positions with regards to the relationship between these two can be distinguished: either phenomena are identical with their noumenal causes, or they are not. Davidson is among the most influential modern defenders of the former position, metaphysical non-dualism. Dharmakīrti’s strict distinction between ultimate and conventional reality, on the other hand, may be one of the most rigorously elaborated theories of the opposite position, metaphysical dualism. Despite this fundamental difference, their theories about the connection between phenomena and their noumenal causes are surprisingly similar in important respects. Both Dharmakīrti in his theory of ‘apoha’ and Davidson in his theory of ‘triangulation’ argued that the content of words or concepts depends on a process involving at least two communicating beings and shared noumenal stimuli. The main point of divergence is the nature of classification, but ultimately Dharmakīrti’s and Davidson’s conclusions on he noumenal – phenomenal relationship turn out to complementary more than contradictory, and an integrative reconstruction suggests a ‘middle path’ between dualism and non-dualism.
My research focuses on 18th, 19th, and early 20th century Spanish literature and culture, as well as contemporary representations of those periods. More specifically, I have devoted special attention to the works of Miguel de Unamuno, in addition to preparing several annotated editions of Spanish texts from the 1800s.
A start: “The digital Archive of the Spanish Civil War and the Francoist Dictatorship is an initiative of UCSD in collaboration with several Spanish civic associations, such as the ARMH (Asociación para la Recuperación de la Memoria Histórica), the Asociación de Ex-presos y Represaliados Políticos, the Federación Estatal de Foros por la Memoria and others.” LibGuide on archival […]
Contemporary Spanish literature, film, and culture; memory studies; feminist, gender, and women’s studies
Dr. Figueredo is Associate Professor at the Department of Languages, Literatures and Linguistics at York University, where she teaches courses in Spanish and Spanish American literature. Her research focuses on the relationship of literature and music in Latin America, music as a subtext in women’s writing, and contemporary innovations in Spanish American literature. Professor Maria Figueredo was awarded the 2016 President’s University-wide Teaching Award.