Contemporary World Narrative Fiction and the Spaces of Neoliberalism

Walonen, Michael K.

doi:10.1007/978-1-137-54955-6

Cited by 7 publications

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“…Nevertheless, the emotionalization of culture is a process rooted in neoliberalism "that began to rear its head during 1970s" (Walonen, 2016, 2) so as to resolve the falling in global profit rates 13 that have marked the beginning of the actual systemic crisis (Harman, 2009;Skidelsky and Wigströn, 2010;Harvey, 2010;Quiggin, 2010). In other words, capitalism is broken; for this reason, they were implemented several measures to face this crisis such as the development of a financial system, the expansion of post-postmodernism, the neoliberal policies, the creation of Web 1.0 and 2.0, and among other things unnatural narratives, which were born in coincidence with the crisis of 2007-2008 (see Nielsen, 2016).…”

Section: The Emotional and The Neoliberal In Unnatural Narrativesmentioning

confidence: 99%

Unnatural Narratives, Emotions, and Neoliberalism

Vargas

2018

Sapientiae

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From the perspective of dialectics and its notion of Wissenschaft (science) implemented into Latin American Marxist Studies of Culture and Media, this article aims at analyzing unnatural narratives developed by authors such as Jan Alber, Henrik Skov Nielsen, etc., in relation to the emphasis on the emotional linked to bio-politics and post-postmodernism. It studies some elements as the violation of the excluded middle from the formal logics into unnatural narratives, as a means to eliminate the notion of mimesis, and at the same time through the non-referentiality and the abstracted, to accentuate the irrational (the emotional). Besides, these narratives are understood as a means of social control and of collaboration in the improvement of the extraction of surplus value, in the context of the current systemic crisis of capitalism. Also, it is assumed a critical position in regard to these narratives, since, in political terms, it is not possible to accept this economic strategy, disguised as a narratological paradigm, with nuances of social control, in the context of the Third-World countries.

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Section: The Emotional and The Neoliberal In Unnatural Narrativesmentioning

confidence: 99%

Unnatural Narratives, Emotions, and Neoliberalism

Vargas

2018

Sapientiae

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“…There is an emerging corpus of world literary fiction that seeks to come to terms with the deteriorated social circumstances brought on in different parts of the world by the global turn toward a neoliberal political economy (for analysis see Walonen, 2016; 2018). One way in which contemporary writers have sought to come to terms with neoliberalism that has yet to receive adequate attention is by reconsidering the popular leftist movements of the past either through the vehicle of historical fiction or through characters in contemporary settings who were part of these movements in their younger days.…”

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confidence: 99%

Enrique Mendieta and the Ghosts of Leftism Past: The Aftereffects of Mexico’s Dirty War in Élmer Mendoza’s Detective Fiction

Walonen¹

2020

Latin American Perspectives

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The continuance of the revolutionary strife of Mexico’s dirty war into the present day, both as a legacy and in the form of its survivors, resonates strongly in the work of the novelist Élmer Mendoza. Mendoza’s early novel Janis Joplin’s Lover uses its protagonist to portray a 1970s Mexico torn between a revolutionary path of collective social amelioration and the corrupt, mercenary self-interest embodied by Mexican narco-traffickers, with the country pushed toward the latter through the repression of student activists by the Mexican state. Mendoza’s five subsequent novels that center on the exploits of detective Lefty Mendieta focus on the fallout from this period of repression, using the figure of Lefty’s brother Enrique, a former leftist guerrilla, to represent a lost (but not totally lost) egalitarian and socially just alternative to the neoliberal political economy that has ravaged the living conditions of most Mexicans for almost four decades. La continuada lucha revolucionaria en el marco de la guerra sucia que ha caracterizado a México hasta la hoy en día, tanto como legado a la vez que en la presencia de sus sobrevivientes, resuena poderosamente en la obra del novelista Élmer Mendoza. La primera novela de Mendoza, Janis Joplin’s Lover, utiliza a su protagonista para retratar a México en la década de 1970, dividido entre un camino revolucionario de mejora social colectiva y el corrupto y mercenario interés propio encarnado por los narcotraficantes mexicanos; el país se ve empujado en esta última dirección a través de la represión de los activistas estudiantiles por parte del Estado. Las cinco novelas posteriores de Mendoza, centradas en las hazañas del detective Lefty Mendieta, se centran en las consecuencias de este período de represión y emplean la figura de Enrique, el hermano de Lefty, un ex guerrillero izquierdista, para representar la pérdida (si bien no total) de una alternativa igualitaria y socialmente justa en oposición a la economía política neoliberal que mermado las condiciones de vida de la mayoría de los mexicanos durante casi cuatro décadas.

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Introduction: The Unfinished Project of Decolonisation

Spencer

2021

Dictators, Dictatorship and the African Novel

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Contemporary World Narrative Fiction and the Spaces of Neoliberalism

Cited by 7 publications

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Unnatural Narratives, Emotions, and Neoliberalism

Unnatural Narratives, Emotions, and Neoliberalism

Enrique Mendieta and the Ghosts of Leftism Past: The Aftereffects of Mexico’s Dirty War in Élmer Mendoza’s Detective Fiction

Introduction: The Unfinished Project of Decolonisation

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