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Copyright by Cynthia Alicia Francica 2015 Copyright by Cynthia Alicia Francica 2015 The Dissertation Committee for Cynthia Alicia Francica Certifies that this is the approved version of the following dissertation: Distant Intimacies: Queer Literature and the Visual in the U.S. and Argentina Committee: Ann Cvetkovich, Co-Supervisor Andrea Giunta, Co-Supervisor Luis Cárcamo-Huechante Lisa Moore Elizabeth Richmond-Garza Distant Intimacies: Queer Literature and the Visual in the U.S. and Argentina by Cynthia Alicia Francica, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2015 Dedication To my family, who walked this long, wonderfully rough road with me. And to Sebastián Vidal, my partner, next to whom I imagined, dreamt of, and wrote this dissertation. Acknowledgements This dissertation would not have been possible without the rich intellectual, creative, and affective exchanges which I feel very fortunate to have experienced throughout the years. I am most grateful for the generous intellectual support of Ann Cvetkovich and Andrea Giunta, my advisors and dissertation chairs, who in unique ways have inspired and informed this dissertation. Ann Cvetkovich was among the very first people I met at The University of Texas at Austin: her intellectual and professional work has helped shape my academic thinking in more ways than I can describe. Throughout the long road we traveled together, her constant feedback and support were invaluable to help me bear with and work through the complexities of this comparative, interdisciplinary dissertation. Our fruitful conversations encouraged me to consistently and stubbornly look beyond the localized specificities of my cases and objects in order to gain a bird’s eye view of this writing and its stakes. Thank you, Ann, for your rock-solid dedication and support - I feel immensely grateful for the years I have shared and learned from you. Ever since I took my first course with Andrea Giunta back in 2009, her lucid insights and first-hand experience of the world of Latin American and Argentine art have served as an ever-reliable compass for my inquiries. Our many conversations have deepened my understanding of the complexities of the scenes I set out to investigate, as has her feedback on this project’s investment in the visual. She generously opened the doors of CLAVIS (Center for Latin American Visual Studies at UT Austin) for me, enabling me not only to become immersed in Latin American art and art history but also to experience first-hand the disciplinary concerns and methodological approaches of the field. Andrea, your support meant more than I can describe, and it has been a pleasure v and a priviledge to share and learn from you not only academically and professionally but also personally throughout these years. I have been inspired by Lisa Moore since the beginning of my studies at UT Austin. It was at her ‘Lesbian Genres’ class where I first experienced her heart-felt feminist pedagogy. From her I have learnt the value of trusting my own process and staying close to my objects of study. Her suggestions and feedback on the U.S. poetry scene led my research in exciting and unexpected directions, contributing to shape this dissertation. Crucially, this research would not have been possible without her unwavering support – she believed so much in me and this project that she helped me believe in it whenever I was feeling lost. I am greatly indebted to Luis Cárcamo- Huechante for his insights on Latin American literature and culture and for our independent course on Southern Cone writing, which helped shape the course of this research. I am very grateful for the opportunity to work together to visibilize Latin American poetry within the university community and for his generosity in sharing thoughts and ideas on my work both in formal and informal settings. Last but not least, Elizabeth Richmond-Garza provided sharp and expert feedback on the comparative, methodological, and theoretical aspects of this project. In her role as Director of the Program in Comparative Literature, her intellectual insights and logistical support were crucial to my graduate school years and to the completion of this dissertation – her commitment to the program and its students is truly unparalled. I have learnt as much from my peers as I did from my teachers. Luis Adrián Vargas Santiago and Sebastián Vidal deserve special recognition: our dissertation group was instrumental in shaping my research and writing. Their detailed, thoughtful feedback on this dissertation’s many drafts made this project better than I ever could have. Our late night conversations and intellectually exciting brainstorming sessions, where we became vi good at thinking in unison, allowed me to envision the more ambitious aspects of my project. Thank you, Luis and Sebastián, for our many, many intellectual and personal exchanges – your friendship and the support we gave each other all these years kept me writing even through the inevitable periods of frustration and doubt. I have also benefited from the insights, feedback, and support generously provided by the dissertation group which, led by Ann Cvetkovich, gathered a group of graduate students which included Brianna Jewel, Stephanie Rosen, Emily Lederman, Lisa Gulesserian, Sarah Orem, Hala Herbly, Lauren Gantz, and Pearl Brilmyer. I feel grateful for the sharp contributions of Tatiana Reinoza, Lokeilani Kaimana, and Stephanie Rosen to the conceptualization of my project’s stakes and main claims in our job search work group. I would also like to acknowledge the impact which CLAVIS and its Permanent Seminar in Latin American Art had on the development of my thinking. There I received invaluable feedback on my project from Andrea Giunta, George Flaherty, Eddie Chambers, Dorota Biczel, and Cristóbal Jácome, among others. Many other people at The University of Texas at Austin have contributed to this dissertation. I have benefited from the generous support and suggestions of Arturo Arias, Jill Robbins, César Salgado, and Gabriela Polit, among many others. I would particularly like to thank Women and Gender Studies librarian Kristen Hogan for helping me imagine and realize another iteration of this project in the form of a UT Austin Poetry Center exhibit of the Argentine and U.S. literary chapbooks I study. I am very grateful to my ever-present friends Fatma Tarlaci and Luis Adrián Vargas Santiago who, in a collective effort which resonated with the materials showcased, helped me put the exhibit together, and to poet Tamara Kamenszain for holding a stimulating public conversation with me at the opening event. This visual exhibit, along with the acquisition of the Argentine collection of chapbooks by UT Libraries, were made possible by the support of the UT vii Poetry Center, the Program in Comparative Literature, and Teresa Lozano Long Institute of Latin American Studies’ (LILLAS) Argentine Studies grant. The research and writing of this dissertation were generously supported by UT Austin’s Graduate School, the College of Liberal Arts, the Program in Comparative Literature, LILLAS, the Center for Women and Gender Studies, Social Science Research Council (SSRC), the Andrew W. Mellon Foundation, Latin American Studies Association (LASA), and Modern Language Association (MLA). The research for this project was greatly facilitated by access to institutional and private archives and to the protagonists of the scenes I study, who freely contributed their time, memories, and materials. Special thanks to Fernanda Laguna, Cecilia Pavón, Gabriela Bejerman, Pablo Pérez, Roberto Jacoby, Krystal Languell, Lila Zemborain, Stuart Krimko, Jane Brodie, Susana Cook, Silvana Lacarra, Leo Chiachio, Daniel Giannone and Diego Bianchi, and to the staff of Argentina’s Fundación Espigas and Chile’s CEDOC. In Argentina and abroad, Nora Domínguez, Claudia Ferradas Moi, Cecilia Palmeiro, the members of SEGAP and FLACSO’s ‘Núcleo de Estudios Sociales sobre la intimidad, los afectos y las emociones,’ my colleagues during my years teaching at UT’s Plan II Honors Program, Pamela Scully, Dorothy Hodgson, and the rest of the ‘Gender Justice and Human Rights’ SSRC dissertation proposal working group, and the members of NYU’s Hemispheric Institute’s Encuentro seminars have all been excellent interlocutors for this project. My mother and sister were a constant source of encouragement and support, as were the many friends I found in Austin throughout the years. I could never have pulled this off without you! Finally, my partner Sebastián Vidal is at the very heart of this writing. His tenderness, patience, understanding, and constant willingness to pick up the pieces and help me put them back together have kept me sane and warm all these Texas years. viii Distant Intimacies: Queer Literature and the Visual in the U.S. and Argentina Cynthia Alicia Francica, Ph.D. The University of Texas at Austin, 2015 Co-Supervisors: Ann Cvetkovich and Andrea Giunta This dissertation focuses on literary and visual works produced by queer/feminist Argentine press and art gallery ‘Belleza y Felicidad’ (1999-2007) and its encounter with ‘Belladonna*’ (1999-present), a U.S. reading series and publishing project. It seeks to describe the ways in which the precarious modes of production, circulation, and reception of the literary and visual artworks of ‘Belleza y Felicidad’ both enable and are enabled by local and hemispheric social networks grounded on embodied, affective approaches to aesthetic practices. I argue that those queer/feminist creative networks become embedded in works by authors such as Fernanda Laguna, Pablo Pérez, César Aira, and Roberto Jacoby. Bringing academic attention to the fragile materiality of the works produced by these authors, my research involves an effort to map, collect and register the ephemeral literary and visual archive of this crucial moment of Latin American queer cultural production.
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