{"id":1608,"date":"2020-06-12T11:12:16","date_gmt":"2020-06-12T11:12:16","guid":{"rendered":"https:\/\/www.upo.es\/investiga\/enredars\/?page_id=1608"},"modified":"2023-12-30T17:02:34","modified_gmt":"2023-12-30T16:02:34","slug":"la-negritud-y-su-poetica-practicas-artisticas-y-miradas-criticas-contemporaneas-en-latinoamerica-y-espana","status":"publish","type":"page","link":"https:\/\/www.upo.es\/investiga\/enredars\/?page_id=1608","title":{"rendered":"La negritud y su po\u00e9tica. Pr\u00e1cticas art\u00edsticas y miradas cr\u00edticas contempor\u00e1neas en Latinoam\u00e9rica y Espa\u00f1a"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"1608\" class=\"elementor elementor-1608\" data-elementor-settings=\"[]\">\n\t\t\t<div class=\"elementor-inner\">\n\t\t\t\t<div class=\"elementor-section-wrap\">\n\t\t\t\t\t\t\t<section class=\"elementor-element elementor-element-b64a2ab elementor-section-boxed elementor-section-height-default elementor-section-height-default elementor-section elementor-top-section\" data-id=\"b64a2ab\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t<div class=\"elementor-element elementor-element-0a75af6 elementor-column elementor-col-100 elementor-top-column\" data-id=\"0a75af6\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap  elementor-element-populated\">\n\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3d327f0 elementor-widget elementor-widget-spacer\" data-id=\"3d327f0\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-element elementor-element-2152aab elementor-section-boxed elementor-section-height-default elementor-section-height-default elementor-section elementor-top-section\" data-id=\"2152aab\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c9ea84a elementor-column elementor-col-50 elementor-top-column\" data-id=\"c9ea84a\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap  elementor-element-populated\">\n\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e2e7dd9 elementor-widget elementor-widget-image\" data-id=\"e2e7dd9\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-image\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/libros.cc\/La-negritud-y-su-poetica.htm\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"213\" height=\"300\" src=\"https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2020\/06\/Le-negritud_portada-213x300.jpg\" class=\"elementor-animation-bounce-in attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2020\/06\/Le-negritud_portada-213x300.jpg 213w, https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2020\/06\/Le-negritud_portada-725x1024.jpg 725w, https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2020\/06\/Le-negritud_portada-768x1084.jpg 768w, https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2020\/06\/Le-negritud_portada-1088x1536.jpg 1088w, https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2020\/06\/Le-negritud_portada-1451x2048.jpg 1451w, https:\/\/www.upo.es\/investiga\/enredars\/wp-content\/uploads\/2020\/06\/Le-negritud_portada-scaled.jpg 1814w\" sizes=\"(max-width: 213px) 100vw, 213px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-865fbf0 elementor-column elementor-col-50 elementor-top-column\" data-id=\"865fbf0\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap  elementor-element-populated\">\n\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8e3df1d elementor-widget elementor-widget-text-editor\" data-id=\"8e3df1d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\"><p>Detalles del libro<\/p>\n<ul>\n<li>Editora: Adrea D\u00edaz Mattei<\/li>\n<li>Editoriales: Enredars Publicaciones y BMR Productora Cultural<\/li>\n<li>9.\u00ba volumen de la colecci\u00f3n AcerVos<\/li>\n<li>ISBN: 978-9974-8754-5-6<\/li>\n<li>A\u00f1o de publicaci\u00f3n: 2019<\/li>\n<li>N\u00famero de p\u00e1ginas: 490<\/li>\n<\/ul>\n<h3 style=\"text-align: center;\"><a href=\"https:\/\/libros.cc\/La-negritud-y-su-poetica.htm\"><strong>Comprar ahora<\/strong><\/a><\/h3><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-element elementor-element-8fb324d elementor-section-boxed elementor-section-height-default elementor-section-height-default elementor-section elementor-top-section\" data-id=\"8fb324d\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3117634 elementor-column elementor-col-100 elementor-top-column\" data-id=\"3117634\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap  elementor-element-populated\">\n\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t<div class=\"elementor-element elementor-element-17e5755 elementor-widget elementor-widget-spacer\" data-id=\"17e5755\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-element elementor-element-24d84c80 elementor-section-boxed elementor-section-height-default elementor-section-height-default elementor-section elementor-top-section\" data-id=\"24d84c80\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t<div class=\"elementor-element elementor-element-76f82ed8 elementor-column elementor-col-100 elementor-top-column\" data-id=\"76f82ed8\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap  elementor-element-populated\">\n\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t<div class=\"elementor-element elementor-element-2cc12941 elementor-widget elementor-widget-text-editor\" data-id=\"2cc12941\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\"><!-- wp:paragraph -->\n<p>\u00a0<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><em><strong>Introducci\u00f3n<\/strong><\/em><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8410\">Or\u00edgenes y derivas del t\u00e9rmino Negritud. Un recorrido por las pr\u00e1cticas art\u00edsticas de ayer y hoy<\/a>. D\u00edaz Mattei, Andrea (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><em><strong>Huellas art\u00edsticas e hist\u00f3ricas de la negritud<\/strong><\/em><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8411\"><em>\u2026Porque est\u00e1s como ausente<\/em>. Evocar la negritud en Sevilla, hoy<\/a>. Quiles Garc\u00eda, Fernando (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8412\"><em>Los mulatos de Esmeraldas<\/em> (1599): afrofuturismo en el museo<\/a>. Fra Molinero, Baltasar (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8413\">Invisibilidad y discriminaci\u00f3n: la representaci\u00f3n del sujeto afro en la novela <em>La negra Angustias<\/em> de Francisco Rojas Gonz\u00e1lez<\/a>. Cabezas Vargas, Gustavo Adolfo; Ruiz Tresgallo, Silvia (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8414\">(Re)Pensar el Caribe: Wifredo Lam y su retorno al pa\u00eds natal<\/a>. O&#8217;Neill, Elena (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><em><strong>Negritud, pensamiento y arte contempor\u00e1neo<\/strong><\/em><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8415\">Narrativas insurgentes en el arte afrobrasile\u00f1o contempor\u00e1neo<\/a>. Sardelich, Mar\u00eda Emilia (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8416\">Adriano Machado, el territorio usado y la vida como geograf\u00eda<\/a>. Gatti, F\u00e1bio (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8417\">Colonizaci\u00f3n, cultura y poder: \u00bfpor qu\u00e9 las esculturas africanas no consiguen salir de los m\u00e1rgenes del arte?<\/a> Proen\u00e7o de Oliveira, Juliana (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8418\"><em>El blanco es relativo<\/em>. Reflexiones sobre la identidad \u00e9tnico-cultural en la obra de Javier Calvo Sandi<\/a>. Rodr\u00edguez-Mateo, Juan Ram\u00f3n (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8419\">Apuntes sobre la negritud en el cine brasile\u00f1o<\/a>. Amar, V\u00edctor (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><em><strong>\u00c9ticas y pol\u00edticas de la negritud<\/strong><\/em><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8420\"><em>Pobreza Negra<\/em>: capital y exclusi\u00f3n<\/a>. Solano Rivera, Silvia Elena (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8421\">Negritud y pos-africanidad: la di\u00e1spora haitiana en Miami<\/a>. Gadea, Carlos A. (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8422\">Nacionalismo asimilacionista en el ideario educativo de Gagini, Dobles Segreda y Dengo<\/a>. Solano Rivera, Silvia Elena; Ram\u00edrez Caro, Jorge (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8423\"><em>Esa cuesti\u00f3n de que el negro se muestre<\/em>: performance y raza en dos proyectos sociales de Brasil y Argentina<\/a>. Greco, Lucrecia (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8424\"><em>Rosa<\/em>: la memoria del di\u00e1logo. Teatro, resistencia y negritud en Quito<\/a>. Tat\u00e9s Anangon\u00f3, Pablo; Amador Rodr\u00edguez, Bel\u00e9n (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><em><strong>Feminismos y negritud<\/strong><\/em><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8425\">Si los h\u00e9roes fueran negros: Liliana Angulo y los debates de la masculinidad afrocolombiana<\/a>. Giraldo, Sol Astrid (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8426\">Me pinto a m\u00ed misma. Cuerpo, negritudes y procesos de memoria en Honduras<\/a>. Dobinger-\u00c1lvarez Quioto, Josefina (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8427\">Inc\u00f3moda cimarrona. Alicia Camacho resonando entre la memoria, la palabra y la resistencia<\/a>. Ardito Aldana, Lorena (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8428\">Performar la negritud. Desde voces negras a las performances de Jeannette Ehlers, Josefina B\u00e1ez y Sharon Bridgforth<\/a>. Avenda\u00f1o Santana, Lynda (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><strong><em>Itinerarios de la memoria \u201cnegra\u201d en ciudades espa\u00f1olas<\/em><\/strong><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8429\">Esclavismo, patrimonio y espacio p\u00fablico. Activando las memorias negreras en las rutas urbanas de Barcelona<\/a>. Medici, Antonella (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8430\">La Sevilla africana: una ruta hist\u00f3rico-tur\u00edstica por el patrimonio negro de la ciudad<\/a>. Moreno, Ana (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8432\"><em>Los invisibles<\/em> de Jes\u00fas Cosano: rutas de los negros de Sevilla<\/a>. D\u00edaz Mattei, Andrea (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><em><strong>Palabras finales<\/strong><\/em><\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p><a href=\"http:\/\/hdl.handle.net\/10433\/8431\">Miradas cr\u00edticas contempor\u00e1neas y m\u00e1s all\u00e1<\/a>. D\u00edaz Mattei, Andrea (Enredars\/BMR, 2019)<\/p>\n<!-- \/wp:paragraph --><!-- wp:paragraph -->\n<p>D\u00cdAZ MATTEI, A. (ed.), <em>La negritud y su po\u00e9tica. Pr\u00e1cticas art\u00edsticas y miradas cr\u00edticas contempor\u00e1neas en Latinoam\u00e9rica y Espa\u00f1a<\/em>, Montevideo, BMR Productora Cultural &#8211; Sevilla, Publicaciones Enredars, 2019.<\/p>\n<!-- \/wp:paragraph --><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Detalles del libro Editora: Adrea D\u00edaz Mattei Editoriales: Enredars Publicaciones y BMR Productora Cultural 9.\u00ba volumen de la colecci\u00f3n AcerVos[&#8230;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-fullwidth.php","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/www.upo.es\/investiga\/enredars\/index.php?rest_route=\/wp\/v2\/pages\/1608"}],"collection":[{"href":"https:\/\/www.upo.es\/investiga\/enredars\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.upo.es\/investiga\/enredars\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.upo.es\/investiga\/enredars\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.upo.es\/investiga\/enredars\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1608"}],"version-history":[{"count":15,"href":"https:\/\/www.upo.es\/investiga\/enredars\/index.php?rest_route=\/wp\/v2\/pages\/1608\/revisions"}],"predecessor-version":[{"id":2751,"href":"https:\/\/www.upo.es\/investiga\/enredars\/index.php?rest_route=\/wp\/v2\/pages\/1608\/revisions\/2751"}],"wp:attachment":[{"href":"https:\/\/www.upo.es\/investiga\/enredars\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1608"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}