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By J. Brown

Cyborgs in Latin the USA explores the methods cultural expression in Latin the USA has grappled with the altering relationships among expertise and human id. The publication takes a literary and cultural stories technique in studying narrative, movie and ads campaigns from Argentina, Bolivia, Chile, Mexico and Uruguay via such artists as Ricardo Piglia, Edmundo Paz Sold?n, Carmen Boullosa and Alberto Fuguet between others. Using and criticizing theoretical types constructed via Katherine Hayles, Donna Haraway, Gilles Deleuze and Michel Foucault, the publication will entice experts and scholars of Latin American experiences; Posthuman thought; and Literature, technological know-how, and know-how reviews.

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Example text

The power of the cyborgs’ hybridity that Piglia creates comes because their undead bodies cannot be buried and forgotten. Their artificial lives continuously reveal their violent origins and, for that reason, they continue to threaten the cultures and regimes of silence that have plagued Argentina. They also suggest a different way of reading Elena’s cyborg body; one that engages Haraway’s ideas and then extends them within a view of cybernetic identity that is specific to its Argentine context.

It simultaneously anticipates a remark made by Elena a few pages later in the Molly Bloomesque monologue that concludes the novel, where she has completely revealed her mechanical nature: ¿Y ahora quién está ahí? ¿Fuyita? ¿Russo? No, quién va a venir a esta hora, sos loca, por qué esperás, te morís de cáncer, sos otra loca más, una loca cualquiera al borde de la muerte y ahora siento como un golpe de corriente, el suave refucilo en las vértebras, el electroshock que hacía empalidecer de terror a mi hermana María.

At the same time, the machine half of the hybrid is constructed as the remnant of the mechanical father, a horrible grafted emblem of pain that the living body suffers as a continual reminder of the living tissue that was destroyed by that father. The posthuman body’s hybridity is not embraced as inherently positive; it merely exists as the inevitable result of pain of state-induced trauma. In this light, the origin stories that Haraway rejects are, for Piglia, an essential element of P O S T H U M A N P O RTEÑ O S 39 cyborg identity.

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