{"id":529,"date":"2026-07-31T18:28:57","date_gmt":"2026-07-31T23:28:57","guid":{"rendered":"https:\/\/lacisreview.lacis.wisc.edu\/?page_id=529"},"modified":"2026-08-21T11:04:25","modified_gmt":"2026-08-21T16:04:25","slug":"issue-2-fall-winter-2023","status":"publish","type":"page","link":"https:\/\/lacisreview.lacis.wisc.edu\/?page_id=529","title":{"rendered":"Issue # 02"},"content":{"rendered":"\n
\"\"<\/span>

Issue # 02<\/h1>\n\n\n

Fall\/Winter 2023 <\/h2>\n\n\n\n

Moving Borders Dissolving Borders<\/h1>\n<\/div><\/div>\n\n\n\n
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Edge Duality: Navigating the Boundaries Between \u201cI\u201d and \u201cOther\u201d<\/a><\/h2>\n\n\n\n

Beatriz Botero <\/p>\n\n\n\n

The most powerful border of all is built in the intricate dance between mother figure and newborn. This is where the concepts of \u201cI\u201d and \u201cother\u201d are born, where the roots and their psychic rhizomes connect and develop. Process that never ends.<\/p>\n\n\n\n

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Read more<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>
\"Image<\/figure><\/div>\n\n\n\n
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Through the Lens of Borders<\/h2>\n\n\n\n
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\"Traditional<\/figure>\n\n\n\n
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Addison Nace<\/p>\n\n\n\n

Cuerpo-Territorio<\/em>, Clothing and Cultural Appropriation in Zinacant\u00e1n, Mexico<\/a><\/h3>\n<\/div>\n\n\n\n
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\n\t\n\t\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t<\/svg>\n\t\t\t\t<\/span>\n\t\t\t\t\tRead More<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/svg>\n\t\t\t<\/div>\n\t\t\t\t\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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\"A<\/figure>\n\n\n\n
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Stephen McNabb<\/p>\n\n\n\n

The Andean Ayllu and the Weaving of Borders<\/a><\/h3>\n<\/div>\n\n\n\n
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\n\t\n\t\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t<\/svg>\n\t\t\t\t<\/span>\n\t\t\t\t\tRead More<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/svg>\n\t\t\t<\/div>\n\t\t\t\t\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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\"Person<\/figure>\n\n\n\n
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Gisabel Leonardo<\/p>\n\n\n\n

Dances in Cimarronaje: Sonic Errantry and the Fugitive Aesthetics of Dominican Dembow<\/a><\/h3>\n<\/div>\n\n\n\n
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\n\t\n\t\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t<\/svg>\n\t\t\t\t<\/span>\n\t\t\t\t\tRead More<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/svg>\n\t\t\t<\/div>\n\t\t\t\t\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Articles<\/h2>\n<\/div>\n\n\n\n
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Edge Duality: Navigating the Boundaries Between \u201cI\u201d and \u201cOther\u201d<\/a><\/h3>\n\n\n\n

Beatriz Botero <\/p>\n<\/div>\n\n\n\n

\"Image<\/figure>\n<\/div>\n\n\n\n
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Aruxes and the Limits of Epistemological Certainty<\/a><\/h3>\n\n\n\n

Kata Beilin<\/p>\n<\/div>\n\n\n\n

\"Mural<\/figure>\n<\/div>\n\n\n\n
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untitled poem \/ poema sin t\u00edtulo<\/a><\/h3>\n\n\n\n

Diego Alegr\u00eda<\/p>\n<\/div>\n\n\n\n

\"Abstract<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\u201cEn el mundo no puede haber dos cosas iguales\u201d: Borges, the Virtuality Continuum, and Mixed Reality in \u201cDel rigor en la ciencia\u201d (1946) and \u201cPar\u00e1bola del palacio\u201d (1960)<\/a><\/h3>\n\n\n\n

Mario Sanchez Gumiel<\/p>\n<\/div>\n\n\n\n

\"Intricate<\/figure>\n<\/div>\n\n\n\n
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Alquimia Liminal<\/a><\/h3>\n\n\n\n

Nancy Bird-Soto<\/p>\n<\/div>\n\n\n\n

\"Utility<\/figure>\n<\/div>\n\n\n\n
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Nuevas mexicanidades rurales: Dos estaciones (2022) y la reconfiguraci\u00f3n del tequila<\/a><\/h3>\n\n\n\n

Jack Brown<\/p>\n<\/div>\n\n\n\n

\"Large<\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Triplefrontera Amaz\u00f3nica (Colombia, Brasil y Per\u00fa), entre la abundancia de recursos naturales y la escasez de alimentos<\/a><\/h3>\n\n\n\n

Olga Lucia Chaparro Africano<\/p>\n<\/div>\n\n\n\n

\"Map<\/figure>\n<\/div>\n\n\n\n
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Fronteras Imaginadas de la Ecolog\u00eda<\/a><\/h3>\n\n\n\n

Germ\u00e1n Corzo<\/p>\n<\/div>\n\n\n\n

\"Mist-covered<\/figure>\n<\/div>\n\n\n\n
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A flower from Uruguay: Crossings and the poetry of Nidia Mar\u00eda di Giorgio M\u00e9dici<\/a><\/h3>\n\n\n\n

Lori DiPrete Brown<\/p>\n<\/div>\n\n\n\n

\"Book<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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From #MeToo to Hatred: Online Antifeminist Discourses in Spanish-speaking Countries as a Response to Feminist Movements<\/a><\/h3>\n\n\n\n

Catalina Far\u00edas, Elohim Monard, Elena McCosh, Fernanda Carvajal, Camila Henzi, Jiyoun Suk, Teresa Correa, and Dhavan V. Shah<\/p>\n<\/div>\n\n\n\n

\"Crowd<\/figure>\n<\/div>\n\n\n\n
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Embellecimiento cinematogr\u00e1fico en cine de crisis<\/a><\/h3>\n\n\n\n

Roc\u00edo Gonz\u00e1lez-Espresati Clement<\/p>\n<\/div>\n\n\n\n

\"Neon-lit<\/figure>\n<\/div>\n\n\n\n
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Intercambios: Art, Stories & Communidad<\/a><\/h3>\n\n\n\n

Carolyn Kellenborn<\/p>\n<\/div>\n\n\n\n

\"Intercambios:<\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Dances in Cimarronaje: Sonic Errantry and the Fugitive Aesthetics of Dominican Dembow<\/a><\/h3>\n\n\n\n

Gisabel Leonardo<\/p>\n\n\n\n

\"Person<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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On the Verge of Venom: Literature as Forgiveness in Latin America<\/a><\/h3>\n\n\n\n

Chris Schulenburg<\/p>\n<\/div>\n\n\n\n

\"Book<\/figure>\n<\/div>\n\n\n\n
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El giro de la desaparici\u00f3n: Borders and Boundaries from Argentina and Armenia to Colombia and Mexico<\/a><\/h3>\n\n\n\n

Joseph Wager<\/p>\n<\/div>\n\n\n\n

\"Urban<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Erotics of the Border, Compulsions of the Self: Grappling with Luisa Josefina Hern\u00e1ndez<\/a><\/h3>\n\n\n\n

Arturo Ruiz-Mautino<\/p>\n<\/div>\n\n\n\n

\"Ornate<\/figure>\n<\/div>\n\n\n\n
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Polarization as border creation<\/a><\/h3>\n\n\n\n

Hernando Rojas<\/p>\n<\/div>\n\n\n\n

\"Illustration<\/figure>\n<\/div>\n\n\n\n
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Cruzando el R\u00edo Grande: Entre Sue\u00f1os y Odiseas<\/a><\/h3>\n\n\n\n

Nilvio Alexander Punguil Bravo<\/p>\n<\/div>\n\n\n\n

\"Abstract<\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Entre lo profano y lo sagrado: las l\u00e1grimas de Mar\u00eda Magdalena y la construcci\u00f3n de santidad femenina en la Espa\u00f1a barroca<\/a><\/h3>\n\n\n\n

Mar\u00eda Pulla-France<\/p>\n<\/div>\n\n\n\n

\"Painting<\/figure>\n<\/div>\n\n\n\n
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La narrativa de la extraterritorialidad: un camino a trav\u00e9s de la novel\u00edstica de Gabriela Alem\u00e1n<\/a><\/h3>\n\n\n\n

Karina Ortiz Pacheco<\/p>\n<\/div>\n\n\n\n

\"View<\/figure>\n<\/div>\n\n\n\n
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DEATH and Life<\/a><\/h3>\n\n\n\n

Leslee Nelson<\/p>\n<\/div>\n\n\n\n

\"Hand-embroidered<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Intersecting \u201cClassical\u201d and Latin American, Caribbean, and Iberian studies<\/a><\/h3>\n\n\n\n

Grant Nelsestuen<\/p>\n<\/div>\n\n\n\n

\"World<\/figure>\n<\/div>\n\n\n\n
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Cuerpo-Territorio, Clothing, and Cultural Appropriation in Zinacant\u00e1n, Mexico<\/a><\/h3>\n\n\n\n

Addison Nace<\/p>\n<\/div>\n\n\n\n

\"Traditional<\/figure>\n<\/div>\n\n\n\n
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The Andean Ayllu and the Weaving of Borders<\/a><\/h3>\n\n\n\n

Stephen McNabb<\/p>\n<\/div>\n\n\n\n

\"A<\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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De la globalizaci\u00f3n del Discurso Capitalista formulado por Jacques Lacan a la salida mort\u00edfera de la estructura social discursiva: el ejemplo de los Suruwaha<\/a><\/h3>\n\n\n\n

Jorge Marug\u00e1n<\/p>\n<\/div>\n\n\n\n

\"Diagram<\/figure>\n<\/div>\n\n\n\n
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Atravesando fronteras: el papel de lo fant\u00e1stico en la construcci\u00f3n de la memoria<\/a><\/h3>\n\n\n\n

Juan Miguel Mart\u00ednez Mart\u00ednez<\/p>\n<\/div>\n\n\n\n

\"Scene<\/figure>\n<\/div>\n\n\n\n
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Monstrous Borders and the Border as Monster<\/a><\/h3>\n\n\n\n

Elmira Louie<\/p>\n<\/div>\n\n\n\n

\"Abstract<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Los bordes del g\u00e9nero: una mirada a trav\u00e9s de la imagen de Mama Huaco<\/a><\/h3>\n\n\n\n

Andrea Guzman-Giura<\/p>\n<\/div>\n\n\n\n

\"Historical<\/figure>\n<\/div>\n\n\n\n
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El borde tecnol\u00f3gico: informaci\u00f3n y sustentabilidad en Am\u00e9rica Latina<\/a><\/h3>\n\n\n\n

Cristian Berr\u00edo-Zapata<\/p>\n<\/div>\n\n\n\n

\"Indigenous<\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n<\/div>\n\n\n\n\n
\n\t Back to top\n\t\t\tBack to top<\/title>\n\t\t\t<\/path>\n <\/svg> <\/a>\n<\/div>\n\n\n\n
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Editorial Board<\/h2>\n\n\n\n
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\"Professional<\/figure>
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Beatriz B<\/strong><\/p>\n\n\n\n

otero<\/strong> | Guest Editor<\/p>\n<\/div><\/div>\n\n\n\n

\"Close-up<\/figure>
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Andrea Guzman-Giura<\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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\"Professional<\/figure>
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Diego Aleg\u00eda<\/strong><\/p>\n<\/div><\/div>\n\n\n\n

\"Professional<\/figure>
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Addison Nace<\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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\"Outdoor<\/figure>
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Jamie de Moya-Cotter<\/strong><\/strong><\/p>\n<\/div><\/div>\n\n\n\n

\"Close-up<\/figure>
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Anneli Marisa Aliaga<\/strong><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n

agriculture<\/a>\nAndean studies<\/a>\nAndes<\/a>\nArgentina<\/a>\nbody<\/a>\nborder<\/a>\nBrazil<\/a>\ncare<\/a>\nChile<\/a>\nclimate change<\/a>\ncollaboration<\/a>\ncommunity<\/a>\nCuba<\/a>\neconomy<\/a>\nenvironment<\/a>\nfilm<\/a>\ngender<\/a>\ngrief<\/a>\nGuatemala<\/a>\nhealing<\/a>\nhistory<\/a>\nindigeneity<\/a>\nindigenous studies<\/a>\ninternational<\/a>\nintroduction<\/a>\nliterature<\/a>\nloss<\/a>\nmemory<\/a>\nMexico<\/a>\nmigration<\/a>\nperformance<\/a>\nPeru<\/a>\npoetry<\/a>\npsychedelics<\/a>\npsychoanalysis<\/a>\nscience<\/a>\nSpain<\/a>\ntechnology<\/a>\ntextiles<\/a>\ntransdisciplinarity<\/a>\ntranslation<\/a>\ntrauma<\/a>\nviolence<\/a>\nvisual studies<\/a>\nwater<\/a><\/p>\n\n