Susan Hallstead · University of Colorado Boulder · PhdFit
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Susan Hallstead
· Teaching Associate Professor • Spanish 2000 Levels Coordinator • Director Study Abroad Global Seminar in Rosario, Argentina
University of Colorado Boulder · Spanish & Portuguese
Susan Hallstead is an Associate Professor of Spanish at the University of Colorado Boulder, specializing in 19th-century Argentine fashion narratives, gender, consumption, and identity politics. Her research emphasizes Argentine women writers and journalists of the nineteenth century, with a particular focus on fashion and its political implications. She completed her doctoral dissertation titled "Fashionation: Politics of Dress and Gender in Nineteenth Century Argentina" in 2006. Dr. Hallstead has published extensively on Argentine narratives and has traveled frequently to Argentina and Latin America, gaining deep familiarity with local customs and cultural heritage.
She teaches courses in advanced Spanish grammar, Latin American culture, and late 19th and 20th-century Argentine literature, including a global seminar in Rosario, Argentina. As the director of the Study Abroad Global Seminar in Rosario, she leads a summer program that offers upper-division credits, cultural excursions, guest lectures, and homestays with Argentine families. Her contributions to teaching and international education have been recognized with awards such as the CU-LEAD award, the Marinus Smith Award, and the Champion of International Education award. Dr. Hallstead's work integrates cultural, literary, and historical perspectives to explore themes of fashion, consumption, and identity within Latin American contexts.
Este artículo explora la intersección entre el tema del consumo femenino—tal como se presentaba en la prensa periódica de Buenos Aires en la década y media posterior a la caída de Rosas—y la “política identitaria” que se ponía en escena en esa prensa periódica. El artículo se centra en la obra periodística de Juana Manso, quien usó el tópico del consumo femenino, en particular el consumo de ropa “a la moda”, como un sitio de contienda a partir del cual discutirá toda una serie de tópicos de relevancia en la cambiante y disputada esfera pública porteña: el desarrollo de una infraestructura de servicios y transporte, la posibilidad (o imposibilidad) para las mujeres de circular (solas o acompañadas) por la ciudad, la falta de sitios “respetables” para que las mujeres sociabilizaran en público, la intersección entre la clase social y los roles de género, los dilemas propuestos por la transformación de las normas sociales a partir de la caída de Rosas. Palabras clave: Bueno
Journal of Latin American Cultural Studies · 2019-01-02
article1st authorCorresponding
Praised for its value as a political and/or historical romantic novel, Amalia is also one of the first and most detailed novels of the period to offer modern readers a snapshot of how consumption in literature – in a very broad sense, from clothing to decorative items – played a central role not only in mapping the transition from a pre-capitalist to a capitalist order, but also in exposing the key ideological and aesthetic tensions of the time (such as the rift between Unitarian and Federalist camps as well as gender and class tensions that continued in post-colonial Argentina). Keeping this in mind, this study considers how José Mármol’s treatment of luxury items in Amalia changed from the 1851 version (written before the fall of the Rosas dictatorship) to the 1855 one (written afterwards, in a much more conciliatory tone). While only 4 years had passed between these two editions, the changes in the descriptions of consumptive patterns point to the fact that consumption was not merely a colourful background in which to situate the novel’s political goals. Rather, consumption was political and, for Mármol, it was part and parcel of constructing a modern, liberal, romantic subject.
A Contracorriente: Revista de Historia Social y Literatura en América Latina · 2012-01-01
article1st authorCorresponding
This collective volume brings together leading scholars on Latin American cultural and literary studies to dialogue on frequently disparate views on the many meanings of and forms that masculinity took in Latin America’s nineteenth century. And like any successful and well thought out collection, the volume’s range is impressive in historical and textual terms. It includes essays that span from the struggles for national identity that were born out of the wars of independence to essays that consider the rise of mass culture in the latenineteenth and earlytwentieth centuries to the rise of Spanish American modernismo. Similarly, the volume’s essays consider texts that range from literary founding documents (such as those of Juan Bautista Alberdi, Esteban Echeverria and Domingo Faustino Sarmiento) to less well known texts (such as Adolfo Caminha’s Bom-Crioulo) to latenineteenth century and early twentieth century essays with scientific aspirations (such as those of Jose Maria Ramos Mejia and Jose Ingenieros) and finally to the modernista literature of Amado Nervo, Jose Marti, Ruben Dario and Jose Asuncion Silva, among other modernista writers.
A Contracorriente: una revista de estudios latinoamericanos · 2012-05-15
review1st authorCorresponding
This collective volume brings together leading scholars on Latin American cultural and literary studies to dialogue on frequently disparate views on the many meanings of and forms that masculinity took in Latin America’s nineteenth century. And like any successful and well thought out collection, the volume’s range is impressive in historical and textual terms. It includes essays that span from the struggles for national identity that were born out of the wars of independence to essays that consider the rise of mass culture in the late nineteenth and early twentieth centuries to the rise of Spanish American modernismo. Similarly, the volume’s essays consider texts that range from literary founding documents (such as those of Juan Bautista Alberdi, Esteban Echeverria and Domingo Faustino Sarmiento) to less well known texts (such as Adolfo Caminha’s Bom-Crioulo) to late nineteenth century and early twentieth century essays with scientific aspirations (such as those of Jose Maria Ramos Mejia and Jose Ingenieros) and finally to the modernista literature of Amado Nervo, Jose Marti, Ruben Dario and Jose Asuncion Silva, among other modernista writers.
Reviewed by: Couture and Consensus: Fashion and Politics in Postcolonial Argentina Susan Hallstead Root, Regina A. Couture and Consensus: Fashion and Politics in Postcolonial Argentina. Minneapolis: U of Minnesota P, 2010. 240 pp. Until the recent publication of Couture and Consensus, the development of fashion and dress in Argentina from the early 1830s to modern times had received little critical attention outside of Argentina and outside of a handful of books published in Spanish (most notably Susana Saulquin’s La moda en la Argentina from 1997, which offers a sociological analysis of the topic). But what makes Root’s consideration of fashion in Argentina so compelling and so truly unique is the wealth and interdisciplinary nature of the sources she so masterfully weaves together: from popular poetic cielitos to literary and historical texts, to periodicals and travelers’ comments to paintings and lithographs, Root pieces together an all too forgotten but nonetheless central feature of Argentine material, cultural and literary history: namely how fashion and dress have played a key role in the major debates in Argentine culture since the nation’s inception to its often tumultuous present. What also strikes the reader is Root’s ability to effortlessly move between the centuries, back and forth from the 2001 economic crisis to the early 1800s, finding and making the necessary links that connect the scattered pieces of a sartorial history no longer, thanks to this book, marked more by its incongruities than its affinities. To provide just one example of the author’s keen eye for the continuities that mark Argentina’s fashion history: in the introduction, Root discusses ex-President Carlos Menem’s insidious ability to change his appearance according to political need. Namely, he [End Page 163] moved between “sideburns and ponchos to appeal to the working classes” to “tailored Versace suits and boasted higher cheekbones and a surgically moved hairline” once his political position was solidified (xv). As Root shows later on, Menem was doing nothing more than tapping into a national history and a cultural memory that recognized and understood the gesture since Menem’s appropriation of the poncho was not unlike that of Juan Manuel de Rosas’s, the nineteenth-century caudillo dictator who also donned either the traditional poncho or the Federal uniform and whose sartorial strategies—namely the disavowal of Unitarian politics through dress—and whose political prowess marked nearly twenty years of the first half of the nineteenth century. Chapter one, “Uniform Consensus,” offers an in-depth analysis of the emerging divide between Federalist and Unitarian politics after independence and more specifically how both the military uniform and the civilian one—the dress indicative of support for Rosas’s federation as well as the elegant dress of the Unitarian opposition—developed “alongside growing sentiments to unite the River Plate region into a nation” (3). Through a careful consideration of the narratives that were produced during this period around the topic of dress, the chapter considers how the uniform created a “ready-made identity and, in a relatively brief period, projected a unifying ideology” and how it also served to enforce the “visual power of Federalism” (12–14). Root discusses popular cielitos patrióticos, she analyzes the major periodicals of the period, Rosista insignias—in 1832, Rosas legalized the color crimson and the scarlet insignia as the official color and marker of the civilian uniform (10)—and portraits of Rosas and his daughter Manuela, as well as theatrical pieces and major foundational literary texts like Echeverría’s El matadero to uncover the ways in which appearance was quickly linked to political affiliation and how appearance became one of the fundamental arenas from which this war of images would be waged. Chapter two, “Dressed to Kill,” considers the changing roles for women after independence and during the Rosas years. In the author’s words, this chapter “analyzes the representations of female bravery and beauty, sewing and embroidery, and other fashionable poses in the promotion of political vanity. The emphasis placed on their utility in mobilizing the population at large reveals an interesting shift in representation” (35). Root’s analysis ranges from how women participated in battle (often times donning male uniforms and posing as...
Reviewed by: Gendered Self-consciousness in Mexican and Chicana Women Writers: The Female Body as an Instrument of Political Resistance Susan Hallstead Roberts-Camps, Traci . Gendered Self-consciousness in Mexican and Chicana Women Writers: The Female Body as an Instrument of Political Resistance. Lewiston, NY: Edwin Mellen, 2008. Pp. 197. ISBN 978-0-7734-5235-0. A daunting task indeed, the aim of Gendered Self-Consciousness is to understand how the female body is represented by Mexican and Chicana women writers and how this representation translates into resistance for the female characters in four contemporary texts ranging from Elena Garro's Los recuerdos del porvenir (chapter 2), Cristina Rivera Garza's Nadie me verá llorar [End Page 216] (chapter 3), Elena Poniatowska's La piel del cielo (chapter 4), and finally Sandra Cisneros's Caramelo (chapter 5). While the topic is wide in scope (the field of body studies offers infinite theoretical possibilities and directions that could easily lead a text of this nature into Borgesian labyrinths with no clear guiding thread), Roberts-Camps smartly tackles the topic by focusing on very specific perspectives as related to the body for each chapter: in Garro's novel, she is interested in the topics of space and violence; in Rivera Garza's novel, she is interested in theories of abjection and what she deems "national progress" (1); in Poniatowska's novel, Roberts-Camps considers sexuality and sensuality; and finally, in Cisneros's text, the author considers issues of visibility and invisibility. Ultimately, the author shows how all of these topics (space, violence, abjection, nationalism, sexuality, sensuality, visibility, and invisibility) in different literary traditions (the Mexican and Chicana traditions) serve first to expose the "viewpoint of patriarchal society" in order to subsequently "challenge the conventional social images of the female body and regenerate it as a site of resistance and transgression" (166). Through an in-depth and well thought-out close reading of each text, Roberts-Camps certainly achieves these goals. And through well-written prose and highly structured chapters, the author makes her points very clear and the reader is able to identify these moments of resistance and transgression. For each chapter, the author chooses the theoretical framework that will guide her reading based on these categories of analysis (space, violence, etc.). Therein rests perhaps a weakness of the book, since the theoretical backdrop to each chapter varies in depth and the author's incorporation of theory is at times inconsistent. Some chapters—for example, chapter 3, "Cristina Rivera Garza, Nadie me verá llorar (1999): Abjection, National Progress, and the Female Body"—offer diverse theoretical considerations through which the author weaves thoughtful and compelling analyses of the texts. Other chapters are not so thorough. For example, chapter 2, "Elena Garro, Los recuerdos del porvenir (1963): Violence, Space, and the Female Body," centers its theoretical approach on the topics of violence and space primarily on Gaston Bachelard and Michel Foucault (with cursory mention to the Mexican writer and literary critic Margo Glantz). This begs the question: are Bachelard and Foucault the only relevant thinkers on the topic of violence and space in Mexico, or are they the two most convenient for the author's reading? Often times, Roberts-Camps's analysis, especially in this particular chapter, borders on a black-and-white consideration: "The violence that persecutes the spaces of Garro's novel is the violence of the Mexican Revolution and the Cristero Rebellion, manifested in General Rosas. Thus, Garro's spaces are not Bachelard's oneiric spaces; her spaces are more aligned with Foucault's heterogeneous spaces, or heterotopias" (53). Are these the only two options for considering space and violence in the Mexican post-Revolutionary context? This leads to another critique of this chapter (and to an extent of the text at large): Roberts Camps's analysis is largely lacking a specifically Latin American theoretical backdrop. While she hints at the need to consider Mexican specificity (53) (and her incorporation of Debra Castillo's and Jean Franco's work is important and relevant here), her text is nonetheless replete with the best of European and US thought on topics not specifically related to the Mexican or Chicana cases: Foucault, Kristeva, Shimakawa...
Review of JERRY M. WILLIAMS, Eighteenth-Century Oratory and Poetic Contests in Peru:Bermu ́dez de la Torre and Peralta Barnuevo: A Critical Edition of SevenTexts. Newark: Juan de la Cuesta. 2010. 385 pp..
