Candela Marini, Ph.D.
Assistant Professor
- Milwaukee WI UNITED STATES
- Grohmann Museum: GM216
- Humanities, Social Science and Communication
Dr. Candela Marini’s areas of expertise include Latin American Studies and Visual Culture.
Education, Licensure and Certification
Ph.D.
Romance Studies
Duke University
2018
M.A.
Romance Studies
Duke University
2014
M.A.
Latin American Studies
Freie Universitat - Berlin
2012
B.A.
History
Torcuato di Tella University
2008
Biography
Areas of Expertise
Accomplishments
Caxton Club Fellowship
Rare Book School, 2021
Honorable Mention – Best Dissertation in the Nineteenth Century
Latin American Studies Association – LASA., 2019
Evan Frankel Fellowship for Ph.D. Students in the Humanities
Duke University, NC, 2017-2018
Andrew W. Mellon Conference Travel Grant
Center for Latin American and Caribbean Studies, Duke University, NC, 2016, 2017
Graduate School Conference Travel Award
Duke University, NC, 2015, 2016, 2017
Summer Research Fellowship
Graduate School, Duke University, NC, 2016
Congress Travel Grant
Latin American Studies Association, 2015
Affiliations
- Latin American Studies Association (LASA): Member
- Midwest Modern Language Association (MMLA): Member
- American Comparative Literature Association (ACLA): Member
Languages
- Spanish
- English
- French
- German
Social
Media Appearances
Host- Latin American Studies and "Historia" Channels
New Books Network
Candela Marini hosts the Latin American Studies channel of the New Books Network and the "Historia" channel of the New Books Network-Spanish.
Event and Speaking Appearances
Arte para un imperialismo criollo: la pintura chilena a mediados del siglo XIX
Midwest Modern Language Association (MMLA), Loyola University, Chicago, IL, November 14-17, 2019
Empty Battlefields. Bate & Ca.’s photographic rendering of the Triple Alliance War
Latin American Visual Culture Symposium Northwestern University, Chicago, IL, November 8-10, 2019
Panel Respondent: “Teatralidades populares y subjetividades (in)visibles en el Río de la Plata
Latin American Studies Association (LASA) Universidad Tres de Febrero, Buenos Aires, July 10-13, 2019
War Photography through a National Lens: Díaz & Spencer’s Views of the War of the Pacific (1879-1883)
American Comparative Literature Association (ACLA)’s 2019 Annual Meeting Georgetown University, Washington, DC, March 7-10, 2019
El patriotismo del Correo del Domingo (1864-1868): ficciones de guerra y soldados
IX Congreso Internacional de Teoría e Historia de las Artes Centro Argentino de Investigadores de Arte (CAIA), Sep 27-30, 2017
The Invisible Conquest: The Pacification of the Araucania and ethnographic photography
Modernidades (In)Dependencias (Neo)Colonialismo. II Simposio de la Sección de Estudios del Cono Sur Latin American Studies Association (LASA) July 19- 22, 2017
The Indian Revenant: Images of the indigenous in the Argentine nation-building process
Tracing Types: Comparative Analyses of Nineteenth-Century Sketches Ghent University, 3-4 June 2016
Empty Images of War: Photography of Territorial Expansion in Chile and Argentina (1860s-1880s)
XXXIV International Congress of the Latin American Studies Association (LASA) Hilton Midtown New York, 27-30 May 2016
Landscapes of Progress: Zeballos’ photographs in Viaje al País de los Araucanos
63rd Annual Meeting of the Southeastern Council of Latin American Studies (SECOLAS) Hotel Caribe, Cartagena de Indias, 9- 13 March 2016
Research Grants
Research Travel Award
Latin American, Caribbean and Iberian Studies Program, UW – Madison
2020
Summer Faculty Development Grant
MSOE
2019
Summer Research Fellowship, Graduate School
Duke University, NC.
2016
Duke Brazil Initiative Research Grant
Global Brazil Lab, Duke University, NC.
2014
Selected Publications
The Paraguayan War Imagined (1865 - 1870)
Latin American Literature in Transition, Vol. II, 1800-1870Eds. Peluffo, A. and Briggs, R.
2022
Cambridge University Press
War Photography: Diaz & Spencer's Coverage of the War of the Pacific (1879-1883)
FOTOCINEMA: REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍAMarini, C.
2021
In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, Dr. Marini argues that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this alignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.
Muertos-vivos pop en tiempos de crisis: El zombi en la literatura caribeña contemporánea
The Latin AmericanistMarini, C.
2018
Tradicionalmente pertenecientes al mundo de las novelas y películas de terror, en los últimos años los zombis han logrado franquear también estos límites y convivir más que nunca con los vivos: en marchas políticas, performances de protesta, libros, historietas, televisión y cine. Su difusión metafórica se debe en buena medida a la maleabilidad que define al zombi. El zombi es un disfraz, una estrategia para llamar la atención, una figura ahistórica y estetizada. Se trata de un cuerpo vacío (susceptible de ser condimentado según las circunstancias) y de un objeto sin consciencia, ni voluntad (se puede hacer de él lo que se quiera). Paradójicamente, aprovechándonos de estas condiciones continuamos su condena, reproduciendo los gestos de explotación que nos horrorizan, usando las características que lo vuelven víctima y monstruo.
El patriotismo del Correo del Domingo: ficciones de guerra y soldados
InMediaciones de la ComunicaciónMarini, C.
2017
This article explores the visual coverage of past and contemporary events offered by the illustrated journal Correo del Domingo during its first years of publication (1864-1866), particularly in relation to the Triple Alliance War (1865-1870). Given that the journal was one of the first publications in the region to offer forms of visual journalism, the first part of the essay analyzes the blurry boundaries between lithographs of informative, journalistic purpose and those of more markedly fictional nature. The second part of the article argues that the journal takes advantage of the malleable uses of the lithographic image to overcome the visual coverage problems of a war that did not dovetail with the official discourse of heroism and patriotism that the journal supported
Pasados que no pasan: la violencia en la Argentina de ayer y hoy en Cacería de María Teresa Andruetto
Miradas desobedientes: María Teresa Andruetto ante la críticaEds. Brignole, F. and Pubill, C.
2016
Sonido y disonancia. La música en la cultura latinoamericana
Critical Reviews on Latin American Research 4:2 (2015)Marini, C. co-edited with Denise Kripper
2015
