Julio Ramos in interview with Flavia Costa about Sebastiao Salgado...
("Beautiful Misery: the Travels of Sebastia˜o Salgado—An
Interview with Julio Ramos" in Journal of Latin American Cultural Studies, Vol. 12, No. 2, 2003)
"And even more important for Salgado, the ‘universal’ art of photography is inseparable from the human rights that accompany and contribute to the intelligibility of the very process of globalization of the period of decolonization. That is to say: aesthetics as the universal language of the human community redefined by the new postcolonial political subjects; aestheticization is thus connected to the new processes of subjectivization. Salgado inscribes himself in that tradition, although he transforms it by occasional touches—at once expressive and excessive—of extreme aestheticization." (p. 225)
Still trying to figure out Castellanos Moya and gender thing:
"Borges corrects this injustice of Herna´ndez in ‘El fin’, perhaps because the black is not a state enemy, like the rest of Fierro’s enemies. Borges worked the order of racialized subjectivities, often tying them to war and principles of enmity. The ethnic or racial mark appears in ‘Emma Zunz’, for example or in ‘La intrusa’—both stories devoted to the question of gender. It is as if the exploration of the limit of misogynist discourse led Borges to explore other boundaries and borders, like that of race." p. 227