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Professionalization and political engagement are usually placed as incompatible in the case of journalism and the mainstream press, resulting in an identification of cultural resistance exclusively with alternative/amateur vehicles. I will use the concept of journalistic field as introduced by Pierre Bourdieu to review these assumptions and discuss a form of political resistance that acts in one's own area of knowledge, is not overtly political and whose effects are not immediately accountable for. Drawing examples from my research on two literary newspapers published in the 1950s in Brazil and Uruguay, this paper will focus on the implications of didacticism for literary criticism as a genre of newswriting. The analysis of these newspapers will lead to a reflection on two main issues: a) the conflict between the professionalization and democratization of literature; and b) the definition of resistance as necessarily an action that is against something. The article will reconsider education in journalism as a form of resistance, taking into account its risks of becoming political indoctrination and commercial manipulation, but emphasizing its potential as a way of expanding access to literature.
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This essay is a brief study of translation as a practice of aesthetic resistance seen from a historical and philosophical perspective. Translation is perceived as the process of transition and negotiation within the ‘third space' between various different hybrid cultural contexts and their discursive constraints, and referred to as ‘paratranslation'. It summarises the first attempts to think of translation as an almost ‘holistic' paradigm and the aesthetics of intervention from Romantic philosophy onwards. It attempts to show how Walter Benjamin's master narrative, the utopia of ‘pure language', encourages continuous resistance to the totalitarianism of the idea of the ‘original', to aesthetics (within the sense of the perception of the real) and to dominant discourses. It subsequently defines the idea of ‘progress', which considers translation as aesthetic resistance, as a process of construction in constant deconstruction. It concludes by exemplifying the notion of translation as a paradigm of intervention in modernity with a brief analysis of the transcreation performed by Erin Mouré on Fernando Pessoa/Alberto Caeiro's poetic cycle, O Guardador de Rebanhos (The Keeper of Sheep).
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