Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

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COVID-19 has widened preexisting gaps in many areas that, even though already known, have been revealed as key in daily life over the last few months. At a structural scale, neoliberalism, rooted in the system through a market logic that imprints every sphere of society, promotes a competitive development of the productive tasks that neglects the reproductive activities that sustain it. The pandemic and the confinement have shaken this system when domestic chores and care tasks have had to be incorporated into the daily productive work and, in many cases, have had to share the same physical space, leading to a blurring of the boundaries of two areas that had been differentiated. State universities meanwhile have not escaped this market logic which has permeated its methods of economic support and administering its human capital. Currently, Chilean public universities are subject to some basic means of financing based on quantitative indicators of academic productivity and enrolled students, instead of being focused on strategic regional and national goals. The pandemic has jeopardized a system supported by productivity which had to focus on implementing a transition towards a remote teaching modality, one that saw an increase in class numbers and the number of courses per teacher, as a response to the economic impact brought by Covid-19.

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The purpose of this paper is to reflect upon Leopoldo Marechal's recreating  Sophocles' Antigone in his Antígona Vélez. In the Greek tragegy, the contrast between Creon and Antigone implies political and religious issues of greater importance. It is a simplistic perspective to state that the play presents a contrast between a religious viewpoint (Antigone) and a political one (Creon). Rather, in Antigone's act of defiance of the city (polis), it is necessary to recognise a political as well as a religious action, and that Creon's exposure of Polyneices' body arises from political and religious convictions as well. In other words, the tragedy expresses the historical contradiction between noble families and the city. Thus, opposite religious and political attitudes correspond: Creon is the defender of the city and of its gods; Antigone, the defender of family and of the gods invoked in a funeral, the ceremony underlying family union and its exclusivity. This tension is historically explained: strong and indissoluble blood ties have existed from time immemorial, since noble families, much older than the city itself, even in the democratic Athens of the fifth century B.C., showed evident signs of power as rivals and also presented a potential threat against the latest institutions of the city.  Thebes becomes, for the Argentine author, an hacienda, “La Postrera”, situated on the border dividing “civilization” from indigenous barbarism. And the confrontation between Antígona and Facundo Galván serves as a background to the civilization-barbarism opposition, expressed in terms of a “combat formula”, as a call for exclusion and extermination of the other.  It could be asserted that Marechal's recreating must be placed on the debate upon defining national identity from the dichotomy civilization / barbarism.

The subject of this paper is the linguistic materialization of Agustín de Foxá fascist thought in his work Madrid, de Corte a checa (1938). With this aim, we will follow the studies about nazi language written by Klaus Theweleit and its aplication made by Jonathan Littell to Léon Degrelle’s texts. The premise is that the psychopathology of the fascist soldier has an alternative estructure to the one proposed by Sygmund Freud. Instead of that, it has the shape of a shell constantly menaced by the drives of desire. Therefore, the fascist externalise his intimate problems projecting his hate against everything that fluids, like feminine and liquid as destabilizer elements. Agustín de Foxá was a falangist writer ideologically very close to european fascism, that is, as a response to the extended feeling of moral decay and a specific interpretation of Modernity, according to Roger Griffin. In this way, he is an uncommon example within the political tendencies of Spanish Francoism and deserves to be considered separately because fascism, in Theweleit’s words, is a «modality of production of the real». With this we refer to their organizational nature of reality from their own psychopathological needs, and how the affect the articulation of a fascist language in relation to the male and female characters’ description, and the brutalization of the republicans as a form of war legitimation.

Critical studies of “El curioso impertinente” have ignored, perhaps because it seemed obvious to do so, one fundamental aspect of this intercalated novella with respect to the work within which it is found; that is to say, its genre. Iffland (1987) summarizes the countless ambiguities found throughout Don Quixote to conclude that this book is unique in its contradictoriness, and I argue that what happens with respect to the genre of “El curioso” is merely a symptom of what plagues the larger work. Therefore, I simultaneously propose in this article a questioning of the definitive classification of “El curioso” and an argumentation in favor of it being considered a type of early, shorter chivalric romance. As happened with Orbaneja’s painting of the rooster (II, 3), just because “El curioso” is defined as a novella, that does not mean that it is or that it cannot be interpreted as something else. “El curioso” shares the three fundamental characteristics of early 16th-century chivalric romances (i.e., form, finality, and subject) identified by Lucía Megías y Sales Dasí (2008), and therefore, it behaves as if it were cut from the same cloth.

There is a privileged position to analyze the possible relationship between philosophy and psychoanalysis, and this is through hermeneutics. Not only Ricoeur, many authors, on either side of the dispute, have expressed their views about the similarities and the differences between psychoanalysis and philosophical hermeneutics, which wants to serve as a vehicle to understand the interpreting essence of human beings. Because of this, authors such as Heidegger and Gadamer have been called to express their positions on the knowledge of the unconscious, to evaluate the way of putting in contact the essence of psychoanalysis as talking cure and the internal reference of philosophy as dialogue. To this end, Gadamer deeply mistrusts Ricoeur's conception of psychoanalysis as “hermeneutics”, and for this focuses its criticisms on two core aspects of psychoanalytic interpretation: the fact that it is conducted through techniques, on the one hand, and the concomitant effect that in the psychoanalytic cure there isn't any “authentic”, but rather frustrated dialogue.

This paper aims to analyze the representation of the figure of reader and his allegorical reduction based on the criticism as a sabotage of theory of World’s Model by Manuel Asensi. Thus, I explore the more aspects relevant that finds in the short story of “Bon-Bon” by Edgar Allan Poe. Likewise, I review the support the syllogism strategy that, from the ironic, the American writer uses to formulate his profound complait against metaphysics.

The idea of ​​miniature texts whose proposal aspires to integrate into larger narrative units characterized by the cohesion of the small fragments that constitute it, is an expression of the emergence of an aesthetic based on problematizing conceptual instances such as generic hybridity, rupture and transgression, border delocalisation and multiplicity of readings. In this sense, it is interesting to know how serial writing operates both in the construction of a seemingly integrated mini-universe, and in the reading exercise that, strictly speaking, disarms that fragile ideal of articulation to reiterate the predominance of the fragment in a narrative bet that before each new disposition, it raises unpublished places of resignification. In this way, the challenge of seriality necessarily postulates its counterpart and, in this parodic and ironic search, the impossibility of pigeonholing is reaffirmed. Seen this way, seriality is another way of reacting to genres, certainties and great stories.

Review of Remedios SÁNCHEZ, coord., "Nuevas poéticas y redes sociales. Joven poesía española en la era digital". Madrid, Siglo XXI, 2018, 320 pp.