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

This paper examines how Emily Dickinson was previously studied and compares it to the most recent critical approaches, particularly on the subject of emotion. Using religious poetry, poetry about nature, and humor, this paper examines the critical interpretations that previously highlighted the role that pain and suffering played in Dickinson’s poetry as well as the gradual change on Dickinson’s critical studies that took place since the seventies. With the growing diversity of critical perspectives, it may come as a surprise that it is still necessary to refer back to the darker image of the poet: why does this image persist? And is it possible to reconcile Dickinson’s popular image with the new critical currents? This article reveals that Dickinson's image is permanently under construction.

This work analyzes the avant-garde elements in the work of César Vallejo and Vicente Huidobro, accentuating the aesthetic and autobiographical contrasts of their literary productions, specifically in Trilce (1922) and Altazor (1931), books that mark a radical break in the historiography of Hispanic American literature and a double scission in their authors: the personal and the historical.

This paper carries out an analysis of the phonological system of the extinct language Mangue, also known as Chorotega, the southernmost member of the Otomanguean family. It is asserted, just like in Quirós (1988, 2002), that the language possessed three vowel phonemes: /i, u, a/. In comparison to the consonantal system presented by Quirós (2002), three prenasalized stops, /mb, nd, ŋg/, are added to the phoneme inventory, and it is claimed that the language had only one liquid phoneme, represented as /ɾ/, which gives a total of 12 consonant phonemes. On the other hand, the phonemic status of the glides is uncertain. Next, the study looks into the distinctive features of the consonants. Regarding the phonotactics, some complex syllable onsets and some syllables with coda are identified. Finally, it is stated that Mangue had contrastive tones.

This article shows the multimodal analysis of 156 preventive health posters created by the Ministry of Health, the Costa Rican Social Security and the Institute on Alcoholism and Drug Addiction between 2014 and 2018 in Costa Rica. The evaluation was carried out with MAXQDA 2020 and consisted of collecting, analyzing and processing the corpus. The methods used were the communicative functions of each poster, the relationships between words and images according to the proposal of logical-semantic relationships and status of the Multimodal Genre Analysis Model (MAGEM, n.d.) and the narrative and conceptual processes with their participants (Kress and van Leeuwen, 2006). The study shows the prominence of the verbal mode in contrast to the visual in most posters. This is seen, first, in the relationships between words and images, the majority of which are unequal; also, with the logical-semantic relationships, the most outstanding being those in which the verbal predominates over the visual. Secondly, this is seen also in the dominant processes, the verbal narratives and their participants. In reference to the communicative functions, most of them present preventive actions in the presence of a disease.

This article aims to present a systematic descriptive bibliographic review of the lexical availability developed in Central America from its beginnings to the present. The research was carried out based on Dialnet, Scielo, Google Scholar, and DispoLex. Thanks to this research, it can be affirmed that studies on lexical availability in Costa Rica present a strong tradition. In Guatemala, Panama, and El Salvador, research on this field is at an early stage (few publications have been located). And, in the case of Nicaragua and Honduras, the research has not been yet initiated (there are no works published). This article, therefore, presents an initial bibliographic control tool that ambitions to expose, on the one hand, the situation of each of the countries mentioned and, on the other hand, the particularities of the research located, as well as their contributions to lexical availability.

This study deals with the figuration of «savage Araucanian» as a figure of otherness for the Chilean modernizing project of the late nineteenth century, analyzing the articulation of "The revenge of a barbarian" (1876), a traditional story by the writer and historian Miguel Luis Amunátegui, with intercultural romance through affective rhetoric. It is proposed that the representation of the mapuche and its articulation with the impeded romance between lovers of different cultures aimed, in the case of Amunátegui, to transfer the legislative battle that supported military occupation of the Araucaria towards the heart of the emerging popular readers, appealing to a game of sympathy and rejection that would sentimentally justify Chilean domination over the Araucanía and its inhabitants.

Within the field of pragmatic-discursive research, discourse markers are increasingly attracting the interest of linguists. As the number of scholars engaged in linguistic research between Spanish and Mandarin Chinese increases, several works on discourse markers of a contrastive nature are coming to light, most of them focusing on comparing certain groups of markers in both languages and examining their didactic application in the classroom. As this line of research continues to flourish —and there are still many aspects to be discovered—, many discourse markers, due to their polyfunctional nature, deserve an individual and deep analysis. The present work aims to carry out an approach to bueno and好 (hǎo), a couple of discourse markers of great utility in both languages that manifest certain semantic-pragmatic similarities, focusing on their forms and functions based on the most relevant intralinguistic research.

Research on Argentine dramaturgy has obtained in recent decades a profuse theoretical-methodological development. However, this discipline retains a challenge: to question the essentialist and binary cartographies that found certain centers and peripheries. Therefore, this paper adheres to poetic studies with a regional perspective, which refute artistic and territorial homogenizations and show silenced profiles of otherness. To achieve this goal, we address a geocritical analysis of the figuration of social deserts in the Argentine Northwest and its correlatives “orilleros”, taking as a case study the play Chingoil cómpani by Jorge Accame.

In Book I of Capital, Marx calls fetishism to the commodity that, in order to be constituted as such, hides its production process. In this sense, the essay proposes that Rubén Darío’s writing inscribes the new conditions of production, reception and circulation incipient in the 19th century, and calls into question the classical-romantic status of the literary as an unmasking of the fetishized commodity. The writer is a producer and the city –the passage, the fragmentary– is not simply a content or a subject matter that can be separated from the form of writing. In this way, Darío’s writing carries out a double movement: it assumes the conditions of production and exposes itself to the market as a novelty. The first movement involves what can be called a de-fetishization of the literary object. That is to say, Darío does not hide the conditions of his writing, but incorporates modernization both in the “style” and in its “contents”. On the other hand, as a second movement, he produces his writing as a novelty, that is, along with glimpsing writing that does not hide its production processes, Darío exposes himself to the market under the index of “novelty”. In this regard, Darío idealizes the de-tefichization of his writing.

The autobiographical writing studies have notably increased since the second half of the twentieth century. Theorists and critics from various disciplines, such as philosophy, literature, psychology, history, anthropology and education have given themselves the task of thinking about this type of writing. The amount and diversity of approaches have motivated us to take a closer look at the proposals in order to identify similarities and differences. The aim of this article is to examine, comparatively, Georges Gusdorf’s and James Olney’s explanations of the relationship between self-knowledge and the autobiographical writing. The starting point of these considerations is that although the similarities between the theories of these authors are more than the differences, it is possible to identify some variations, mainly in two aspects: questions of method and approaches into understanding the relationship between self-knowledge and time.