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

It is stated that being Ricardo Palma’s poetic work of quality and having been produced throughout his literary life, the author himself has not had it in high regard, giving this way preference to his Traditions.

Starting from the purpose that led Ricardo Palma to the Peninsula in 1891, the expansion of the lexicographical treasure of the Spanish language, we can see that his work, reflected in Papeletas lexicográficas, was not in vain, although, despite the enrichment that has taken place since then, there is still much to be done. The analysis of four Spanish-American texts allows us to identify a significant number of mottos that still do not appear in our lexicographies.

The purpose of this article is to show the complementarity that occurs in the romantic literary criticism between Ricardo Palma and Cesar Vallejo, two of the most important and studied Peruvian writers, being both part of the Romanticism, the first one in a fully developed way, and the second one in the last years of this movement; therefore, in different times, circumstances and particularities, but in the same interest of valuing romantic writers, we include Arnaldo Márquez, Luis Benjamín Cisneros and Carlos Augusto Salaverry, members of Palma’s bohemian group. We resort to the method of complexity, within this, the mobilization of the category of intertextuality, and the epistemological validity of the literary criticism made by both writers to find the objective evaluations, which is the purpose of this task.

The article presents a news about a Chilean literary critic and a review published in the New York Times in 1924 about the book Mis últimas tradiciones y Cachivachería by Ricardo Palma, published in Barcelona in 1906. Ernesto Montenegro stood out as a diffuser of North American literature in the great American metropolis, but in this particular situation, there are some contradictions between the sincere recognition of the author’s merits and the negative judgment that the traditionist’s work receives.

Many are the characters around Ricardo Palma who are closely linked to his existence and who will continue to relate to each other even after the death of the traditionist in 1919. In this opportunity, we will focus specifically on two of them: his eldest son, the writer and journalist Clemente Palma; and his loyal and devoted admirer, the great Peruvian polygrapher José de la Riva-Agüero y Osma. The firstis a member of the Modernist generation and the second, part of the generation of the Nineteenth Century or Arielista. This communication aims to reveal the details of that relationship and how long it lasted over time.

Peruvian author Ricardo Palma achieved prominence as a South American literary through his pleasant and entertaining Peruvian Traditions that mostly resurrected the colonial world. To write his historical fiction, Palma was inspired by the Chronicles of the Indies and the plot of his tradition “Carta canta” comes directly from Inca Garcilaso de la Vega’s Royal Commentaries. However, from the firstincarnation of the tradition from 1875 to the last one, Palma conceals his true source of the story. For the second version, improved after the War of the Pacific, our philological research reveals that Palma continued tweaking still other Garcilaso elements. We offer some conclusions about why he insisted on hiding his debt to Garcilaso and what coloniality had to do with his motivations.

The present article explains Ricardo Palma’s historical perspective through his traditions related to the ups and downs of the fight for the new power generated by civil and military factions of the criolla political class in the Emancipation context. Some of Palma’s political traditions about the difficult transition from the colonial era to the democratic republican era are key documents for understanding the new historical time. There were many more shadows than lights in that Emancipation.

In the present article, Ricardo Palma’s condition as first literary reader of Suelo de Arequipa convertido en Cielo (ca.1750) by Ventura Travada (1695-1758) will be studied, as well as the form in which the two authors, from different hermeneutical horizons, interpret the discursive functionality of prodigiousness.

The aim of this article is to present the novel Los topos and the book of short stories 76 by Félix Bruzzone as the texts that initiate a new public narrative space where the generation of the children of the disappeared articulate their own perspective on trauma in Argentina. I propose a double reading of this new space from these two texts: first, I make an analysis of the reconfiguration of the Argentine literary field after 2001 and how the case of Bruzzone, with an organically fluid transit between independent and commercial publishers and local and international circuits, opens the way for other later authors with a similar aesthetic and ideological position; later, I analyze in detail how Bruzzone proposes to desacralize the space of the narrable through parody and even the dialogue with genres such as crime fiction and fantasy, and the use of autofiction as a mechanism to subvert the limits of reality and fiction and deny the possibility of constructing absolute representations. In addition, I argue that the objective of these two works is to create a continuous line between repression and the disappearances of the dictatorship and the violence in the present.

The sense of sight has been established as the preferred cognitive model in our culture; however, ¿what happens when the visual order seems to be fallible?, ¿what implications and meanings acquires the presence of some eye diseases that generate defective views in the most recent narrative? This paper addresses, from the perspective of gender and cultural studies, the work of several Latin American female writers who have articulated in their narrative different optical disorders as myopia, strabismus or diplopia. From this approach, it is pretended to demonstrate that the repeated presence of eye diseases has configured a literary motive which is directly related to the emergence of a new aesthetic positioning. The deficient visions are discovered, nowadays, as the manifestation of a different look that was required from the female discourse to be against the ocularcentric and male regime.