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

Nowadays, just as there is harassment and insecurity on social networking sites, these spaces can also be used by women for feminist activism and the sorority manifestation, for which, as has been seen in previous works, it is necessary security. In this sense, this article seeks to answer the following question: How is the feeling of security in #LasRespondonas—a Facebook group made up mostly of feminist women—for the manifestation of sorority built? It was found that the construction of the feeling of security in this group occurs thanks to three elements: the creation of a virtual community, the existence of an echo chamber, and the use of the platform tools together with the role of the moderators. In addition, security is necessary for the sorority manifestation in three moments: the verbalization of the problem, the sharing of information / interacting, and the meeting.

This paper analyzes the generated network around hashtag #Marcha8M in Mexico by means of the social network analysis method (SNA) and three indicators of this method. NodeXL software was used to obtain the information generated between March 4 and 9, 2020, and thus visualize the network. With this study, it is possible to analyse a way in which social movements appropriate social media and link with areas from communication’s field.

This essay examines the relationality and representation of Nicaraguans and nature through frameworks of precarity and ecocriticism. The documentary film Palabras mágicas (para romper un encantamiento) (2012) by Mercedes Moncada presents the earth as an extension of the self, firstly, as an allegory of the country, the revolution and the individual, and, secondly, through the contingency and vulnerability of the environment and Nicaragua’s people. Both Nicaraguans and nature are victims of a political system that repeats itself during the 20th and 21st centuries. Through the notions of corporality and materiality, the documentary establishes a link between the Nicaraguan subject and land through their discursivity, both as sites of inscription that are subject to relations of power, a fact that makes them both precarious. Palabras mágicas (2012) proposes that both are victims the somocismo of the 20th century and Ortega’s neosandismo of the 21st century. Finally, from the metaphorical link between Nicaragua’s environment and people, one of the results is framing the environment within a framework of precarity and vulnerability, highlighting contingency and dependency between both humans and itself.

In the last century, the most prominent event in Cuban history was the 1959 Revolution, an influential social movement, especially among the generation that participated in the Revolution and began to experience the postrevolution. In the fifties of the last century, Cubans suffered a spiritual and physical trauma difficult to overcome. The characters of Return to Ithaca (2016) represent that period, reflect of a microworld of the general situation of the time. The return of one of them from Spain causes the meeting between the five friends on a rooftop in La Habana. The discussion between them only manages to revive hope at the same time as the disappointment of their past, present and future. As the work is presented under the structure of a script, it respects the three rules of the theater, which favors a view from the theatrical interpretation. For this work we will rely on the sociological and psychological analysis, in order to better understand Padura and Cantet´s recreation of the general situation of that period. Our analysis aims to show that the intertextuality between literature and history allows us to understand an epoch, and the human experiences that take place in it, in a more vivid way. Padura and Cantet not only present a script of a reunion between five old friends, but also state that they all face a reconsideration of the illusions lost by and in the Revolution, in a painful but, at the same time, humorous, caustic and even joyful way.

Between traditions and processes of transformation, we can see a poetic thought of the extensive poem in the Hispanic Antilles. Since the “décima”, which came from Europe, a linguistic creativity has developed through a pragmatic opening in close relation with the colonial particularity between the myth of progress and the myth of the golden age. To understand the Caribbean inventiveness we remember the practice of the neo-baroque elaborated on the confluences of the heterogeneous. We see how, through a discursive heteroglossia, the extensive poem is based in this cultural space, that are the Antillean islands and we emphasize its current role in the narrative of minimal stories that feed universal history in another way.

El gran zoo (1984), by the Cuban poet Nicolás Guillén, offers various representations of the Caribbean. The article argues that this poetry book falls within the tradition of the Post Avant-garde literary movement in Spanish America. Additionally, various formal characteristics of the text are examined, as exemplified in the poems “The Dream” and “Guitar”. Another poem that receives close attention is “The Tenor”, which parodies the division between high culture and popular culture. Lastly, several allusions of the poetry book to the historical context of the Cold War and the Space Race are analyzed.

The Cuban revolution is a process in which the production of images is a fundamental part to explain its historical development. Through a photograph of Fidel Castro, captured by the Spanish photojournalist Enrique Meneses, the possibility of making a story is shown -in accordance with the proposal of John Mraz- with and over photographs. This iconographic representation, taken by Fidel Castro in the Sierra Maestra in the first months of 1958, and which was integrated into the edition of a book by the same photographer, offers a good opportunity to reflect on the contributions that iconology has in the Circumcaribe, and throughout Latin America.

Editorial

Este artículo estudia las novelas Barro (1951) de Paca Navas de Miralda y Aquel año rojo (1973) de Argentina Díaz Lozano desde el Análisis Crítico del Discurso (ACD) de Teun A. van Dijk. En el contexto macro de las plantaciones bananeras en Honduras, las subjetividades en pugna de los personajes femeninos se hallan subestimadas, pues predominan discursos de lucha social como el llamado a huelga, la consecución de los derechos laborales y las denuncias sociales de la masa trabajadora masculina. Es por esto, que las mujeres en los enclaves, desde sus subjetividades luchan consigo mismas y con sus semejantes, en espacios marcados por la violencia y la desigualdad, con el deseo de surgir frente a un espacio predominantemente masculino. Los discursos que enmarcan dichas subjetividades son del conocimiento social en el que los marcos mentales sustentan las creencias. Las protagonistas no escapan al ser tema de conversación y del conocimiento colectivo, que las hace oscilar en variantes ontológicas de aceptación y rechazo. Más que una estimación de sus capacidades laborales, afectivas y de procurar el bien común, los personajes femeninos son valorados por el ser. El corpus ofrece un horizonte que no solo corresponde anotar para los personajes literarios, sino que compete también para Honduras, creando un imaginario acorde con las ideas de etnicidad, moral e identidad.

Entre los escritores más prolíficos de la región centroamericana, se encuentra el guatemalteco Javier Payeras (1974). Narrador, poeta y ensayista, e integrante del movimiento literario de la posguerra denominado Generación X, Payeras se ha constituido en un representante de una generación contemporánea incómoda para los cánones tradicionales. Desde esta perspectiva, el cuento inédito suyo que reproducimos en esta edición N. 25, relata ese tráfico de almas y sustancias lícitas e ilícitas, que cobra su muerte cotidiana en la banal intoxicación de las clases medias, donde el afuera parece tan lleno y el adentro tan vacío, que es preciso saciarlo desesperadamente a punta de ilusiones corroídas. Entre sus libros se encuentran los siguientes poemarios: Esta es la Historia Azulcobalto (2018), Slogan para una bala expansiva (2014), Déjate caer (2012), La resignación y la asfixia (2011), Post-its de luz sucia (2009), Soledadbrother (1era. Ed. 2003) y Raktas (1era. Ed. 2001). En narrativa ha publicado: Guatemala City (Novela, 2014) Fondo para disco de John Zorn (Diarios, 2013), Imágenes para un View-Master (Antología de relatos, 2013), Limbo (Novela, 2011), Días Amarillos (Novela, 2009), Once Relatos Breves (Cuento, 1era. Ed. 2000), Afuera (Novela, 1era. Ed. 2006) y Ruido de Fondo (Novela, 1era. Ed. 2003). Asimismo, en ensayo ha publicado La región más invisible (2017) y Lecturas Menores (2007), su trabajo también ha sido incluido en diversas antologías en Latinoamérica, Europa y Estados Unidos. Actualmente escribe para la revista española http:// revistapenultima.com/ y en la columna de opinión “Interzonas” en la página https://casiliteral.com/