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

The contemporary aphorism concentrates some of the main challenges of literary theory. The genological boundaries have been crossed and defined by a new concept of border, understood as a space for formal and structural experimentations. As can be seen in the latest aphoristic writers, this type of texts oscillates between a classical vision of the aphorism and poetics of discontinuity and fragmentation. Specifically, I will focus on the aphoristic works of the Mexicans authors Eusebio Ruvalcaba and Armando González Torres; apart from transcending the closed character of this literary genre in their books, they play with the significant possibilities of the macrostructure.

Attending an allusion of a filmmaker in a short story, which presents itself apparently insignificant, of the Mexican writer Julio Torri, “Hero”, I begin to contrive about the narrative and figurative scope that involves the textuality and extratextuality in a fictional universe which generic watermark goes far beyond the fantasy. The allusion is presented as the link between two worlds: that of cinema and that of literature. Which is attached, not only in the semantics of both, but to the referential problem of reality and fiction in the literary creation of the Mexican writer. Certainly “Hero” presents palpable elements that occasion the anachronistic articulation of a story of classical antiquity (the myth of St. George and the Dragon) with the contemporary of the author (the first half of the twentieth century), which is decisive for the character of pastiche that the text has. In this paper I examine closely the way in which the intersection of both worlds occurs at the narrative level, their articulation, as well as the rhetorical contagion, which is mainly metaphorical, and which is also configured in the text from its brevity.

The iconographical analysis of Four seasons (1993), by the contemporary artist Edwin Parker “Cy Twombly” (Cy Twombly, 1928 – 2011) must be understood considering the importance of one of the most famous impressionist painters: Pierre-Auguste Renoir. La vague (1879) and Paysage bords de Seine (1879) are two oil on canvas where Renoir prints the feeling of captivating the ephemeral through the colour and the movement of light. Four seasons has its roots in American lyrical abstraction. The need of making a portrait of harmony, through a creation where image and text are together, represents the evolution of Renoir’s work in contemporary art: is nowadays possible to see and to read his message in a visual poem?

The incursion of the micro story in children’s literature makes clear the ease of genre adaptation. The transfer shows how the elements of minifictions also belong to the children’s world. Those, however, who are oblivious to childhood, seem to have found a fertile space in which to germinate. The emergence of these disruptive elements in children’s fictions brings a change in the paradigm of the reader. Mutation sought in recent years in the children’s literary landscape. An area, traditionally depauperated and undervalued, is thus revitalized.

El popular poema inglés “Roses are red” ha sido modificado a lo largo de la historia con multitud de objetivos diferentes. En internet lleva varios años dándose un fenómeno que lleva los juegos de ingenio con este poema un paso más allá: se reutiliza combinándolo con titulares de prensa. Estos titulares, que suelen ser chocantes y extraños, son introducidos con el primer verso de esta forma y se construye una rima en un proceso de escritura no-creativa (Goldsmith), factible gracias al desarrollo contemporáneo del sample (Fernández) y de la noción el semionauta (Bourriaud). En este artículo analizamos el fenómeno con una primera aproximación a la producción en español en Twitter y luego nos centramos en un corpus extenso en lengua inglesa obtenido a través de Imgur, lo que nos permite detectar los rasgos comunes que son transculturales y superan las fronteras lingüísticas. Por tanto, a través del análisis de los textos localizados establecemos los rasgos predominantes de la resemantización del poema original y de los titulares de prensa para crear micropoemas humorísticos que interpretamos culturalmente a través del neobarroco (Calabrese) y su explotación del ingenio. Los resultados muestran un fenómeno de origen anglófono, pero de popularidad creciente en español, que responde a los factores neobarrocos de la sociedad contemporánea en internet y que es factible gracias a la popularización de la idea del procomún y la resemantización textual para dar lugar a nuevas producciones que persiguen una estética poética y ejecución humorística.

Desde la aparición y expansión de uso de las redes sociales en internet es creciente la presencia, difusión y rediseño del microrrelato en soportes alternativos al del papel impreso. Este trabajo consistirá en analizar algunas de las transformaciones y adecuaciones formales del microrrelato al espacio digital, con un enfoque en la intermedialidad y el carácter multimodal que ofrece la interacción del texto con diversos elementos visuales en el entorno editorial de las redes sociales.

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