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

This article presents an interpretation of Vygotsky’s theory of language within the framework of the implications of Hegel’s philosophy of the spirit. It seeks to reveal that language is a mode of universal and singular unity, or of social and individual, within which there is no room for extremes that separate them without mediating the relationship. Language is thus presented as a model to understand notions as unity of practice and theory or as rational volition, allowing us to assume the inherent participation of the socio-historical elements in individualisation processes. This model does not assume ontological originalities or insurmountable leaps between one sphere and the other. To this end, Hegelian philosophy is summarily discussed in relation to language and spirit. Various arguments are then highlighted on the constructive role of language in understanding the world.  Finally, Vygotsky's theory of language and the possible contributions of intelligibility, interpreted from Hegel's philosophy, are presented.

Upon recalling some of the readings about the famous novel by José Eustasio Rivera, this article focuses on the presentation and how the meaning of the jungle of voices that unfold in the text is constructed. For this purpose, we place ourselves at the level of the textual space and in the chain of incessant readings of which La vorágine has been the object. We want to highlight how the protagonist Arturo Cova integrates, interprets and transcribes the voices, the worldviews of the other characters, of the other speakers and of other texts in his discourse and writing. In this way, and thanks to the work of the narrator, who is an auditor and a writer, an intricate and labyrinthine discursive space is realized, a vortex of voices, comparable to the jungle space itself displayed in the novel and in which even the smallest detail conveys meanings.

Violeta Parra's interdisciplinary work has had less scholarly attention than it deserves, being one of the first Chilean artists to paint her songs as shown in her painting Casamiento de negros. In fact, much of her artistic activity, of translating a text, shows a broad and surprising relationship with the regular practice of [linguistic] translation; from the act of ‘translating’ the ‘spoken text’ as G. Soublette calls Cantos Folklóricos Chilenos, to the practice of translating songs and texts into French during her European performances and exhibitions. This article aims to approach and analyse this interdisciplinary practice of Violeta Parra (VP) following some literary and linguistic studies, from the Aristotelian notion of poetics, a brief reference is made to Neruda's poetical translation whose influence could have had resonance in VP's work. Using the concept of ‘intersemiotic translation’, the main criticism of Umberto Eco in relation to the distinction between translator and interpreter is discussed to finally posit the concept of poetic transposition to understand and demonstrate this practice widely developed by the Chilean artist.

This article reviews the strategies that Marta Brunet employs in her novel Montaña adentro (1923) to situate her work’s validity within the confines of the literary canon at that time. To support her project, she creates tensions between the feminine and masculine and uses a variety of masks in her writing. This lets her achieve a significant position in the cultural field dominated by male conceptions and assumptions. Montaña adentro is proposed as a site for the reader’s interpretation of a simulacrum within the permanent contention between the feminine and the masculine that ultimately shape her writing project.

We are interested in registering an analysis of some artistic texts representing border culture caused by the natural stream of the Mapocho River that as a result has created a geographical and cultural divide in the city of Santiago, Chile. This separation has been represented from different sources: historical, geographical, anthropological, architectural and public engineering works. Our purpose, and contribution, is to reflect on this otherness from the cultural memory hosted in the northern footprints of the city of Santiago. Traces that have been grasped by the language of literature and the history of the XVII and XIX centuries. From these internal and external borders created by the semiosphere (Lotman, 1996) we conceive the riparian area culture as leakages, exchanges and interferences

The article describes Joaquín Edwards Bello’s characterization of the Chilean mass media in his novel El Roto (1920). The analysis aims to summarize the features of the Chilean journalistic and literary field during the first decades of the twentieth century, according to the literary version of the author and the review of the literary, historical and communications critique of the epoch. Methodologically, scenes of interest (those that actually happen in newspapers or where the characters read) are selected to identify the agent readers. Then, these characters’ behavior is analyzed from the perspective of the theory of communication (in particular, according to the tenets of hypodermic theory, uses and gratifications, and the social theory of communication). It is concluded that in El Roto the characters prioritize reading the press over reading books; this practice acts as a desire-producing agent based on models to imitate; that is, in the words of René Girard in his Mentira Romántica y verdad novelesca (1963), mimetic desire.

This article presents an introduction to adaptation theory, a hybrid sub-discipline of literary and film studies that has received relatively scarce attention in Chilean and Latin American academic circuits. The approach is guided by the point of view of cinematographic theory, seeking to present general notions to the specialized reader in literature, linguistics and semiotics; however, easily understandable relationships are insinuated between film theory and these disciplines. First, an overview of the main aspects of film theory is offered, to locate adaptation theory in it. Next, the semiological foundations of the sub-discipline are briefly described (especially narratology), and then the main recent displacements within this area of study are disclosed. Ultimately, I point out the possible usefulness of the subdiscipline in the Chilean context, looking forward to future developments. 

Book Review of  Territorio de la herida. Poesía reunida (1968-2019). Cristina Galán Rubio, Madrid, Sial Pigmalión, 2019, 132 páginas. Cristina Galán Rubio, Madrid, Sial Pigmalión, 2019, 132 páginas. Prólogo de María Antonia García de León. Epílogo de Concha García. https://sialpigmalion.es/libro/territorio-de-la-herida-poesia-reunida-1968-2019/  

Book Review. The Routledge Handbook of Ecolinguistics. Introduction by Alwin F.Fill, edited by Alwin F. Fill and Hermine Penz. (New York/Oxon: Routledge, 2018, 457 pages)

El propósito de este artículo es comparar tanto el tipo de cláusulas en textos narrativos escritos producidos por estudiantes de tres niveles de enseñanza básica (3º, 5º y 7º) como el grado de dependencia y relaciones lógico-semánticas en los complejos clausulares, con la finalidad de establecer los principales cambios que es posible observar a medida que se avanza en escolaridad. El corpus está constituido por 180 textos producidos por estudiantes de 3º, 5º y 7º básico bajo dos condiciones de escritura. Los resultados indican el predominio significativo de los complejos clausulares por sobre las clásusulas simples en todos los niveles, con dependencia paratáctica y relaciones lógico-semánticas de expansión mediante la especificación de elementos circunstanciales y agregación de información nueva usando elementos conjuntivos. No obstante, se observa un patrón de incremento de las relaciones hipotácticas, que logra niveles significativos al comparar los textos de los estudiantes de 5º con los de 3º básico. Se concluye que los estudiantes progresivamente avanzan en la condensación de información en una misma estructura sintagmática, produciéndose un cambio cualitativo entre el 3º y el 5º básico. En general, los estudiantes escriben narraciones que relevan las acciones como eventos observables, cuyos participantes prácticamente no hablan ni reflexionan sobre su quehacer. Sin embargo, hay una tendencia incipiente a enriquecer sus producciones incorporando estos aspectos a medida que se avanza en la escolaridad.