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

An important element in the narrative universe proposed by Carlos Fuentes in Las dos orillas is the way language is used as a means of communication and as an instrument of domination. The protagonists, Jerónimo de Aguilar and Malinche, use language for their own interests and personal gain. Both are aware that knowledge of Spanish and indigenous languages is a valuable weapon which grants them power. This causes conflict between them and between the Spanish and American cultures: the latter, subjected by guns, horses and religious language; the former, imposing its sovereign dominion for three hundred years.

The idea that literature has already crossed the limits of its modern constitution, having exceeded its autonomic status, and opened itself to new forms of cultural existence, like contemporary art has done, has become one of the most vigorous and suggestive critical statements within current literary studies. The continuous appearance of the term "literature in the expanded field of art" as a subject of research or describing scientific events bears witness to this new state of affairs. The purpose of this paper is to undertake an evaluation of the reach and limits of the concept of "expanded literature" when it is being used to highlight the supposed post-autonomous novelty of current literary experiments. Strategically, the argumentation focuses on a paradoxical case: the use of this concept in a celebrated essay by Alan Pauls, "El arte de vivir en arte" (2012). The paradox in this case lies in the fact that the post-autonomous image of literature appears among the layers of a thought that draws all its conceptual strength from the principles that individualize the "aesthetic regime of art" (Jacques Rancière), that is, within the horizon that the alleged literary "expansion" would come to overflow or overcome.

We will work with the essays Hector Alvarez Murena wrote from 1961 until his death: particularly, La cárcel de la mente (1971), La metáfora y lo sagrado (1973) and El secreto claro (dialogues with D. J. Vogelmann, 1977). Our hypothesis posits that the texts of this period are a unit, which allows us to value Murena's greater interest in the decadence of Western civilization. His main problem is the loss of the sacred to a “titanic thought” that leads mankind to catastrophe. At the same time, there is a close dialogue with representatives of Western (Guenon and Burckhardt) and Eastern (Coomaraswamy and Lao Tze) “traditional thinking”, which allows him to complement his German philosophical background (Heidegger and Benjamin) to offer possible answers to modern man's moral, spiritual and intellectual crisis.

This article addresses the issues with the role of the 'author' in Shiki Nagaoka: una nariz de ficción (2001) by Mario Bellatin. A singular text which, we hypothesize, represents a turning point among the author's works. In this sense, we argue that the appearance of photography in a text that focuses its reflection on the language of literature and the authorial image implies an encounter both desired and, fundamentally, symptomatic. The article explores the senses of this encounter, with the general theoretical framework of those issues raised by Walter Benjamin in connection with the aura and the destruction of experience.

Cae la noche tropical, Manuel Puig’s last novel (1988), reveals once again a quality of voice based on the ethics of inter-subjectivity, a specific location of the reader’s figure and, at the same time, a repetitive practice: conversation (Link, 2009). This “presentification” mechanism (Aira, 1990) generates in the novel a symbolic, astronomical and existential imbrication, from an arch that progresses from the omnipresence of conversation to its radical absence, which replicates the process of life turning into death which these two elderly sisters, Luci and Nidia, are undergoing at the same time, and also the astronomic cycle day-night which, on the other hand, reveals the moment in which that passage becomes evident: twilight.

Self-managed publishing houses have become objects of study in Argentina since the last decade of the 20th century. They have multiplied after the structural crisis of 2001, in a context that favored activism forms against the globalized publishing sector. Currently, in the face of a new editorial crisis, the heterogeneity of projects and publishing houses is remarkable and is perceived as a development sign to produce outside the literary mainstream. This work seeks to briefly historicize these practices and show, within the framework of the coexistence of production and publication supports, some empirical references that characterize current forms of sociability and production strategies, going from the material world to the digital one.

This article aims to investigate the reception of the German philosopher Friedrich Wilhelm Nietzsche between 1890 and 1930 in Argentina, from the point of view of a history of ideas and the circulation of texts internationally. Thus, we will emphasize the work of analyzing the first works of the philosopher that were imported, translated and published in the country, highlighting the importance of receiving the French texts. We seek, therefore, to contribute to a history of ideas and philosophy in Argentina, from a material angle, insofar as it offers us an interesting perspective to understand the conditions of circulation and ways of valuing the work of Nietzsche.

The proposal of this article is to analyze how in the notes entitled "Tiempos presentes" and "Al margen del cable", printed between 1937 and 1942 in El Mundo without photos or illustrations that accompany them, Roberto Arlt uses the press images printed in other sections of the newspaper as triggers for the assembly of their texts. To this end, we will observe the way in which the writer works in this area of ”‹”‹his journalistic work as a cartographer chronicler, incorporating in his articles geographical and spatial references that are linked to the proliferation of maps and urban views that day by day they were published in the cable section and on the cover of the paper about the events surrounding the Second War.

The writings of disappeared activists ´ children take part from a defined stage of post-dictatorial literature in Argentina. In this article, we propose to read these narratives from Tamara Kamenszain ´s perspectives about the present’s writing. Ideas such as harmless testimony, intimidad éxtima, permanent childhood ´s voice or returning home- create productive networks that allow us to read the ways in which literature, memory and life are linked. In this sense, we underline some outstanding features related to a moral of the form - in Barthes’ expression- that, among other things, imply a new memory’s politics in relation to previous generations.

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