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

Reseña de Crónicas travestis. El periodismo transgresor de Alfonsina Storni, Clarice Lispector y María Moreno, de Mariela Méndez

This work proposes the analysis and interpretation of the main narrative procedures of the chronicles of Carlos Monsiváis around the massacre of 1968, to then compare and contrast them, from their interdiscursive remissions with those of his colleague and contemporary Elena Poniatowska, and with other journalistic reports published by the main Mexican newspapers. The analysis of tones, strategies and writing grammars of Monsiváis himself versus Poniatowska's discourse allows us to establish differences to verify different ways of exercising the urban chronicle. Likewise, we propose to problematize the position of the chroniclers in relation to the construction that the mass media made of the events and representations around 1968, and analyze the way in which each of them included the testimony of the witnesses.

Reseña crítica de La escritura meta-final de Guillermo Cabrera Infante. Homenaje a su obra ‘casi completa’, editado por Claudia Hammerschmidt.  Londres-Potsdam: INOLAS, 2017, 265 páginas.

Reseña de Culpables por la literatura. Imaginación política y contracultura en la transición española (1968-1986) de Germán Labrador Méndez.

Reseña crítica de Lectoras del siglo XX. Imaginarios y prácticas en la Argentina. Batticuore, Graciela. Buenos Aires: Ampersand, 2017, 174 páginas.

Reseña crítica de Cuerpos ilegales. Sujeto, poder y escritura en América Latina editado por Nanne Timmer. Leiden: Almenara, 2018, 328 páginas.

Reseña de Esclavos de la consigna. Memorias II de Jorge Edwards. Santiago de Chile: Lumen, 2018. 295 páginas.

Maca Albornoz and her Roman Circus are secondary characters along three novels about the indigenous upheavals in Peruvian Manuel Scorza’s pentalogy. Female protagonism, blurring of gender definition and concession of principal roles to protagonists identified only by their physical or mental challenges, are unusual themes in Indigenist tradition. Nevertheless, we found them in these novels. Following Paul B. Preciado’s assertion that diversity, sexual as well as functional, are inscribed in the body, in addition it is possible to propose that a rebellious counter-proposal could also emerge from these same bodies. The contribution those personages offer to the reader are essential moments of rebellion that compensate the defeat of the principal attack conducted by the leader Agapito Robles. Our proposal sustains that the described rebellion, that can easily be placed in line with Somato-political’s paradigms because of the description of complexities of gender definition as well as the breaking of traditional roles ascribed to protagonists with functional challenges, are mere strategies, in the same fashion as many others that gave Scorza the title of innovator of the traditional Indigenism. Scorza’s final objective could have been to convince the reader, to emotionally involve him/her (Ubilluz) in the rebellious fury that characterized the indigenous upheavals’ epic in the quest to recover their land.

This article aims at defining what we understand by a gay cultural subjectivity, and endeavours to apply this concept to the experience that an effeminate proto-homosexual child experiences when building his own subjectivity which starts from the difference. In other words, we mean a subjectivity that inscribes him in a marginal alterity. Next, the article reviews the manner in which this theoretical view has crystallized in the work of some Latin American authors towards the figure of the "loca", to focus more specifically on the character of Toto, Manuel Puig's autofictional mask in The Betrayal of Rita Hayworth (1968). We conclude by proposing, from the queer Utopia, a path able to deactivate what Michel Foucault calls "disciplination of bodies" imposed by biopolitics.

Reseña crítica de ¿Por qué Brasil, qué Brasil? Recorridos críticos. La literatura y el arte brasileños desde Argentina editado por Roxana Patiño y Mario Cámara. Editorial Universitaria Villa María: Villa María, 2017, 318 páginas.