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

Un pianista entre la niebla (Premio único de Novela Ángel F. Rojas, CCE-Núcleo del Guayas, 2015) de Raúl Serrano Sánchez (Arenillas, 1962) tiene como personaje central a mademoiselle Satán, tema y personaje de un poema del mismo nombre de Jorge Carrera Andrade (1903-1978). El texto apareció en Quito, en 1927, en la revista Fígaro de Carlos H.

Hasta hace un tiempo, Sylvia Plath (1932-1963) estaba unida indisolublemente a la figura del que fuera su marido, Ted Hughes, a modo de apéndice. La sombra del inglés era demasiado alargada y opacaba la valía de la norteamericana. 

Referencias

This writing is a testimony of reading, a return to the Fakir, a tribute to César Dávila Andrade in the celebration of the centenary of his birth. The author re-reads some of his stories,non-fictional prose writings, letters, novels and sketches that some of his contemporaries wrote about him or converted, years later, into a novel character. What interests me is to understand how he himself looked, he looked at others and was looked at, because it is on the writer’s gaze that this seeks to reflect.

What does being a bohemian imply, and how can the relationship of Ecuadorian poet César Dávila Andrade (called The Fakir by his closest friends) with the night, the underground world, and with alcohol be characterized and understood? This is the question this article tries to answer. The research in which it relies considers sources as memoirs and oral testimony of relatives and friends close to the poet; biographic articles and academic studies of Dávila’s works. The author analyzes the poet’s life in a critical period: his stay in Quito between 1944 and 1949, time in which he, along with other writers and artists living or born in Quito, leaded an intense and hallucinating bohemia. In that disordered experience, The Fakir turned to be one of Quito’s popular characters, turning his life into a legend woven with anecdotes that delight, move, and induce reflection up to this day. All these anecdotes emphasize the poet’s enthrallment and solidarity with the urban underground of Quito, his intimate relationship with the night and his unique alcoholic proclivity.

En 2018 se cumple el centenario del natalicio de César Dávila Andrade (Cuenca, 1918-Caracas, 1967), uno de los mayores poetas y narradores del Ecuador y América Latina de la segunda mitad del siglo XX. La obra del Faquir, llamado así por sus amigos y allegados por la inclinación de Dávila al estudio del esoterismo y las ciencias ocultas, es hoy por hoy referente vital.

This text examines the irruption in the concert of the avant-garde of Ecuadorian and Latin American poetry of the 1930’s decade of the 20th century by a very young Dávila Andrade, with a poem whose maturity and audacity does not cease to amaze both people and strangers to date; also the impact that his early and lucid poetic exercise produced in the social and cultural environment of his city of origin, Cuenca, as well as his condition as a subject that always knew how to move in what the author of the article, citing Eugenio Montale, defines as between “the poet-subject and the empirical subject”

The deviation from the norm is the foundation that structuralist theorists have proposed to define the sense of the poetic. As Jakobson affirms: “in reality poetic language makes an essential change in the relationships between the signifier and the meaning, as well as between the sign and the concept.” With this premise of backdrop, here we offer an approach to the anti-poetry of Nicanor Parra, who develops his poeticity against the norms of poetry itself. We perform a textual exercise of analysis and commentary from the antipoetic and irony, unraveling the divergences and critical emphases that emerge in the poetry records of the Chilean author who passed away in January 2018, guiding us through the socio-semiotic concepts of Bakhtin.

Focusing on Elena Santos Epílogo provisional, this article points out some disengagements and mistimings in the interpretation of contemporary Spanish American narrative by Spanish criticism. Because of its precluding academic avatars Santos’ book is a great exception, and as such an exemplary beginning for her and Latin American criticism in general.

The maize weevil (Sitophilus zeamais Motsch. Coleóptera: Curculionidae), is a one of the main pest of the corn during postharvest. The annual loss of cereal crops during postharvest are results of insect damage, microbial degradation and others factors, the estimate between 10 to 25% of yield global loss. Traditionally the control of these pests is with chemical insecticides, that is not appropriate management, produces environmental problems and food residual insecticide. One alternative is to use natural insecticides that are friendlier to the environment and are more feasible to make in the field. Between the naturals products are substances from: nicotine, natural pyrethrum, neem (azaradichtina) and the African tulip leaves and flowers (S. campanulata B.), in the same way the respective extracts. These components of the tree could be an alternative to postharvest cereals pest like the maize weevil (S. zeamais). In this research we conducted assays to determinate insecticide and repellent activity of African tulip leaves, flowers and extracts respectively in a camera with wind channel in the Chemistry-Ecology Laboratory of ECOSUR, Tapachula Chiapas, Mexico. The results obtained showed statistically the insecticide and repellent effect of flowers and leaves on the maize weevil to 2 g/200 g of corn and the main activity were to 2 and 17 hours after of the application. The main insecticide extract effects were with flowers extract to 2.0 and 1.5 mg/ml solution after 12 hours of the application.