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

This article explores a series of contemporary photographic editorial devices constructed by means of archive images. We are interested in proposing three figurations (Haraway, 1999, 2017 & 2019) that define specific subjective modulations, by analyzing the strategies with which they configure a specific narrative matrix (Despret, 2021): the detective, the fugitive and the witness will be presented here through the respective analysis of Los órdenes del amor, by Lucila Penedo (2022), Querida Natacha, by Natacha Ebers (2020), and Nuestros códigos, by the Archivo de la Memoria Trans Argentina Collective (2023). In order to construct these figurations we will start from three initial considerations: (a) the way in which these devices deploy the biographical dimension in public space and the practices of reading them, (b) the consideration of the photographic as an event (Azoullay, 2015), as an expanded temporality, and (c) the haptic dimension of the experience of contact with these editorial devices, understanding this dimension as that which enables an affective and sensorial experience with these materials (Bruno, 2019; Sedwick, 2018).

For this analysis, we will examine the plays Antivisita: formas de entrar y de salir de la ESMA (Antivisit: Ways to Enter and Exit the ESMA) and Cuarto intermedio: guía práctica para asistir a audiencias de juicios de lesa humanidad (Recess: Practical Guide to Attending Human Rights Trials). Both are created and performed by three sons and daughters of disappeared or exiled parents during Argentina’s last dictatorship. We will focus on the narratives these works convey, foregoing purely theatrical analysis. We aim to comprehend and compare the plays considering their production context, and identifying common elements that connect them with a broad range of works created by children of disappeared or exiled parents. We start from the hypothesis of the existence of a type of autofictional narrative that children tend to reproduce in the various spaces they inhabit. To achieve this, we will first analyze the works to identify their key points. Then, we will examine the characteristics of the autofictional narrative used by the children in their artistic works, taking into account previous analyses conducted on the relevant social subject. Finally, we propose reconsidering the representations that children enact in the public sphere. With this study, we aim to generate analyses of the narratives of children that, based on specific cases, delve into the writing and expression strategies they employ in public and artistic environments. We will consider not only their ability to express themselves but also the social reception of their voices.

The pandemic drastically affected everyday life, modifying times, spaces, movements, connections and ways of working. All routines, domestic and family organization were affected by a new situation that required a series of health care tasks but also the reconfiguration of the ways of life that were known until then. In this article we will focus on the experience of professional women with children under their care during lockdown in particular and the pandemic in general from the City of Buenos Aires, the Metropolitan Area and the province of Buenos Aires. The objective is to reconstruct, through their words, from a qualitative perspective, the subjective experience of the transformations and continuities that the pandemic implied in relation to the domestic, the public and the intimate space. The hypothesis that organizes this article states that the closure of institutions and the domestic confinement were situations of high emotional, work and material burden for women with children, which entailed the loss of personal spaces. This overload would not only be linked to care tasks but also to the worsening of working conditions, their concentration and individualization in the context of the impossibility of mobility. This article aims to contribute to the description and analysis of everyday life during the pandemic and the family, social, work and relational dimensions that unfolded in different ways in the subjective experience of professional women.

On May 28, 1970, Jorge Luis Borges delivered the conference “Junín and the Conquest of the Desert” in that city. Among the audience present, an agent of the local intelligence services listened, wrote and sent to his superiors a version of the lecture and his impressions, a singular record that is kept in the Archives of the Intelligence Directorate of the Police of the Province of Buenos Aires (DIPPBA). The aim of the article is to inscribe the document on two levels: (1) to expose some notes and reflections on the narration of lives, biographical and autobiographical moments in the writing and literary aesthetics of Jorge Luis Borges that point to themes related to what was supposedly exposed in the conference; (2) to situate the document, the logics of the archive and the political context that surrounded it, and to put this in dialogue with the previous point. And, interweaving both, to analyze in methodological and analytical terms, the tense relations between biography, autobiography and archive.

This article analyzes the film Esteros (2016) by Papu Curotto (with script by Andi Nachón) through the notions of success and failure viewed as mechanisms of capitalism for the control of bodies, lives and subjectivities. The film shows the amorous reunion of the protagonists, now adults, after a sexual-affective relationship that was cut short in their childhood. In this way, the film alternates between two timelines and thus moves away from the idea of family homophobia or the environment as the reason for the separation of the lovers; on the contrary, it is precisely capitalism and the notion of success that generated the estrangement of the children, as well as a heteronormative adult life in the case of one of them. Hence, the zombie becomes a symbolic figure that runs through the whole film and alterns between two possible poles linked to success as capitalist alienation or failure as a bet for life in its qualitative dimension. At the same time, this framework of analysis allows us to redefine the importance of landscape and nature in the film from the affective dimension associated with queer childhood.

Seeking to contribute to current research on the future imagination, the article explores a scientific fiction text, The Ministry of the Future (2020), by Kim Stanley Robinson. This novel has two singularities: it begins in July 2024, so it narrates an imminent future, prolonging concrete possibilities of our present, and it proposes, based on existing academic articles, a currency —carboncoin— for the ecological transition. This makes the novel a speculative science fiction of strategy, a notion explored in the article to understand this way of imagining the future. After presenting a series of sociological concepts for the study of money (with emphasis on Nigel Dodd’s concept of “social fiction”) and outlining a history of imagining the future of money, and arguing that, since 2008, we live in a conjuncture of currency transformation, the futurization of money present in the novel is analyzed. The characteristics and implications of the carboncoin, which rewards carbon capture, are explored, analyzing moments of its design and evolution in relation to banking institutions, the dollar, technologies and the dilemmas of its adoption. By putting the plot of the novel into dialogue with historical phenomena, theoretical positions, political discourses, social and technological processes, we try to support the hypothesis that the way of imagining the future in a current science fiction novel, which speculates on the future of money in times of climate change, can offer new possibilities for the social sciences to think about the future.

From multiple stories about the intimate lives of female celebrities, entertainment journalism constructs evaluations and judgments about emotions and behaviors that fuel cultural perceptions about motherhood. This article identifies two cultural frameworks involved in the journalistic narrative of entertainment and celebrity coverage —melodrama and scandal—, and analyzes their articulation in the biographical production about famous mothers that proliferates in magazines, TV shows, and platforms dedicated to celebrity news. Embedded in the tradition of discourse criticism, the work investigates the staging of melodramas and scandals in the journalistic construction of six stories linked to motherhood involving different famous Argentine women. From the analysis of different sources that threaded those stories, a moral rhetoric is observed, expressed by the complementary alternation between tales of misfortunes and maternal transgressions.

The article studies the love discourse in the Montoneros guerrilla in the mid-1970s. It is framed within the field of history of emotions, and uses Evita Montonera, the official press of the guerrilla group between 1974 and 1979. The text states that the magazine shaped the image of a militant person capable of fusing romantic love and family love with political commitment, in order to integrate sentimental relationships into the party’s logic. This emotional culture materialized in several sections of the magazine, where letters from guerrilla men and women who lost their partners in combat were published, as well as notes and testimonies about exemplary Montonero families. For the research, the twenty-five issues of Evita Montonera were surveyed, but the article focuses on the 1975-1976 biennium, a time in which references to love are more recurrent. The work uses discourse analysis as its main methodology, but tries to raise some hypotheses about the experience of emotional mandates among militants

Climate oscillations are known to have an important influence on weather patterns across the world. While the impact of El Niño Southern Oscillation (ENSO) has been well documented, there is a scarcity of studies examining the effects of the Pacific Decadal Oscillation (PDO) and the Atlantic Multidecadal Oscillation (AMO). This study uses satellite data to confirm that ENSO significantly influences precipitation in the Nazas-Aguanaval watershed from October to March, as evidenced by Spearman correlation coefficients. In contrast, the PDO influence is registered during specific months (January, March, November and December), while AMO impacts precipitations during April-June, November, and December. These results were corroborated using ANOVA, reinforcing the influence of ENSO and indicating a limited impact of PDO and AMO on this watershed. Finally, a linear model was developed to estimate monthly precipitation anomalies based on the phase of these three indices for the different sub-basins. Notably, monthly precipitation anomalies ranged between 140% and –78% in dry months. Our results demonstrate the influence of climate oscillations in precipitation in the Nazas-Aguanaval watershed and the usefulness of satellite data for conducting these analyses. Likewise, we set a starting point for investigating the implications of climate oscillation phases for water management and drought disaster prevention.

This study evaluates Mexico’s surface water availability across 757 hydrographic basins, organized into 37 hydrological regions, projecting scenarios for 2034. Using NOM-011-CONAGUA-2015 methodology, availability was determined by subtracting downstream commitments from runoff volume, analyzing historical climate (1976-2018) and water use trends. Significant regional disparities exist. Northern basins, like those in HR 8 (Sonora Norte) and 24 (Río Bravo Conchos), face severe water stress, with availability as low as 050 Hm3/year. Southern regions, such as HR 30 (Grijalva-Usumacinta), have higher availability, exceeding 10 000 Hm3 year–1. Projected scenarios for 2034, using Turc’s formula and the runoff coefficient (Rc), indicate 154 (Turc) and 103 (Rc) basins will face water scarcity. Northwest basins, including HR 9 (Sonora South) and 25 (San Fernando Soto la Marina), are projected to have availability below 100 Hm3 year–1, exacerbating stress. South-central basins, like HR 18 (Balsas) and HR 30 are expected to maintain high availability, exceeding 500 Hm3 year–1. The study also identified basins suitable for hydroelectric development, focusing on flows above 2 m3 s–1 and slopes over 2%. However, ecological and legal constraints, like protected areas and environmental flow requirements, limit development, especially in HR 30. These findings underscore the need for integrated water management to address regional disparities, promote sustainability, and mitigate the impacts of climate variability on Mexico’s water resources.