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

Jurisprudencia ambiental en el País Vasco (segundo semestre 2018) 

Through an intermedial approach that focusses on the literary depiction of the musician, this article locates and explains three rewritings that Julio Cortázar’s “El perseguidor” undergone had during the last decades. Thus, three different works will be analyzed, by A. Castillo, F. Quiñones and A. Muñoz Molina, respectively, build up an interpretation of the short story on which they are all based. Given this transatlantic perspective, it will be argued that these versions establish a series of invariants by reinterpreting voice, time and space in the original narration. This perspective, then, joins the critical tradition and copious bibliography on the Argentinian writer from a point of view that has been seldom adopted: the interpretation that each of these versions imply. This seems to be an important issue in order to understand the meaning and scope of one of Cortázar’s milestones.

Chilean contemporary poetry is marked in an explicit as well as in an implicit way by the Chilean dictatorship experience. A strict analysis of postdictatorship works will reveal scars of this period (1973 - 1990), even in apparently less political aspects, such as, the representations of space. Many authors have developed some of the most interesting reflections about Chilean political and cultural history over the last four decades, provoking a tension in their work of some of their most unshakable assumptions. In other words, the nation state; the neo liberal economic model; national, ethnic and gender identities and the national space. This paper will show how the contemporary space implies a challenge that demands a critical opening towards experimenting with artistic and political forms. For example, Andrés Anwandter poetry sheds light on the spatial experience in a complex way and with a high aestethic and intellectual performance, elaborating representations of an heterogenous city, as a stage of an unfair and half-done modernization, with a landscape that still preserves scars of political violence, economic model transformations and the ambigous border between public and private space.

Diabulus in musica (2001) by Espido Freire (Bilbao, 1974) offers a “musical hell” where music becomes an object of displeasure and a channel for the Kierkegaardian “sickness unto death”, anguish. In addition to music, Espido Freire develops other transtextual resources as Nordic mythology, the painting Saint Georges and the dragon by Paolo Uccello and the tragicomedy El caballero de Olmedo by Lope de Vega. She plunges us onto a peculiar game of mirrors where nothing is what it seems to be: (dis)affection confuses the fate and the identity of the characters, bound to suffering and, finally, to suicide. In order to explain these aspects, we develop an interdisciplinary methodology, especially through the use of narratological, philosophical and sociological sources.

This article intends to show reading and critique strategies involved in five handwritten notebooks by Rhenish essayist Ernesto Volkening (1908-1982). The notebooks, one of the most singular reading journals written in Colombian literature, were composed in 1973 and were entirely dedicated to Scholia to an Implicit Text, an unpublished book by Nicolás Gómez Dávila, which he read and commented. The article deals with Volkening’s career as a critic and discusses the genologic theory involved in his choice of the note and reading journal as mediums to “respond” to the Scholia. The article intends to show four types of comments in his readings to reconstruct an unknown chapter in the history of literary criticism and marginalia in Colombia.

This article deals with the problem of time in the trilogy Historia de una absolución familiar, by Germán Marín. As a hypothesis, I claim that in his work and in his author persona, both marked by melancholy, come together many of the contradictions that have been affecting the relationship of our contemporary narrative with the past. If, on the one hand, it raises a criticism of history, memory and tradition, on the other, it tends to display a strongly deterministic perspective on the past, in addition to a conservative and patriarchal pruritus. In the specific case of the Marin trilogy, we can say it oscillates between the subversion of “the genealogical imperative” (Drechsel, 1978) and its nostalgic evocation. Finally, I interrogate the possible relations between the work of Germán Marín and second-generation literature.

Based on the reflections of Ángel Rama in his foundational text La transculturación narrativa (1982), this article makes a critical revision of the narrative of the Peruvian writer Macedonio Villafán Broncano emphasizing the fictional construction, the transcultural operations and the complex processes of cultural resistance, experienced by Andean societies. It also establishes a link with Andean epistemology and socio-economic dynamics like reciprocity, complementarity, duality and cosmic vision of the Andean man within modernity. This shows that that in Macedonio Villafán narrative, a bicultural mixture of the ancestral Andean knowledge and the invading culture live dialectically together, constituting an eloquent example of transcultural literature.

In this article I study the aesthetic thought and the relations between aesthetics and politics in the essays that Mariano Picon Salas wrote in Chile between 1923 and 1935. In his texts on art, the young Picon Salas valued authentic and harmonious works in which the meaning and the signifier as well as the creator and the context established an unambiguous relation. At the same time, in what concerns his political thought, Picon longed for an agreement between the elites and the people that would lead to overcome the institutional and social crisis and to undertake the road of modernization.

This paper studies the importance of Ricardo Piglia’s work, especially in Los diarios de Emilio Renzi (2015 and 2016), his intellectual activity both in literary journals and in the publishing company Tiempo contemporáneo in the 1960s, a time of great revolutionary fervour, marked by the union of aesthetics and politics advocated by a Nueva Izquierda. The article focuses on the analysis of the magazine Literatura y sociedad (1965) and his work as editor of Tiempo Contemporáneo (1966-1968), while developing a cross reading with his journals.

This paper analyses the different types of irony present in El món d’Horaci (2016 [1995]), Vicenç Pagès Jordà’s first novel. These include meta-fictional reflections by narrators and characters and verbal ironies. The analysis shows the diversity of ironies present in El món d’Horaci, the basis of the reflection and the exploration of irony in the subsequent production of the author.