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

This is a study of the work A cidade sitiada by Clarice Lispector, in dialogue with antropology (rites of passage), the second alchemy Jungian psychology in which it is intended to analyze the character in its individuation process, that means of self-knowledge of oneself. We perceived that the  principal character is marked by the conjugation and stigma of the verb to live, that is, it goes through different phases and stages in order to discover who he really is, since he is always in search of his identity, which is constructed with the development of his story in the novel. The narrative procedure adopted by Clarice Lispector, in that work led us to the concept of the rites of passage theorized by Arnold Van Gennep and alchemy, second Carl Gustav Jung. We investigated which are the behaviors demanded from the protagonist by the other members of the community in which to see inserted, and how it is positioned before it. Finally, we intend to show how the passage of the rites in Lucrecia's life, in addition to being related to her natural development (phases of adulthood), is mainly linked to the way in which the text is constructed.

Resumen

This paper proposes a work of interpretation, from a textual and contextual analysis, of ten Argentinian films in which the Patagonian territory is re-presented: : La película del rey (C. Sorín, 1986); Gerónima (R. Tosso, 1986); Guerreros y cautivas (E. Cozarinsky, 1989); La nave de los locos (R. Willicher, 1994); Caballos salvajes (M. Piñeyro, 1995); Flores amarillas en la ventana (V. Ruiz, 1996), El viento se llevó lo qué (A. Agresti, 1998); Mundo Grúa (P. Trapero, 1999); Invierno mala vida (G. Cramer, 1999) e Historias mínimas (C. Sorín, 2002). Intertextual relations, whose meanings struggle to impose themselves, will be identified. A more precise idea of the cultural, social and historical dimension of a set of films will thus emerge. The general hypothesis is that the films show signs of the kind of experiences that the epochal neoliberal mutation molds in the subjects’ bodies end subjectivities. Mostly a representation of a “for export” Patagonia appears, with an exotic nature or an enigmatic immensity for contemplation or transitory adventure. This misconception shows at a symbolic level changes that the neoliberalism produced in all Latin America, but which in the south of the south finds specific coordinates and stereotypes.

To socialize the study made to the Voces Magazine - Barranquillera magazine of the early 20th century that promoted literary materials - from a space and material reading in which maps will be used - GPS type, Google maps - both for the reconstruction of Barranquilla Of that time as to unveil the way the magazine circulated in and out of space. What is sought in this research work is to make the geography visible - to bring geography back to the debate of the social sciences - seen as a definitive and conclusive element in literary invention re-locating the concept of map as much as a category of study And analysis as an instrument of observation and research for the development of a historical and literary corpus, and in this case, a literary "system" in Barranquilla. This new turn that I propose with the use of digital platforms aims to reveal the discursive relationship that exists between the way the characters are situated - the genesis of producers and acting institutions that operated in and from the urban as well as the practices involved in The elaboration, edition, manufacture and circulation of the magazine in Barranquilla space, as well as of the spatial correspondences between the social structures of the Barranquilla of that time-economic, cultural, political, and especially urban-fields with the structures and motivations "Internal to the Voices literary" system ". 

This paper develops the “kaleidoscope perspective” notion over two musical videos from the Canadian rock band Arcade Fire titled Afterlife and Porno: from the Reflektor Tapes. These audiovisual works show three important topics: the Orfeo and Euridice myth, the black racial theme (“la negritud”) in the Haitian and Brazilian culture, and the ritualistic process related to Afro-Caribbean community i.e. the Vudu and the Santeria candomblé practice. The way how these topics are inserted in the musical video narrative invites to suppose that there is a constant game of appropriations and distances, at the same time, which emulates the kaleidoscope dynamic, and it is used by the videos with artistic goals. The final result of the “kaleidoscope perspective” is the presentation of two videos that are beyond of the promotional use to become in artistic works that vindicate the Afro-Caribbean identity practice.

Como era gostoso o meu francés is a 1971 Brazilian film. Directed by Nelson Pereira dos Santos, it adapts chronicles by old explorers from the 16th century who were imprisoned by native peoples of what is now Brazil. Thus, it deals with topics such as cannibalism, the attraction that the “savage” life had on the “civilized” subject, and the performative character of sacrificial rituals. In this article, we start by looking at the differences between the historical (and proto-historical) sources inspiring this film. We maintain that these differences, and the conscious decision to change certain aspects of the narratives on which the movie is based, show that he did not intend to portray an otherwise fictitious past (cannibalism in the Americas). Rather, these differences turn this film into a political satire directed at 1971 Brazil, as well as into a comment on colonial difference and on the strategies employed by the colonized in order to mock the colonizer by performing his worst fears about the Other.

The article reflect on the construction of the imaginary of violence in the contemporary Mexican cinema, and how the social imaginaries are connected with the filmic imaginaries. Edgar Morin's suggestion about the imaginary is crucial for this reflection, also Merleau-Ponty’s ideas about the Phenomenology of the perception. To support this aim, an analysis exercise of Miss Bala (Gerardo Naranjo, 2011 is proposed, a representative film that approach the issue of violence that was increased since the symbolic "declaration of war" to drug trafficking during Felipe Calderón government. Its aesthetic and narrative forms allow the spectator to glimpse other manifestations of violence, which go beyond visual spectacular violence, to allow us to see more intrinsic and symbolic ways, based on the Žižek approach. The present reflection can provide the reader a panoramic perspective on the role played by the cinema and its filmic imaginaries in the constitution of the social imaginaries, on how one lives, perceives, condemns and assimilates a social reality pronounced by narco violence in Mexican society.

 The author analyzes the late work of Mexican writer Carlos Fuentes to think about the Mexican political system and its transformations. Also, the author uses the figure of Pedro Paramo as an example of total sovereignty in comparison with the state fragmentation and the multi-sovereign forms that Carlos Fuentes uses in his novels as tools to demonstrate how the transformations have operated in Mexico: from a strong state to a fragmented government surrounded by other forms of control such as globalization, crime, and necroempowerment.

The article analyzes the extent to which recent mexican cinema, both fiction and documentary, have been transforming their discourse on ethnic identities in recent years. Based on a interdisciplinary methodology that articulates the categories of cinematographic analysis with those of anthropological and social studies, it tries to show some attempts to decolonize the view of indigenous peoples in fiction cinema, as well as the diverse tendencies present in the documentary film ranging from understanding the ethnic as cultural reproduction to raising the processes of resistance and the transformation of identities.

The relationship between Uruguayan writer Juan Carlos Onetti and the cinema is extensive and. When we analyze one of the many adaptations of his work, we have to consider that it is a relationship of double influence, since our author has also take from the cinema to develop one of the most extensive and essential works of Latin American literature. For this reason, it is increasingly common to find interpretations that propose a cinematic reading of Onetti's work. As part of a similar exercise, we propose to read the story "Jacob and the Other" (1961) in the light of his adaptation to the cinema made by Álvaro Brechner in Un mal día para pescar (2009). In doing so, Onetti's tale obtains new interpretations that can be reached by analyzing it with the eyes of the cinema.