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

Our analysis of the works of Gerardo Maloney (1945) and Quince Duncan (1940) will show that they constitute the best instrument of resistance and defiance of the Central American power structures. In the first instance we will establish that that these power structures were put in place at the end of the eighteenth century by European ideologues who invented the “Aryan Model” . This is a theory that is based totally on “alternative facts” . It is the very foundation of Western civilization, the basis of White supremacy. The most perverse falsehood emanating from this system of alternative facts of the Aryan Model is the assertion that Africans were the last to develop literature. The Colombian writer of African descent, Manuel Zapata Olivella (1930-2005), took the first step to create a literary expression that authentically represented the immense cultural wealth of Spanish-speaking African descendants. Duncan by delving deeply into the religion and philosophy of Costa Ricans of African descent took the second step. Maloney’s art goes directly to the heart of the matter, celebrating the steps taken by those heroic activists dedicated to the resist and defy the power structures, and thereby achieve our liberation from mental slavery.

The presence of Afrodescendant women writers becomes visible in the last decades of the twentieth century. It is a discourse that arises from experiences of ethnic and gender discrimination. It is constituted as a cultural resistance movement that recovers emblematic characters, symbols, images, dreams and ideals that allow permanence in their countries. It has its origin, with creole writers, in Costa Rica with Eulalia Bernard (1935), Prudence Bellamy Richard (1935), Marcia Reid Chambers (1950), Shirley Campbell (1965),  Delia McDonald (1965) y Queen Nzinga Maxwell (1971). It will continue in Nicaragua, with June Beer (1935-1986), Erna Loraine Narcisso Walters (1942), Grace Kelly Bent, Annette Fenton (1973), Yolanda Rossman (1961), Deborah Robb Taylor (1965), Nydia Taylor (1953) and Andira Watson (1977); in Panama there is Eyra Harbar and Melanie Taylor. Regarding garifuna writers, in Honduras There is Xiomara Mercedes Cacho Caballero (1968), in Nicaragua, Isabel Estrada Colindres (1953) and in Guatemala, Nora Murillo (1964). This communication portrays a selection of authors, it is imposible to make an exhaustive description, but it does provide the meaning and continuity of an important scriptural tradition.

This article presents an approach to Latin American publishing networks, their role and importance and how, through joint work, the dissemination of knowledge generated by the academic press is expedited. To exemplify this process, the Enlazadas project of the EULAC Latin American and Caribbean Publishing Network is analyzed and how it has enriched the dissemination and networking process in the context of the Covid-19 pandemic

This article analyzes the role of Eulalia Bernard Little (1935-2021) as a pioneer in representing Afro-Costa Rican women in public and international decision-making and management arenas. Through the use of visual and documentary archives and by employing an interdisciplinary methodology that combines discourse analysis and ethnography,  her pioneering status in the black political field, both inside and outside Costa Rica, is examined. First, her consolidation as a Diaspora activist during the 1970's is explored, from the relationship between her own experiences in Afro-Caribbean circulation and her participation in scenarios of political and cultural analysis and discussion. Subsequently, it considers her incursion in the national party structures and the scope of social transformation of her discourse.  Finally, her influence in the participation of other Afro-Costa Rican women in the political and political-cultural sphere is identified. The understanding of this other dimension of Ms. Bernard Little rounds out the works on her literary production, while at the same time broadens the studies and historiography of the Afro-Costa Rican community.  

This paper describes the learning experiences carried out during the 2020 school year in a teacher training institute (IFD 11) located in the province of Neuquén, Argentina. At the initiative of teachers, directors and students of the institution, under the title Había Una Vez (Once Upon a Time), a proposal for the dissemination of literary material was carried out through social networks and radios, where texts belonging to different genres were shared: album book, poetry, narrative, micro-story, theater and radio theater. Seeking to give voice to students from the community, this educational undertaking built networks and grew by sharing the productions with other educational institutions in the country and abroad, from the guide the words of Gianni Rodari: "The total use of the word for all is a beautiful motto of democratic sense, not so that everyone is an artist, but so that no one is a slave

This paper is a critical reflection that attempts to problematize the disputes being developed in t Latin America since the emergence of several right-wing governments (Brazil, Ecuador, Uruguay) and others that have hardened their actions in response to the demands of various popular groups (Chile, Colombia). These governments got stronger after Trump election (which was marked by the Capitalism crisis in 2008). This situation provoked social manifestations which intend to stop the conservative politics and which promotes politics that has its focus on the people as the center of any project. Popular projects have not got the focus on the market, the goods or the earnings as they are not the center of its core of ideas.

Through this essay, I intend to share a brief reflection from my personal experience through poetry, on how literary creation and the multiculturalism of the land where I was born, have an impact on me, sailing among seas of diverse tonalities but that in the end, have shown me that they emerge from the same ancestral source beyond the skin, language, customs, religions and the territories we inhabit.  There are more common elements that as human beings guide us towards shared utopias. As a woman writer, I interpret the world in which we live and coexist, naming things, evidencing them, and spreading them in order to influence the transformations we seek. For this essay I base my work mainly on personal experiences, in addition to research carried out in documentary sources related to the subject and information gathered from interviews with my paternal grandfather and my father, both now deceased. They were of vital importance to mark the route to follow in this process, which decodes the intricacies of my genealogy; a curiosity that deepened when I began my master's studies in social anthropology in 2004, when I concluded that I am a melting pot and an amalgam.

This article presents a summary of the discussion entitled: "Self-representation of Afro-Central American women in literature", held within the framework of the Meeting: Afro-descendants in the Bicentennial: ancestral practices and knowledge ", during the 23rd edition of the Festival Flores de la Diáspora Africana [Flowers of the African Diaspora]. This discussion was held between four Afro-Central American writers and has been systematized through the answer to some questions that were posed on the occasion, from which it is sought to hear from the voices of the writers themselves how they represent themselves in literature, investigating also about their literary work, their commitment as black women, to whom their literature is directed and their utopia as writers.