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

In this article, the objective was to carry out a critical analysis of the relationship between oral health and labor. The reflection emerged from the significant increase in the search for emergency dental care in a basic health unit during the coronavirus pandemic, in which the subjects had something in common: the termination of their jobs in shoe factories. Based on critical social theory, an analysis was carried out on how labor, understood as a founding category of the social being, has its meaning emptied in capitalist societies, operating more as an obstacle to oral health in the dynamics of hired and alienated work. This is because it was possible to perceive that the newly unemployed subjects accumulated several oral health needs, such as infections and inflammations that caused suffering, until then internalized andhidden so that they could keep their jobs in a context of imminent unemployment, thus enabling them tocontinue reproducing their material life. Thinking about the relationship between oral health and workbrings us closer to understanding the health-disease process as socially determined, when exploited workrelationships materialize in ‘working mouths’. In this way, the democratization of access to oral health isseen and understood as a right to a full life.

Editorial

Childhood and old age, in addition to being biological stages in the life of the subjects, can operate as powerful theoretical inputs when it comes to investigating the links between life and art. In this opportunity we will carry out an approach to those "functions of the beginning", fables of the beginning and childhood of writing (Premat 2016) in the song "Inventario" by Joaquín Sabina included in the homonymous album (1978) and compiled in the autopoetic volume With good handwriting. Updated edition (2002, 2007). In this overture song, Joaquín Sabina begins his authorial project (Zapata 2011) in the emergency stage, exposing a series of images (Amossy, Maingueneau 2009) that will become postures (Meizoz 2007, 2009) and that will delineate a particular authorial figure, an author character (Castilla del Pino 1989) who designs himself (Groys 2014) in search of an original identity fabrication that positions him in a certain way in the poetic-musical scene of the author song. Through the autopoetic notes drawn in handwritten calligraphy in With Good Handwriting, we will investigate how Joaquín Sabina reviews his authorial project at the same time that he founds it from the incipits of his writing, entry into work and entry into literature, which already from his beginnings shows repeated and paradoxical vestiges of old age.

Entornos de la traducción: poéticas, narrativas, sociedad, edited together by Javier Gómez-Montero and Víctor Bermúdez, provides the reader with a diverse intellectual background, compound of interviews with different renowned authors in the Spanish literary sphere, in order to introduce him to the main topics on translation. This work tries to do a review of the book’s general content, as well as of the multiplicity of views that it offers, and to open a dialogue with it so that translators’ labour be highlighted.

Simone de Beauvoir practiced autobiographical writing in its various forms, from diaries to autobiography, through autobiographical novels. Because of that, it is interesting to see how these types of autobiographical writing, in this case that of autobiography and autobiographical novels, constitute two forms of construction of the biographical event that result in two different types of identity articulation for their author. On the one hand, with the autobiographical novels Beauvoir manages to explore the possible paths or the possible truths that were denied to her in real life. While in the autobiography, what she constructs is her identity, endowing her life with a certain unity and escaping from fragmentation.

This review is intended to serve as a guide for readers who desire to embark on the world of Emilia Pardo Bazán's fantastic stories through the first systematic collection of the Galician author's unusual tales. The stories integrated in this volume are not only clothed with a terrifying modernity and an unusual feminist critique for the time, but they also reach the contemporary reader in the form of instincts, sensations and attitudes that are still very present today. 

This article pretends to approach the debate about the possibility (or the impossibility) of a world literature by examining two key plays of British contemporary dramaturgy: Blasted, by Sarah Kane, and Attempts on her life, by Martin Crimp. The article will be especially focused on the emergence of otherness in the plays, on their relationship with Occident as an identity and discourse, as well as on the problematics that arise from the notion of representation in a globalized world crafted by multinational capitalism. It will be shown that both plays permit to think about a mundane world literature from Occident, a literature that assumes its own position to engage a critical project that considers the challenges and the tensions posited by our contemporary global space. Thus, we would like to indicate other instances of specific contribution to the debates that surround Comparative Literature as a discipline.

Review of the book FERRARI, Marta B. Amazonas de las letras. Discursos de y sobre las literatas españolas del XIX. Rosario, Argentina: Mar Serena ediciones, 2021, 166 pages.    

Abstract: The history of the Spanish contemporary poetry is connected with the establishment and the academy. It has influenced the configuration of the poetic field since the eighties. In this sense, we want to study those connections in order to think about their historical developements and their influence in the taxonomy of the present poetic field.  

The article is dedicated to examine Payno’s conception of Gothic literature and the way in which he adapts and assimilates it in his first narrative stage, an experimentation field where it can be observed quite evident not only the transposition of gothic structures, techniques, atmospheres, and topics, but a remarkable effort to carry out the task of Mexicanizing genres and styles from other latitudes.