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

This paper offers an approximation to  “sapphic genealogies” through the poetry collection La otra genealogía (XV Premio Gloria Fuertes de Poesía Joven) by Asturian writer Sara Torres. The marginalisation of a corpus by lesbian authors from the canon, and therefore, the lack of it in the readership’s imaginary—as a director result of the action of the Literary Apparatus of Canonization (LAC)—leave largely unseen a community of women that, from the origins of Western literature with Sappho of Lesbos, has make use of literary devices to build and, consequently, legitimate an alternate subjectivity inside the phallogocentric system. The aim of this research is to express the aesthetical, as well as socio-political need to acknowledge this distinguishable group of writers. To do so, a comparative methodology will be used in which tradition and contemporaneity will establish a dialogue thanks to the reflective and foundational thematic approaches taken in the article, as well as the literary devices and the reconsideration of the uses of language that this poetry collection with which we work bring us.

This article reconstructs the literary and professional career of the Argentine writer María Luisa Carnelli, and focuses on the study of the period during which she lived in Spain, working as a chronicler of the Civil War. My inquiry begins in the 1920s, in order to explore her literary works (four poetry books, tango lyrics and a novel) and show her political commitment to social struggles and  to the emancipation of women. Since the mid-1930s, Carnelli put her literary writing at the service of the Republican cause. The objective of my research is to recover the importance of her work, through the analysis of her war chronicles and the reconstruction of the intellectual networks in which she participated. This paper's hypothesis is that Carnelli was a prominent emergent of transnational female antifascism during the Civil War.

The demystification of mauditism is thematized in some of Leopoldo María Panero's poems, poète maudit and postmodern. The following paper attempts to find a justificarion for this phenomenon in the problematic coexistence of postmodernity and maudit notions, having understood the latter as a myth created by poets themselves and consecrated by tradition. Some of postmodernity's characteristics, such as desubstancialization, decentralization and intefration, differ or are radically opposed to the mauditism's main features: otherness, excess and intensity. To conclude, it is discussed the possibility of mauditism to persist: cynicism and pure otherness are proposed as fundamental values for such persistence, which can also be found on the work and figure of the non-Spansh poet. 

The rise of the Trap phenomenon in Spain seems to have deconstructed the foundations for textual and audiovisual creation at levels of both form and content. The subversion that the phenomenon exerts on the sociocultural and material conditions of the music industry has a reflection in the literary creation that trap artists commodify nowadays. Accordingly, the main aim of this work us to understand how trap poets create evidence for the conditions of late capitalism and produce a literary discourse based on a series of (1) rhetorical mechanisms and (2) topoi trap that help configure a genre of noteworthy variability, but, in essence, committed to the creation of a virtual, millenial, and Gen-Z community.

The aim of the present work is to establish an analogy between the lyric mode of literature and a non-narrative filmic mode. For that purpose, the image-time from Gilles Deleuze’s theory of cinema will be related to the characterization of lyric according to the theory of literature: specifically, its temporality, density of significance and ambiguity. This comparative will take a cognitive turn, as the Buckland’s cognitive theory of cinema will be compared to the cognitive-literary notion of the deictic projection, as well as the mirror neurons, and the creation of the poetic icon (Freeman, 2011a) in cinema will be hypothesized. Finally, this theoretical comparative will be put into practice through the analysis of Terrence Malik’s movie The Tree of Life (2011), which will be explained according to its lyrical characteristics.

Review of Fernando González García, Paulo Cunha, Filipa Rosário, coords., Procesos intermediales. Cine, Literatura, Espacio, Madrid, Sial Pigmalión, 2020, 295 pp.

Review of the work Semiotics: the experience of meaning through art and Literature published by Professor Manuel González de Ávila of University of Salamanca.

This work aims to show the cinematographic theatricality in Pedro Almodóvar's films by analyzing the presence of Jean Cocteau's The Human Voice in the three works of his filmography in which it appears:  Law of Desire(1987), Women on the Verge of a Nervous Breakdown(1988) and The Human Voice(2020). The different ways in which the French writer's monologue is integrated into the three stories will make it possible to classify film theatricality, both from a thematic and formal point of view, and define an aesthetics where cinema and performance are identified and where a conscious distancing from what is real is produced which requires reinforcing the fiction pact with the spectator.

Review of Olga AMARÍS DUARTE, Una poética del exilio: Hannah Arendt y María Zambrano. Barcelona, Herder, 2021, 320 pp.