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

This text discusses memes as a new language in the context of digital media. It states various hypotheses about the literacy function of memes, and describes the aspects that relate the pragmatics of the meme with generative and transformational languages. Once the linguistic nature of memes has been established, the text describes them as a sociolect or antilanguage associated with generational groups, subcultures or specific social groups, which through the characteristic operations of sociolects,  access the sense of community, generate specific instances of meaning and defined as a translator system of the previous cultural forms.

The article aims to investigate the problem of long duration in contemporary Argentinean cinema, based on the cases of La flor (Mariano Llinás, 2018) and Fantasmas de la ruta (José Celestino Campusano, 2013). These are two particularly long films, in which extension, as a creative principle, is articulated with productive strategies, formal endeavors and new spatial constructions. A first dimension of this extension is determined by the productive time. In both works, the duration of the creative processes is linked to the development of long-lasting film communities that depart from conventional funding, production and exhibition procedures. On the other hand, both films intertwine different plots, recomposing genres and narrative structures, as if the length of time became a laboratory of plots that reinvent patterns of verisimilitude and multiply the possibilities of fiction. Finally, there is an expansive impulse that articulates temporal and spatial extensions in both productions, in such a way that the cartographic projection of these long-lasting fictions discovers diverse transtemporal utopias, which in turn correspond to different cinematographic communities and ways of narrating the extension.

This essay analyzes stories published in Los años duros (Jesús Díaz, 1966), Condenados de Condado (Norberto Fuentes, 1968) and Los pasos en la hierba (Eduardo Heras León, 1970) with the goal of characterizing features of the so-called narrative of violence which originated in Cuba in the sixties. Using a critical studies approach, this essay examines this narrative’s distinctiveness in the island’s culture and its connection to intellectual debates at the time of their emergence. It also examines attempts to articulate a distancing from traditional norms of literary potrayal of reality with an original portrayal of the revolution and its combatants. Thus, guidelines adopted by Cuban narrators in their aesthetic practice are defined via their participation in an emancipatory process, yet without forsaking literary autonomy.

The edition of La novela de la poesía (2012) already made evident two fundamental issues in Tamara Kamenszain's writing: on the one hand, a specific inscription of the passage poetry/novel/essay; on the other, the book (the edition, the support, the object) as a link. More recently, El libro de Tamar (2018) and Libros chiquitos (2020) illuminate in a special way two other constitutive aspects of the process: one, the temporal spiral between the program of the 70s and the present of writing, which converts the series in a long duration narrative; two, the problem of limits in the form of scale. In this paper I propose to read, at the intersection of El libro de Tamar and Libros chiquitos, three scenes as inflections in a long duration story with the test of time and limits: the tempo of the prose (the writing of the poem as the rhythm of the narrative and the prose as the distillation of the real of the verse), the magnitudes of the book (the book and the masterpiece of the 70s, the poetics of the little books as a inflection of the contemporary sublime), the intersection between the inscription of the present and the creation of a community.

Pablo Katchadjian's experimental novel Qué hacer (2010) is constructed by repetitions that assemble—in an unpredictable and unbridled way—different settings, objects, actions, and characters. It is a fictional force or narrative energy where the living as random power transformation appears. In the context of a dispute around this capacity for variation, this work presents escape, failures, wanderings, excesses, and detotalizations that question modes of subjectivity, temporal orderings, ways of thinking and emotional control, which, in turn, move away from a revolution model. In this way, this article proposes to delineate the resonances of the experimental nature of Pablo Katchadjian's writing in the context of neoliberalism.

Due to the originality of its aesthetic approach in representing a traumatic testimony, Art Spiegelman's graphic novel Maus is one of the most famous works about the Holocaust produced by the post-memory generation. Within the currents of thought on the Holocaust, it is possible to conceive its style of representation as a pertinent and ethically valid solution to the dilemma of images v. testimony. Likewise, it is worth noting how its essentially fragmented, narrative approach reflects conditions in which the work was created: the scarcity of sources and the traumatic and familiar component of the memory represented.

We propose to read Los Sorias, by Alberto Laiseca, as a long duration’s fiction and practice. This means addressing the knowledge about time, formal and common, that the novel promotes from various images and that define doing time as a very slow practice (of reading, writing, publishing), supported by Alberto Laiseca. This, in addition, is articulated with the conception of the novel as a time machine, from which Laiseca defines a very slow duration with the past as an open time.

La investigación que actualmente se está llevando a cabo en el área del Procesamiento del Lenguaje Natural está todavía lejos de conseguir niveles profundos de compresión del lenguaje. Para poder construir sistemas inteligentes que traten con la representación del significado, es necesario en el ámbito de las tecnologías del lenguaje, la creación de recursos semánticos de amplia cobertura. El objetivo principal de nuestra investigación es el establecimiento de clases para la representación eventiva en un sistema computacional. La unidad básica de representación es el rasgo, concretamente hemos considerado cuatro rasgos: dinamicidad,  telicidad, duración y gradualidad. A partir de la combinación de estos rasgos semánticos hemos establecido un conjunto de clases eventivas que nos permite caracterizar el comportamiento verbal. Para establecer estas clases hemos tenido en cuenta los posibles cambios eventivos que puede sufrir una unidad verbal según el contexto, representando así la composicionalidad del significado eventivo. Por ello hemos considerado la prototipicidad de los sentidos verbales, y la sensibilidad de las diferentes clases al contexto. El total de clases definidas se clasifica en dos grupos, las clases simples: estados, procesos y puntos, cuya combinación da lugar a las clases complejas: culminaciones, realizaciones y graduales.

En este artículo presentamos la noción de tradautomaticidad y explicamos su relevancia en la traducción automática. La tradautomaticidad es el 'aroma de la traducción automática'; esto es, los fenómenos lingüísticos que provocan que un texto parezca haber sido traducido por una máquina y no por un ser humano. Esta noción es relevante en la evaluación de sistemas de traducción automática pero lo es también en la corrección de traducciones, en la confirmación de usos fraudulentos, la detección de spam, o la búsqueda de información. El artículo explica el trabajo experimental que realizamos para elaborar una tipología de tradautomaticidad. Analizamos también la apreciación de estos fenómenos por parte de un extenso grupo de informantes, con diferentes niveles de estudios, edades, etc. El experimento nos ha dado datos sobre la influencia de los pares de lenguas y el método del sistema en la generación de ejemplos de tradautomaticidad. Finalmente, hemos hecho unas recomendaciones metodológicas para detectar ejemplos de tradautomaticidad de la forma más objetiva posible.