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

Ruin is a testimony that denounces the existence of the past. Before a ruin cannot deny what happened. Both literature and history elaborate their speeches with the "ruins of the past," for it does not last in its entirety but only partially. Historians and poets from these vestiges reconstruct the image of that which is not but has been. That act of re-elaboration is deliberate, since it requires the decision of which facts, acts and signs are selected and prioritized. Each generation chooses the fragmented and heterogeneous sources and disposes them according to their own ideals and values to build their history. The oral histories retained the "chronicles" representative of the other Latin American history: that of the original peoples, that of the minorities, that of the vanquished and the marginalized. Latin American narrators show that they have learned the lesson transmitted by oral poetry that preserved the divided, tormented, torn history of the continent, and which, unlike the historiographical document, tolerates the contradictions of the past, amalgamating them with the wealth and versatility of the processes of the historical becoming and its actors both collective and individual. The narrative world that Héctor Tizón proposes in his novels arises from the landscape that marveled him in his childhood and the fragments of history that by these places wandered scattered in oral stories. Shreds of a reality that Tizón was recreating in his work. This reconfiguration led him to venture not only for geography but for a complex web of stories, beliefs and myths that are ultimately those who "encourage" and give way to his narrative world.

The humanist dimension of a vast sector of the Latin Americanist discourse – as far as this dimension demands problem- posing a certain notion of universality -has been interpellated in an ongoing basis with the need to account for the possible ways of its political realization. Therefore, the problem- posing of the concept of democracy at the heart of its different formulations was rendered essential. This paper highlights three ways of characterizing democracy linked to the particular forms of illustrating the Latin American culture from three famous Latin Americanist literary essays: Ariel (1900), by José Enrique Rodó; El porvenir de América Latina (1910), by Manuel Ugarte; and the posthumous Hacia un humanismo americano (1966), by Antenor Orrego.      

The history of testimonial literature in Argentina, whose origins are linked to the politicization of the cultural field after the second half of the 1950 decade, poses relevant questions for literary critic. Although critical interest in testimony has increased lately, critics have focused on postdictatorial testimonial production; therefore continuities and ruptures which can be analyzed if different stages of testimonial literature are compared, have been rarely explored. In such sense, this paper provides an introduction to the history of testimonial literature in Argentina, basing on an analysis of four texts which represent different stages of the genre’s development: Operación masacre (1957) and the "Carta de un escritor a la Junta Militar" (1977), by Rodolfo Walsh, Recuerdo de la muerte by Miguel Bonasso (1984) and Diario de una princesa montonera (2012) by Mariana Eva Perez. The analysis shows relevant inflections of testimonial genre in different moments of its history, from the politicized 60-70s to a present in which memorial rituals took backward to such years. More specifically, the study exposes different textual expressions of the tension between literature and politics– between fiction and testimony, invention and truth-, which shapes the genre from its origins to its present.

In this article, we try to establish some links between the edited work of Alcides Greca (San Javier, 1889–Rosario, 1956) and certain journalistic materials contained in his private file. In fact, we are interested in articulating La torre de los ingleses (1929) and some repercussions in the graphic press of this publication. Our propose pivots in what we call the performative gaze, which reconnects a space and a new subjectivity, in conceiving the travel narrative as a new file of sensations and experiences. Likewise, around visuality we compare this text with another one produced contemporaneously, Veinte poemas para ser leídos en el tranvía of Oliverio Girondo.

This paper deals with the study of the representations that circulated in the field of Argentinian leftist literature about the unemployed, in the context of the crisis of 1930. For that I examine the characteristics of different texts, mostly unknown. During the previous decade, various writers linked to the group of Boedo produced texts that pointed to boost political and social consciousness. The characters-victims of many of these stories appear more as objects than as subjects of social transformation. Is this reproduced– and how– literary compositions of the subsequent years that take the unemplo yed as the central figure? Which elements characterize the figure of the unemployed? The article aims to answer these questions, taking into account the relationship of those elements with the representations raised by the working class tendencies of the time.

This article discusses the caractheristics of the four autobiographical collections of Mexican authors. The first two (Jóvenes escritores mexicanos del siglo XX presentados por sí mismos and Los narradores frente al público, 1 & 2) are linked to the need to break the strict rules of structuralism that forbade the investigation of authorial subjectivity while the notion of the modern subject entered into crisis. Afterwards, the first descriptive work of Mexican autobiography is exposed. Thirdly, the text analizes the collection Cuerpo presente that brings together authors from different generations, but predominantly of those who begin to publish in the 1970s and 1980s. Finally, the examination of Trazos en el espejo, examines the autobiographical works of authors who at the time of publication did not exceed 40 years of age and already had published works of creation. The particular examination of each one of the collections tries to show the thematic, stylistic, cultural and existential changes that are transformed with the passage of time while enriching the autobiographical Mexican literary corpus      

Editorial in English of volume 18, number 1. 2017.

Editorial volume 18, number 1. 2017.

The aim of this paper is to propose a first approach to Josefa Acevedo de Gómez ́s (1801-1863) books publishing dynamics; initially this paper presents a list of books published between 1844 and 1903, revises how the constraints of textual typologies and thematic scriptural elections might affect the author. Then examines the role of family and social networks in the process of publishing the works. Finally proposes the need to advance in this kind of studies.

The literary and political magazine Contorno (1953-1959) became, over time, a reference for literary criticism. The organizers became part of the canon of authors who would be followed by the next generation. Their fame was due to the ability to identify old issues under new approaches that found echo in the coming generations. Therefore, we discuss the importance and meaning of the affirmations about language that wereissued from its pages as a way to the necessary political emancipation. We analyze the relations established between language, politics and literature by way of the main observations emitted in the magazine, within a time and space coordinationin which they were published during the years of activity, understood as a reflection of the Argentine linguistic and political reality of that moment.