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

Starting with the novel La ciudad ausente (1992) and the short story “La loca y el relato del crimen” (1975), Ricardo Piglia organizes a space structured by different voices: the institutional voices (the police, medical and legal discourse) which enter into tension with the adjacent and peripheral voices (of gauchos, inventors, madwomen and journalists). Those voices acquire a corporeality in the different machines of narration, such as the tape recorder, the telephone and the cassette. Literature and media. The study of thevoice (a voice that is simulated in the text) in both of Piglia’s narratives is permeable to different philosophical and psychological discourses. What would happen if the flows of information (what is said) could not be controlled, codified and, therefore, reterritorialized, that is, put back in a place, labeled as, for example, licit or illicit? The aim of this paper is to analyze the voices present in the literary texts and the dynamics of control, censorship and authority that weave them, from where it is proposed to think and work the hypothesis that Piglia constructs Junior and Renzi, central characters of the texts, as attentive listeners.

The General Strike that took place in Guayaquil in 1922 has been one of the most important historical events in the history of Ecuador. Literature, and its ability to configure historical and cultural imaginaries, was not immune to this catastrophe. In 1946 the writer Joaquín Gallegos Lara captured in Las cruces sobre el agua a subjective perspective of events. Based on this novel, this article analyzes the dialogues between history and literature and the way in which the fictional text stands as the living memory of those who died in the massacre. On the other hand, the foundational condition of this massacre and its crystallization through the novel by Gallegos Lara are proposed.

Starting from the idea that all technologies of power, according to Michel Foucault, determine the behavior of individuals, objectifying them, and, also considering the position that the Ecuadorian writer Demetrio Aguilera Malta adopts, in the context of expressionism, an aesthetic that exposes and appeals to the sensitive in conflict with what the being lives before its dehumanization, a group of his works is analyzed from the perspective of science fiction. Indeed, Aguilera Malta is an author who, hybridizing narrative genres, is the one who ventures to introduce elements of science fiction in certain works, some theatrical and others novel, in order to expose his concerns about the middle of the century, when the human being has witnessed a techno-scientific degradation whose culminating point is the detonation of the atomic bomb. The article places the pessimistic or disenchanted speech of Todos los átomos (1955), by Muerte S.A. (1970) and Infierno negro (1970), as founders of the Ecuadorianscience fiction theater; and he contrasts them with the novels El secuestro del general (1973) and Réquiem para el diablo (1978) which denote his concern about how power technologies serve to subdue.

This paper aims to propose an analysis of fifteen pieces created by the Argentine writer Adolfo Bioy Casares (1914-1999) based on a postulate pronounced in 1976 by the Mexican critic Bernardo Ruiz. This exercise of reflection allows us to confront the narrated self of La invención de Morel (1940) and Historias fantásticas (1972) in a centrifugal and centripetal movement that questions both the forces of reason and the demands of destiny. As main conclusions, we can highlight that, although the subject of the narrative is capable of confronting and questioning the meanings proposed by these two instances —reason and destiny—, a perpetual restructuring of that environment is constantly required to redefine, again and again, certain parameters of fantastic literature.

In September 1986, Manifiesto, a poem by Pedro Lemebel, was presented during a Communist Party event at Estación Mapocho in Santiago. Critics claim that the text questioned the neoliberal values that marginalized dissident sexualities and their prolongation in the political left. However, in this article, through textual analysis and considering the context of production, I propose, on the one hand, that it challenged the Marxist precepts on homosexuality to avoid the segregation of sexual dissidents in case of achieving the communist revolution in Chile —as it happened in Cuba—; on the other hand, that the ethical-political attitude of the composition reveals a poetic that imbricates body, gender, sexuality, and social commitment.

This essay explores the Andean concept of ayllu, its importance, function and evolution in the fields of literature, culture, politics, anthropology and sociology. The writer Inca Garcilaso de la Vega gives us a clear idea of the meaning of this concept in Comentariosreales (1609) as a communitarian philosophy and the importance it had in the period of the Conquest. However, this study seeks to broaden the knowledge we so far have of this concept and generate a discussion to expand the concept beyond the field of ethnography or anthropology. The concept of ayllu has touched all spheres of life of Indigenous peoples in the Andes, especially in Ecuador, Bolivia and Peru, and has been represented in indigenist literature, which also prompted the First Inter-American Indigenist Congress in 1940, public policies on education, culture, health, etc., in all the countries involved, and has also been the axis of government policies such as sumak kawsay in Ecuador and sumaq qamaña in Bolivia. Today, the concept of ayllu continues togenerate discussions around culture, politics and education, making it a topic that should be permanently analyzed in academic and cultural spaces.

This article presents an immersion in the narrative of César E. Arroyo (Quito, 1886-Cádiz, 1937). It analyses ten chronicles sent from Spain by the Ecuadorian writer and diplomat and published in Quito in the magazine Letras, between 1912 and 1919. In this set of texts, Arroyo reveals a deep humanist vocation and a permanent creative attitude regarding language and its possibilities. Topics such as literature, war, socialism, religion, art, philosophy, among others, flow through various genres, such as the chronicle, the profile, the essay, the critical review. In most cases, Arroyo achieves a harmonious coexistence between them.