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

This paper aims to analyze Dreaming in Cuban as a coming of age text, in which the maturing process is determined by self-awareness as well as the accumulation of emotional capital. Using a theoretical framework of affects and emotions, the author identifies the emotional legacies received by the main character to show this contradiction is transformed into emotional capital. It is shown how this transformation is possible by choosing empathy as the pivotal point of the emotional structure, and how it is through the social value given to empathy in this historic moment, that the protagonist can mature, while restoring family ties.

The poetry book España, aparta de mí este cáliz by César Vallejo shows his commitment with the Republican side during the Spanish Civil War. War is reflected through the body in different ways: combatants react as if they were only one body, the poet struggles with his writing within his limited flesh, battles take place within the corporal limits of soldiers’ bodies, and the country whose universal destiny is at risk appears as a mother carrying her womb in agony. This paper studies how the constant presence of the body in Vallejo’s works reaches both a metaphorical and a literal plenitude in this book, which enables the defense of the República.

This article analyzes the immersion of Felisberto Hernández’s writing in a series of equivalences between the nocturnal, blindness, touch, non-knowledge and memory. Equivalences that unfold within a dialectic between day and night which poses two ways of facing reality, the first governed by the light of knowledge, the second by mystery. These equivalences have music as a connecting element. The access of his work to the development of music and mystery creates an estrangement of things and characters. Two stories are fundamentally analyzed, Por los tiempos de Clemente Colling and “Menos Julia”, in which the expression of this network of figures occurs in a more radical way.

This article examines Glauber Rocha’s short film Di-Glauber, made in 1976, when the painter Di Cavalcanti, one of the creators of the 1922 Brazilian Modern Art Week, passed away. In his work, Glauber Rocha films the funeral of his friend Di Cavalcanti in a very peculiar way, without respecting social norms concerning funerals. In addition, during the editing process, Glauber Rocha inserts eloquent songs and “sambas”, which comment on the funeral images. In order to reflect upon Di-Glauber, this article is divided into two parts: the first briefly discusses Di Cavalcanti’s work and its relationship with Brazilian modernism; the second one approaches Glauber Rocha’s short film and seeks to interpret the sui generis way in which he focuses on the funeral of the painter.

This article reads anew the politics of Jorge Luis Borges’ texts. In dialogue with Michel Foucault’s seminars and Bruno Latour, it traces the figures of war in some of Borges’ canonical texts from the 1930s and 1940s: “Tlön, Uqbar, Orbis Tertius,” “Poema conjectural,” “El milagro secreto,” “El arte narrativo y la magia,” “El sur” and “El jardín de senderos que se bifurcan.” Thus, I show the relevance of the conflict between irreconcilable worlds to Borges’ notion of fiction. The latter could be described as a twofold operation, which, on the one hand, dissolves all frames of intelligibility of the conflict (be it national, worldly, or universal), and, on the other hand, turns this very dissolution into a potential for the emergence of new worlds.

This paper provides a preliminary and modest incursion into certain theoretical aspects concerning José Ángel Valente’s works on questions such as “poetry” and “art”, and puts forward significant links between it and Kant’s “Critique” of aesthetic judgement (finalism without aim, schematization without concept, free beauty, etc.). The hermeneutical background behind points towards a certain investigative direction which is brought to light from the very start and with which our article tries to be consistent to the very end.

Realismo simplificador, ficción ahistórica, psicoliteratura son algunos de los términos que se utilizaron para hacer referencia a las producciones de la literatura juvenil. Si bien persiste la publicación de libros con estas marcas,  la expansión del campo argentino en la actualidad conduce a pensarlo como un género en los bordes (Cañón y Stapich 2012) con la circulación de textos que pueden ser leídos tanto por jóvenes y adultos. Bustamante (2018) denomina como realismo crítico a una serie de propuestas literarias que representan desafíos para los jóvenes lectores, donde los conflictos se alejan de los lugares comunes o de una resolución fácil. Ubicamos la novela Elisa, la rosa inesperada (2017) de Liliana Bodoc en esta serie que se abre a la reflexión sobre la existencia históricaal ficcionalizar problemáticas de la realidad sin gestos demagógicos. Como afirma Malacarne, la poética de Bodoc se caracteriza por el tratamiento de  temas contemporáneos mediante un uso poético del lenguaje y donde el  universo de lo fantástico se cuela en textos realistas. En este caso, la mística del carnaval y la figura del diablo ingresan a la trama para complejizar la situación a la que se enfrenta la protagonista.

Dieter Oelker en su excelente estudio “La teoría de la vanidad en la obra novelesca de Luis Orrego Luco” ha explicado, a partir de René Girad , el modelo de mediación externa que puede establecerse entre la clase media en desarrollo y la aristocracia (75), sin embargo, también propone que “aquella distancia que separa al sujeto del deseo y al mediador de su aspiración, se va acortando mientras avanza el proceso de transformación social. Este progresivo acercamiento entre las esferas del sujeto y su modelo […] implica una gradual modificación de la mediación externa en una interna” (75). Esta idea sirve de punto de partida para acercarnos al modelo de deseo mimético que se advierte en el personaje Samuel Ortiz, un “pobre y provinciano desconocido” (Orrego 16), un “mediquillo de provincia, sin familia –refiriéndose a familia de abolengo, pues su hermana y su madre viven al sur de Linares–, sin nombre, sin recursos, sin clientela” (Orrego 108).

[...] Nada como esta cita puede describir mejor mi experiencia de lectura frente a teóricos como Roland Barthes o Paul de Man, a quienes he parafraseado hasta el hartazgo (propio y ajeno). Tengo la impresión de que la relación con estos autores parece tomar las más de las veces dos modalidades: la de la aplicación (que es una forma de resistencia, pues convierte el potencial crítico de un pensamiento en una herramienta inocua de uso); la de la nostalgia (que se limita a la evocación repetida de los vivos tiempos de la teoría literaria). Por eso, ¡qué alegría ver aparecer, recientemente, un libro que cultiva con destreza la polémica, refresca el estatuto dinámico de la teoría y nos obliga a repensar nuestras lecturas de los autores canónicos!

Vikinga Bonsái, a novel by the Argentine writer Ana Ojeda, seems to build a kind of continuous scopic-visual parade which emulates the action of scrolling on digital platforms. The images and situations in which the characters are engaged move at the speed of a machine gun and there is no time to stop and process the grief, as the reader’s perception accelerates and becomes continuous. This narrative ecology installs parody as a literary, ideological and subjective modus operandi, in a present that cannot be thought apart from digital technology. The intersection between the conjunctive and connective –digital– experiences (Berardi) appears under different nuances and movements: it is conceived as inevitable; as a possible locus of agency or as an experience in which the parodic and critical distance needs to be installed. The fields in which these two movements of parody or agency are unfolded are, according to our point of view, four: the political and literary tradition, the relative dissolution of the borders between digital and material experience, a certain acceleration of time and the construction of a language of one’s own, and the production of post-organic and “delusional” subjectivities (Guattari and Rolnik).