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

The article analyzes the figure of the rites of passage in Cabezón Cámara’s novels as executions that stage liminal bodies from an artistic perspective. Through these rites of passage it is possible to investigate ways of narrating that encourage the design of subjectivities and performances rooted in a literature that networks closely with art.

Uno de los capítulos más potentes de la historia de la crítica literaria es, sin duda alguna, aquel que está dedicado a sor Juana Inés de la Cruz (1651-1695). En efecto, la prestigiosa monja jerónima ha sido objeto de estudio de innumerables críticos y críticas que han postulado que en su escritura podemos observar, por ejemplo, el férreo testimonio de su biografía, la prueba irrefutable de su feminismo, la defensa de los sectores marginalizados de las sociedades coloniales (los esclavos y los indígenas, entre otros), el desarrollo innegable de una conciencia criolla, y un fuerte sentir católico que la llevó a renunciar a las letras hacia el final de su vida.

Las publicaciones de nuevas traducciones de la obra de Paul de Man en lengua castellana son escasas, caso similar al de la divulgación de estudios recientes consagrados a la obra del crítico belga-americano. Contradiciendo aquella tendencia, las editoriales Nube Negra y Bulk nos ofrecen Barthes en cuestión, libro compuesto por dos textos breves que conjugan una grata sorpresa para el estudio de la teoría literaria en nuestra lengua. Barthes en cuestión consta de la primera traducción al castellano del texto de Paul de Man “Roland Barthes y los límites del estructuralismo”, trabajo a cargo de Leandro Bohnhoff. La traducción es antecedida por el ensayo “La visión ciega. El Roland Barthes de Paul de Man” de Judith Podlubne, escrito que brinda herramientas al lector para comprender los argumentos y las motivaciones detrás del texto de Paul de Man.

Hay autores que traen consigo una sorpresa inesperada que resuena por ofrecer al lector un espacio de vivencias personales, preocupaciones sociales y reflexiones antropológicas. En ocasiones, esos autores emplean un lenguaje caracterizado por la sencillez y la sensibilidad. Todo esto es aplicable al caso de Joaquín Antonio Peñalosa, autor que recientemente ha sido recuperado para el estudio y la lectura. Al menos en el ámbito español, su obra se había olvidado en buena medida, hasta que diversos intelectuales de la Universidad de Granada han empezado a hacerlo visible.

This article analyzes the presence of the mythological fable of Apollo and Daphne in Os Lusíadas (1572) by Luis de Camões, Arauco domado (1596) by Pedro de Oña and Armas antárticas (ca. 1609) by Juan de Miramontes Zuázola. Along with highlighting the use of myth as a mnemonic image capable of bringing together very diverse meanings forged mainly in the imitations of Ovid’s Metamorphoses, attention is drawn to the unique facet that this fable acquired in the expansion and conquest poems, one characterized by the intertwining of its erotic, poetic, and political dimensions.

The article reviews two concepts of ancient historiography, such as anacyclosis and ecpyrosis, in order to apply them to the History of the Incas by Sarmiento de Gamboa. Next, a comparison is established between the circular history ‒with which the author represents the Inca genealogy‒ and the notion of linear history that Fray Bartolomé de las Casas claims to understand, from the West, the culture of all American Indians and particularly for the Incas, the greatest exponents of natural law in the Indies. Finally, a reflection is proposed on the possibility that Sarmiento de Gamboa could make the Latin anacyclosis and the time of myth in the Andes converge in his historical narrative, in order to provide greater persuasive force to the chronic against its two readers, spatially and culturally separated: Phillip II and the royal ayllus of Cusco.

In Elegies of Illustrious Men of the Indies there are twenty-two inscriptions written in Latin of doubtful authorship, some may be by Castellanos himself or by others transmitted by him. Castellanos presents a written transmission of these short epigrams, originally inscribed both on hard support –slabs- and on organic support –tree bark-, which are intended to make the memory of brave men and women who died a tragic death endure. This article proposes an approach to the epigrams of the Elegies of Illustrious Men of the Indies by Juan de Castellanos.

The composition of the Arauco domado by Lope de Vega is part of the great propaganda campaign promoted by the Hurtado de Mendoza family with the aim of praising the former Governor of Chile and Marquis of Cañete, don García. For this, the playwright uses, firstly, the homonymous heroic poem by Pedro de Oña and, secondly, the model of the virtuous and exemplary hero created by Virgil in the Aeneid, in order to configure a character represented by elements typical of the classic epic that displays its attributes by virtue of a political and religious project.

This article explores the metaphors, comparisons and hyperboles that, in Arauco domado, make the violence and destruction of war converge in the infernal waters of the rivers Lethe and Phlegeton. While the former carries the oblivion and loss of fame, the bloody waters of the latter foreshadow the eternal damnation that awaits the irate Araucanians. These topics are analysed and linked to the imitation, transformation and rewriting of different passages of La Araucana and the Aeneid, the main models of the poet.