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

So naughty and so serene operates as a textual performance that attempts to interfere with the visual semiotics of academic imaginaries, the legitimized codes of post-porn, the hygienic narratives of teaching practices. It’s a poetic blasphemy that spoils the neat, pure and harsh image of the teacher, the performer, the academic, the theorist, the lesbian. A figuration of excess, of the obscene, of the unproductive, of the useless, of happening without haste and of the greed of desire. The figurative pendulum of a fugitive way of doing theory. A writing as the remainder of an artisan way of (un)doing practices, theories, bodies, geopolitics, pedagogies, which, rather than defining categories, risks composing a bodily experience as fictional politics and a poetic staging of sexual dissonances and pedagogical questions from the south.

This article focuses on Spanish novel on Civil War published since 2000 to serve a twofold purpose: firstly to analyze the literary treatment and quantitative scarcity of novels in which the rebel soldier has a constitutive relevance —both in protagonism and in depth of the character; secondly, to point out the ethical-political challenges that the treatment of their perspective faces: the risk of empathy and identification with the perpetrator, the overcoming of reductionist schemes and the possibilities of endorsing anti-democratic ideas. This is intended to contribute to the study of the recent Spanish novel and specifically one of its most productive branches, the literary treatment of the Spanish civil war.

Another Day of Life (2018) is a European co-production promoted by the Spaniard Raúl de la Fuente that adapts the homonymous text by Ryszard Kapu?ci?ski, published in 1976. The film combines the genres of animation and documentary by combining real images with recreations made by computer. Although the script is based on the text of the Polish reporter, its generic complexity makes its cinematographic transfer particularly complicated. The hybridization between journalistic chronicle and autobiography proposed by Kapu?ci?ski becomes in the hands of the filmmakers a kind of hagiography of the character. In this sense, there is a rereading of his message from more marked ideological keys that, however, formally adopt the Hollywood blockbuster language. This research proposes a comparison between both works to unravel their main points of divergence. Among other aspects, the development of our work will occupy the reconstruction of the authorial profile of Kapu?ci?ski, the tracing of the main influences in the transmedialization process, the examination of the features of the classical epic in the configuration of an aesthetic close to that of the comic and the video game, and the analysis of the ideological subversion that occurs in the transfer carried out.

The following interdisciplinary paper is a sociolinguistic-based analysis of the discursive strategies associated to multilingualism and interculturality in Lavapiés, Madrid. This study will focus on the visible semiotic sings observed in the public space, which in turn reflect the languages used and the products marketed in Lavapiés. However, the samples also suggest that this -genuine- interculturality is being exploited as a marketing strategy linked to gentrification. The combined analysis of both realities will allow, together with data from official sources, to draw a complete picture of this specific territory. Multilingualism and gentrification will be analysed using a Linguistic Landscape perspective, by studying the samples contained in Lavapiés’ Linguistic Cartography, that include traces of these two parallel processes the territory is undergoing. A detailed contextualization of the territory -where these communicative, social, and economic events take place- will also be provided since this area has historically helped shape Madrid’s genuine tradition. The observed results have not only revealed that both processes are present and undergoing in this territory, but also the power imbalance between the languages, the effects of globalization –touristification and gentrification-, the organized response by the neighbours of Lavapiés, as well as the longterm effects of colonialism.

Durantes la última dictadura argentina (1976-1983) las instalaciones de la Escuela de Suboficiales de Mecánica de la Armada, en la ciudad de Buenos Aires, fueron empleadas para alojar un inmenso centro clandestino de detención. Pasado aquel tiempo funesto, ese espacio, denominado a partir de entonces ex ESMA, se convertiría en un lugar central de las políticas de memoria argentinas, protagonizando una de las intervenciones institucionales con mayor reconocimiento a nivel internacional en la materia, hasta el punto de erigirse como un símbolo global de la lucha por los derechos humanos. A partir de un trabajo de campo de varios años sobre este espacio, Larralde Armas trata de comprender las políticas de memoria implementadas desde el cambio de siglo sobre el predio de la ex ESMA. Para ello, el libro indaga en un primer momento en la historia del lugar y de su histórico proceso de recuperación, para analizar, en segunda instancia, las intervenciones culturales, sociales y activistas desarrolladas en su seno, contextualizándolas en los debates, confrontaciones y polémicas sobre la memoria, que no solo atraviesan a la Argentina contemporánea sino al conjunto de nuestras sociedades occidentales.

Despite the “institutionalization” and recognition of the testimony by literary criticism, the genre continues to be the target of disputes that (badly)treat it in the crossfire between literature and the social sciences. In an attempt to bring an update to these debates (main objective), within which varied and extensive edges are included, the author of the article has gone in search of some faithful believers and practitioners of the genre: the winners of the Casa Literary Américas Prize of the Americas in the modality of Testimony. The article thus proposes, initially, a brief theoretical approach to the subject and, in a second moment, a dialogical and reflective space sustained both by the criteria of the interviewees and by the analyzes suggested around his award-winning Works. Part of these unpublished interviews that are shared here show that such heterogeneous positions on the way of assuming testimonial writing vary, among other reasons, according to the academic discipline exercised by the professional. The debate, which includes journalists, writers, sociologists, anthropologists and filmmakers, proposes a renewed approach to the subject and confirms the idea that the disputes remain far from reaching their end.

This article seeks to reflect on the affective dimension of postpornographic experiences, specifically in the practices and productions produced in Argentina between 2011-2018. The analysis of “affective vertices” will aim to investigate the ways in which activisms and affects are deeply interwoven in this type of experience. 

It is now thirty years since the term post-pornography began to circulate and almost twenty since its boom. After all this time, and now that some of the principles on which our certainties were based are being shaken, it seems appropriate to review some fundamental issues within the technologies of post-pornographic production and the approaches that underpin them. This article first analyses the terminological confusion surrounding post-pornography, without losing sight of the aspiration to imprecision that has always hovered over its approaches. It then moves on to reflect on what was postulated as the main objective of this meta-pornography, which was the exploding pornography’s control over the production of the truth of sex. Lastly, the analysis focuses on the development of different feminisms in recent decades and their effects on post-pornography, while considering its feminist (transfeminist) roots.  The ultimate purpose of this work is to open a debate that helps to relocate and reflect on the current state of post-porn production.

Post-pornographic manifestations usually have a visual and performative nature. In this context, Enciclopedia en los tiempos del porno, by Josefa Ruiz-Tagle and Lucía Egaña Rojas, a set of micro-stories that reviews the pillars of the pornographic imaginary, disarming or reconstructing them in an unexpected way, lends itself, rather, to an almost programmatic reading of some conceptions or features already studied of post-pornographic manifestations. From a multiple and diffuse narrative self, the authors’ proposal seeks not to reject but to appropriate pornography from other angles that conventional pornography does not contemplate. In this exploration of a sample of terms that illustrate the shift operated by the authors, we aim at signifying this shift, thus offering a key to reading it from some of the assumptions of postpornography as conceived by Egaña Rojas, Milano and Llopis, among others.