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

The work carries out a quantitative analysis of Paraguay's foreign trade through the estimation of their trade elasticities during the period 1995-2020, obtaining values ​​of income elasticities of exports and imports of 1.04 and 0.83. However, an analysis of the 2003-2020 subperiod shows changes in the coefficients of 1.19 and 1.01 respectively. A rise is appreciated in their income elasticities, especially that related to that of imports. In addition, the Thirlwall’s Law is validated, and the Paraguayan economy would not be constrained by the balance of payments. The poor performance of their exports in the last decade would be explained by the economic problems of its main trading partners, Brazil, and Argentina. Paraguay should diversify its exports towards other trading partners of greater dynamism so that regional difficulties do not affect its potential for future growth.

The VUCA approach has explained the concept of Complexity as one of the many characteristics of the organizational environment. This paper transcends this vision deploying this concept specifying a set of forces that condition from the environment the organizational strategic decisions making. On this base, this work identifies the reflexive competences that contribute to the process of strategy formulation and execution. Through this environment-organization dialectics, strategic leadership is defined as a set of advanced cognitive functions. These are the human most evolved functions that constitute the highest expressions of the human brain development. Ultimately, the systemic and transversal use of these competences facilitates a superior assessment and a more effective anticipation of the environment and a more efficient way to overcome the obstacles that block the organizational transformational processes.

Sin resumen

This paper proposes an analysis of various misogynistic anecdotes that are inserted within the idealized framework of the Arthurian romance, generally considered as an exaltation of courtly love. The study starts with a reflection on this ideal of courtly love and an analysis of some of the misogynistic examples taken from various examples of the Arthurian cycle. It essentially deals with the episodes of the «magic horn» and the «badly cut coat», which appear in independent stories and also in several Arthurian romances.

This paper proposes a revision of the Byzantine studies evolution in Spain, starting from a historical interest in Byzantium, until the most recent contributions made in the academic framework of the Spanish university. To analyse the production of the different university centres that have developed an interest in these studies, both the research carried out in the philological and historical fields are analysed. The article includes, also, the study of the contribution of the specialized university centres existing in the country.

Victoria de Stefano writes a type of self-referential literature. In the structure of her novels, she makes an explicit reflection on the complex relationship that exists between reality and fiction. By doing this, she produces a double effect. On the one hand, she underlines the artificiality of the text. On the other, she questions the limits of fiction. In other words, most of her literature falls into the category of metafiction and, as Guyard points out, "metafictional theorists insist on the fact - undoubted, on the other hand - that the metafictional text questions the limits between the real and the fictional” (2012: 59-60). Lluvia (2006) gathers the elements mentioned above to produce an autofictional text that is highly self-referential and specular. Starting from this premise, it can be affirmed that the work in question proposes a game to the reader, makes him an accomplice of literary creation. It creates an unsolvable paradox that is at the core of the fiction's reflexivity. This study will analyze the functioning of this structure and its relationship with what we could call playful fiction (Robert Detweiler), a literary mode that makes the reader an accomplice by revealing the artifice of the text. The central objective will be to analyze how this literary game defines Stefano's novel, which can be studied from the notion of "specular autofiction", and serves to accentuate its central theme, literary creation, not only by exposing it in the diegesis but by doing that the reader participates indirectly in it.

The traditional tale can be assimilated, because of its innate characteristics, to regulated or structured play. Because of this, the rewriting of this tales creates another ludic level, in which the author poses a series of clues to the reader, so they can find the relation between their text and the tale they are referencing. The analysis of three rewritings of Little Red Riding Hood, written by three Latin American female writers, sheds light upon the diverse rewriting strategies that can be used, and more importantly upon how the intertextual references in this tales create a depth of meaning that allows the text to interact with the reader and, through their interpretation, with their contemporary society, making about it a critic and feminist commentary

Going back and forth between the essays and the fictional narratives written by César Aira (Coronel Pringles, 1949), as well as several game theories, the present article proposes an analysis of the inextricable triad that playing, childhood and creation compose in his work. After highlighting the presence of playing in Aira’s fiction, I examine his vision of literature as a form of playing, more precisely as a form of playing without limits or control, where freedom and improvisation should prevail over the respect of conventions. Through this genuinely ludic vision of literature, the author places his own work in a line of experimentation that, proceeding from the surrealist vanguard, aims at mobilising the powers of imagination in order to break with the rationalism and the hard work, considered as excessive, of the “good” traditional literature. Aira, just like the surrealists before him, sees in the gaze of childhood the ideal reservoir of forces for renewing the artistic perception of the world and, at the same time, for redefining the rules of the literary game.

The Argentine writer Luisa Valenzuela gathered in the book Juego de villanos a large number of her shorter stories. By selecting texts from books already published and adding some new ones, the book, published in 2008, allows those stories and micro-stories to be read in a new context. The result is a proposal that puts humor in the foreground and turns the game, present in the title of the book, on the way to approach these texts. Starting from the theory about the nature of the game as an essential component of our social being and its inescapable relationship with language, we propose an approach to the techniques used by the author to compose these various texts, see how she plays and how she invites the reader to participate or catch you without warning. Through the analysis of several of the micro-stories, a way is offered to get closer to the rest of the texts and to establish the link between play, humor and commitment with a pressing reality that marginalizes, represses and destroys and in which laughter becomes a transformer element.

In the study, two short texts by Guillermo Cabrera Infante are observed –a fragment of “La casa de los espejos ” from Tres tristes tigres and the dialogue entitled “La habanera tú” from Exorcismos de esti(l)o– to analyze the various manifestations of the game. In the analysis, Jorge Mañach's essay, Indagación del choteo, is used, and it reflects on the possibilities of caricature from a distance. It also focuses on the myth of Narcissus and Eco, the visual and the sound, when observing how humor is built through the playful, in a long or short version, through contrasts and symmetries, antagonisms and parodic rewritings and satirical.