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

El sistema terrestre ha entrado en una nueva época geológica, el Antropoceno, marcada por un entorno más inestable, incierto y riesgoso para la vida en el planeta. La acción humana ha sido causa principal de la generación de esta crisis ambiental global, cuya gobernanza demanda mayor cooperación entre sociedades y Estados, así como una nueva estructura de prioridades de comportamiento individual y colectivo, es decir, una moral del Antropoceno. En este marco, el presente artículo se propone, primero, identificar los principales desafíos socioambientales de América Latina en el contexto del Antropoceno; segundo, analizar el tenor de las respuestas de los gobiernos de la región, y, tercero, identificar áreas de potencial cooperación, priorizando las más urgentes y las oportunidades socioeconómicas. La atención se centra en las cuestiones relacionadas con el cambio climático, ya que es el reto más relevante y conecta con todos los problemas medioambientales y políticos.

La agricultura familiar es una forma de producción cuya significación evoluciona con las diferentes perspectivas que introduce el conocimiento: desde una alternativa subvencionada, pasando por una política de integración regional, hasta una manifestación de biodiversidad cultural y ambiental que habilita la sostenibilidad. Se hizo un lugar en la agenda política nacional, regional y global como un concepto abierto que se caracteriza por la vulnerabilidad de sus actores, pero que tiene el potencial de convertirse en una alternativa real de producción de alimentos compatible con los discursos ambientales actuales. Partiendo de las organizaciones sociales y políticas contestatarias, su conceptualización se abrió camino hasta llegar a las principales agendas de las organizaciones internacionales. En Uruguay se observa ese mismo proceso en la evolución jurídico-institucional; sin embargo, la continuidad de la implementación de las nuevas agendas persiste como desafío. En este contexto, aparece la necesidad de una verdadera apropiación de estas políticas por los actores directamente vinculados con el territorio, que asegure su reivindicación.

En este artículo se describen dos escenarios de producción social del hábitat, considerando, en particular, las vinculaciones entre el hábitat y la salud colectiva. Por consiguiente, se plantea como una contribución para pensar los fundamentos que permitan incorporar el sector de la salud en el ordenamiento urbano y territorial, con especial atención en los procesos de participación social y en la importancia de centrarse en datos empíricos sobre temas y territorios concretos. El estudio se basa en un trabajo de campo antropológico desarrollado en territorios periurbanos de la ciudad de Mar del Plata (partido de General Pueyrredón, provincia de Buenos Aires) en el período 2019-2022.

Los recuerdos del porvenir (1963), Elena Garro's first novel, recreates the passage of the Mexican Revolution and its consequences in the archetypal scene of a small imagined town in the province (Ixtepec), where the Revolution appears as an event more suffered or received than acted or starred. The last stage of Ixtepec's ruin during the Post-Revolution is represented by the Cristero War, which occupies the entire second part of the novel. This essay will aim to analyze the meanings of the recreation of this civil war resulting from the confrontation between the Church and the State in Elena Garro's narrative, in order to rethink the way in which her work re-elaborates the literary tradition defined by the Novel of the Mexican Revolution. We conceive the latter as a critical category and as a founding corpus of a national literary canon in Mexico. This specific angle of study allows us to clarify and broaden the understanding of key aspects through which the writing of this author criticizes, appropriates and reestablishes the literary and cultural forms of a triumphant Revolution that, in Mexico’s 20th century, works as the axis around which all the other senses are arranged and defined. We will consider the Cristero War in Garro's work under three perspectives: historical-political, gender and philosophical.

This work addresses a corpus of Latin American artists whose pieces of electronic literature, artifacts produced and consumed on digital support, break, through play, with a type of linear and canonized writing in favor of recursion, deviations and micro-stories. In general, the playful aspect of electronic literature works is present since in many cases the interaction of the reader-users is required, while they have the particularity of being made with different languages -artistic or programming-. Certain rules of the game are imposed through instructions for use, at the same time that a space for chance and combinatorics is promoted, based on the depth of hypertext typical of digital support. In the specific case of the corpus that we propose here, the artists work under a new conception of scriptural memory enabled thanks to the intervening playful element: the hypertext autobiography in Memorias y caminos (2016) by Jaime Alejandro Rodríguez, the rebellious poems covering the urban weave in Textos guerreros (2017) by Pablo Somonte Ruano and the canonical literary tradition revisited in El Aleph a dieta (2015) by Milton Laüfer.  

In the last decades of the nineteenth century, there was a strong moment of emergence of literary literature in Argentina. The controversy surrounding naturalism and the judgments on the national novel occupied a decisive place in that process. Here we will reconsider the main assessments of Martín García Mérou, from a careful reading of his critical campaign on “La novela en el Plata” but also from unpublished –and intimate– pages in which he recounts his personal (and literary) experiences with the cocottes of Paris. It is shown that García Mérou's opinions on naturalism are organized in a less schematic way than what is usually indicated in the bibliography, and that the contradictions are explained by his personal career but also by the modes the emerging literary criticism functioned. 

This paper proposes to analyze one of the key novels of Mario Bellatin, El Gran Vidrio (2007), homonymous to Marcel Duchamp’s masterpiece The Big Glass. After an introduction where we present an outline of the interpretational difficulties of Bellatin’s work, following Patricia Waugh’s book (1984) we offer a brief theoretical section on metafiction as game. Basing our analysis on Octavio Paz’s classic essay about the avant-garde artist (1973), we will reveal the principal thematic and structural analogies between text and image, in order to argue later about Bellatin’s method of reappropriation and the metafictional components of his novel. Thus, we will arrive to the last section, dedicated to conclusions, where we explain why El Gran Vidrio is a radical metafiction.

This article reviews the role of game in the work of Roberto Bolaño. This is revealed as a conceptual compass of his life and creative experience, as well as a decisive thematic and structural component of his narrative. With a detailed analysis of El Tercer Reich (2010), it is shown how, from this early work, the game acquires a special relevance, which will perhaps reach its most complex manifestation in Los detectives salvajes (1998). The classic title of Johan Huizinga Homo ludens serves to analyze this essential facet of the author.

An analysis of three contemporary fictional texts by Hispanic-American female narrators who construct female figures capable of questioning, with their attitudes and vital choices, both the stereotyped models of the feminine and the maternal, as well as the maintenance of the compact tradition of the nuclear family, is proposed. Can the destructuring of the traditional assignments of maternal roles in the family nuclei described in the diegesis be considered as a break with respect to the canonical development of the female self within the framework of mother-child ties? Or, instead, is it a subjective process that concerns individuality and is disconnected from current socio-historical processes? We will try to see how the selected texts swing between an extreme marked by the maternal control of the foreign body, as a practice that intervenes at the anatomical level making the body of the child weak and docile, and another extreme in which the maternal omissions and absences offer the progeny the opportunity to articulate a discourse of "subjective constitution of the self", detached from the inter-generational relational framework.  

In this article we aim to ponder on a discourse about motherhood that currently claims to become dominant, a discourse based on the concept of intensive motherhood (Hays) that results in the centrality granted to children at the expense of the intimate needs of their procreators and that represents the target of attack in Lina Meruane’s essay Contra los hijos (2014) written in the form of a diatribe. In the first part, we analyze the feminist theoretical assumptions of the Chilean writer’s essay and emphasize its coincidence with the criticisms against the neoliberal maternal model carried out by scholars such as Nancy Fraser (2013), Angela McRobbie and Catherine Rottenberg. In order to better understand its unexpected and deep connections with hatred, eros, pleasure and death, in the second part of this article we intend to put this philiocentric discourse in dialogue with some narrative proposals of contemporary Latin American literature inscribed in the stories “Como una buena madre” ”by Ana María Shua, “Los viejitos” by Patricia Suárez, “Lo que ha comenzado” by Alejandra Laurencich, “Pablito clavó un clavito: una evocación del Petiso Orejudo” and “El niño sucio” by Mariana Enríquez and also “Una historia de éxito” by Alberto Chimal.