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The article aims to analyze the relationship between text and image in a specific textual typology: the classics of literature adapted and illustrated for children, published into the Billiken editorial collection since the 1930s and throughout the 20th century in Argentina. Based on the notion of adaptation (Hutcheon) and textual constellation (Gentzler), will be analyzed not so much the textual operations of paraphrase, synthesis or censorship of the original works, but rather the illustrations that accompany them, understood as iconic adaptations that create, together with the text, a complex semiotic system. The presence of images alters the order and rhythm of reading, favors subjective immersion in the story and sometimes makes it possible to read the text contrary to the pedagogical purposes for which it was adapted (Benjamin). The semiotic analysis of the images aims, on the one hand, to study the reception phenomena of the works and, on the other, to reflect on the social use of the literary canon. Finally, it is expected to reconstruct small fragments of a history of children's reading in Argentina.

Although the presence of oriental folktales in spanish literature diminishes at the end of the Middle Ages, we have found a testimony of its vitality at the end of the 19th century: a version of the Panchatantra published in Instrucción para la mujer (1882-1883) and based on a French translation by Jean-Antoine Dubois (1826). In this work we carry out an analysis of its framework story and its fables, comparing them with the French text, with the translation of Alemany Bolufer's Panchatantra and with other versions of these tales. We devote special attention to the study of its protagonists, the foxes, which throughout our literary history have replaced the Indian jackals, and we adduce the origins and some of the reasons for this change.

The life and work of the celebrated painter Pablo Ruiz Picasso are closely linked, as has been demonstrated by critics who have approached his production from different points of view. The suicide of his friend Carles Casagemas was the trigger for the so-called “blue period”, the first major stage in the Malaga-born painter's artistic career, which the cartoonist Tyto Alba deals within the graphic novel La Vida, published in 2016. In this study, I will analyse how the graphic novel sheds light not only on the history of a friendship through a rich documentation about Picasso and Casagemas, but also, through the intermediality, the comic becomes the vehicle of Picasso's painting and a graphic testimony of the Franco-Spanish fin-de-siècle bohemia experienced by the two artists.

Alejo Carpentier was an author musicologist. This issue encourages concern for language in the creation of his Works, endowing his novels and other writings with that baroque style so characteristic of his style, seeking euphony and maximum expresión. It is not only a stylistic question but also related to a philological concern. In addition, in relation to his studies mentioned above, we fin dan aspecto linked to language that is not always shown by writers: the concern with acoustics. Carpentier could not ignore the auditory issue, which will also be observed in the endowment to his novels of an entire sound universe in which language will be included. We can observe the euphony and care for language at the same times as language as music. In this way, we can access the study of language itself and how it interacts and confers various characters on the work.

We aim to investigate how visual and textual media are intertwined in the space of the book as in its materiality through the analysis of La vuelta al día en ochenta mundos (1967) and Último round (1969), produced by Julio Cortázar in collaboration with plastic artist Julio Silva. First, we will start from the notion of apparatus, coined by Foucault, and expanded by Agamben; then, we will study how these almanaques, so named by the author, relate with the Latin American intellectual field of those years; finally, we will examine the non-sequential reading operations carried out in these volumes. Our purpose is to conclude, on one hand, that these works attempt to merge aesthetic and political avant-garde; on the other hand, that the production of meaning they intend to create can be set as an example to understand the rest of Cortázar's production.

This article addresses Mike Wilson's Ciencias ocultas from the notion of description as opposed to narration. In Wilson's novel, the things described form part of a crime scene, which is never resolved, since the writing stops following the description of the things inside the crime scene. Among these, everyday objects appear, but also images that are described in the form of ekphrasis, a paradigmatic figure of the relationship between writing and image. Wilson’s work is read from the framework proposed by the new materialisms that give agency to matter, which has a vibrating power (Bennett). One of the main effects of the description in Ciencias ocultas  is the slowdown and temporary suspension.

In February 2016 the documentary film Tarajal. Desmuntant la impunitat a la frontera sud (Tarajal. Dismantling impunity at the southern border), written and directed by Xavier Artigas, Xapo Ortega and Marc Serra. The project aimed to shed light on events that occurred two years earlier, on February 6, 2014, when fifteen people from Africa lost their lives trying to swim across the border of Ceuta, Spanish territory, while the Spanish Civil Guard fired rubber balls. In the present study I am interested in exploring on the one hand, how Tarajal, mainly through montage and the use of interviews, brings to the surface a discourse opposed to the official discourse of the State and highlights its use of systemic violence. On the other hand, I also want to investigate the possibilities of Tarajal in particular, and of the documentary genre in general, as an alternative way of creating a collective and participatory discourse that involves a new form of spectator awareness.

Realistic spanish poetry opened new paths between 1990-2000 seeking new perspectives in the face of the denotative clarity of the 1980 year, whwre the "new sentimentality" seemed to take center stage. From Jorge gimeno or carlos Pardo or even Josep maría rodríguez, games began with the synecdoche and the fragment, to show a new way of telling things and that, in more recent proposals, have envolved towards a complex angle or perspective, to take up the idea of commitment (carefully circumvented in the verse in the 80s), in the face of the new reality. Erika martínez's poetry responds to all this and supposes, together with Marisa martínez Pérsico, a new path that denotes and circumvents these issues from a disconcerting realism at times, and that is used in the "proem" as a new formula according to the times that run.

On the basis of Chico Buarque’s poetry regarding one of his novels, Estorvo (1991), we set out to investigate aspects that would place this musician/writer’s stories between the sonorous and the verbal. A narrative where conventional traits crack by a decentering that compromises the "meeting" of languages, records, speeches, figurations, sonorities in the space of Latin American settings. Such encounters would create as a contact area, a single grammar hybridized discourse, displaced from known patterns, among others, in order to configure infrequent tensions in narrative texts (Literature/Music, word/sound).

In this paper we present a reading of Títeres de pies ligeros (1929) by Ezequiel Martínez Estrada (1895-1964), a dramatic text in verse whose first publication includes drawings by the author himself, which involves the relationship between word and image and the mixture of literary genres (De Aguiar e Silva, 1984; Lampis, 2016). In addition, we will analyze how this “theatrical poem” (Barcia, 1995) or dialogue poem (Ghiano, 1957) incorporates in a particular way the tradition of the Italian commedia dell’arte and its French version –in the representative farcesque characters–, the dramaturgy of Luigi Pirandello and some aspects of the book Lunario sentimental by Leopoldo Lugones. Our proposal stops, then, in making a careful observation of the relationship between the literary text and the drawings that represent and highlight the central elements of a play starring puppets that exhibit human vices and virtues. These drawings mark a double link with the text, since they reaffirm their antecedents in the tradition but, at the same time, point out characteristics that differentiate them because the characters are subjected to the irreversible passage of time (Burgos, 2011). To complement the analysis, we will draw on the concepts of intermediality (Wagner, 1996; Pimentel, 2003) and imagetext (Mitchell, 2009; Alberdi Soto, 2015), which characterize the complex operation of transposition (Steimberg, 2013) carried out by the author in this “dramatic experiment”.