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

Uruguayan Frenteamplism in Argentina presents an ethnography with a historical perspective of the transnational political practices of Uruguayan militants residing in Argentina. Through a multi-sited study, the author develops the trajectories of migrants, the networks that make up both sides of the border, and the ritual movements that took place from 1970 to the beginning of this century.

Aquest article pretén debatre sobre les complexes dinàmiques i desajustaments de la ciutat moderna a través de la novel·la Angosta: la ciutat del futur, de l’escriptor colombià Héctor Abad Faciolince. Per tal d’entendre la vida i les vivències dels personatges immersos en l’espai urbà caòtic i violent de la societat capitalista globalitzada, l’estudi obsolet recorre als postulats teòrics de Garramuño, Ludmer, Bourdieu, Derrida, Sarlo, Ette, entre altres autors que ajuden en la comprensió de les relacions entrellaçades entre literatura, cultura i societat. En aquesta perspectiva, comparem abordant la construcció identitària del subjecte fragmentat enmig de les inconstàncies de la ciutat i de l’imaginari urbà.

Aquest article proposa una interpretació de «Maîtresse de poëte», un dels poemes més hermètics de l’obra de Gabriel Ferrater. L’ús dels pronoms, les referències temporals, la sintaxi i la citació que el tanca exigeixen per part del lector un esforç hermenèutic que palesa la complexitat que pot assolir la poesia ferrateriana. A «Maîtresse de poëte» s’hi construeix el desdoblament d’una veu lírica que articula el procés de racionalització d’una experiència passada. El resultat és la formalització d’una crítica a l’escissió inevitable que provoca tot poema respecte de l’experiència poetitzada, la vida real. A aquest element crític de la poesia de Ferrater, indissociable d’una preocupació per l’especificitat de cada experiència, hi dedico, a mode d’introducció general, la part de l’article que antecedeix la interpretació del poema.

Mario Martín Gijón: cuerpoemas, versb:leibend. Gedichte. Trad. José F. A. Oliver, Berlin/Tübingen, Schiler & Mücke 2022, 132 págs.

Gran part de l’obra teòrica de Maurice Blanchot va girar entorn la comprensió de les condicions subjectives necessàries per a l’escriptura literària, més enllà del fenomen creatiu en si. En aquest sentit, l’objectiu d’aquest article és aproximar-se al concepte d’impersonalitat teoritzat pel francès i posar-hi en relació experiències que l’autor considerava intrínseques al fenomen impersonal com: la mort, la nit, el dolor, la impossibilitat i la tragèdia. Alhora, qüestionar les implicacions ètiques que suposa la impersonalitat creativa a través del diàleg establert amb Emmanuel Levinas. Finalment, aquest article vol inscriure la proposta de Blanchot dins l’horitzó del problema del subjecte líric.

MICHAEL ROTHBERG: MULTIDIREKTIONALE ERINNERUNG. HOLOCAUSTGEDENKEN IM ZEITALTER DER DEKOLONISIERUNG, BERLIN, METROPOL 2021, 405 PÁGS.

CONVERSACIÓN CON DORY SONTHEIMER: SOBRE LA NECESIDAD DE ESCRIBIR Y LA EXPERIENCIA LITERARIA

This essay proposes reading En las tierras del Potosí (1911), by Jaime Mendoza, as a diagnosis of the "national disease". In this novel, the author explores the multiple obstacles that the Bolivian nation faces on its way to modernity. On the one hand, by portraying worker’s health issues in the Llallagua tin mines, the novel denounces the exploitation by the mining company. However, the impact of the company's actions is much deeper: it produces the moral decomposition of the entire social body. In this way, the "barbarism" of the workers is produced by capitalism, and therefore cannot be reduced to racial or geographical factors. Yet, the solution that the novel proposes is not the eradication of capitalism, but the implantation of a capitalism driven by a “humanitarian motive”. On the other hand, the undisciplined bodies of women are pointed out as another cause of the failure of the modernizing project. Failure to adequately fulfill the maternal role puts the nation's "healthy future" at risk. Thus, there are two great obstacles that the modernizing project faces: a capitalism that produces poverty, disease and death, on the one hand, and indigenous women, on the other. While the first obstacle escapes the field of action of medical knowledge, the second  can be overcome through disciplinary practices such  as  hygiene. Confidence in overcoming the second obstacle, however, is more than anything a compensatory maneuver, because as long as the first obstacle persists, any attempt to turn the Indian into a modern, clean and disciplined subject is doomed to failure. 

This article examines the novel’s use of the camba identity and the vestiges of narco-violence, embodied by a contract killer and the memory of a local drug baron, Roberto Suárez Gómez, to critique both the contemporary political tensions arising between the eastern departments of Bolivia and the MAS administration, as well as the lack of collective dialogue regarding the region’s involvement in the history of the Bolivian drug trade.

This essay develops a comparative analysis between two prison texts produced in Peru and Bolivia. In my reading hypothesis, the novel El sexto (1961), by José María Arguedas, and the autobiographical account Bolivia: cemetery of freedom (1955), by René López Murillo, establish, starting from the prison as the setting and the indigenous figure as a character, alternatives and criticisms of the authoritarian nationalist discourses mobilized in Peru  and Bolivia in the mid-twentieth century. These same anti-establishment practices, however, are not exempt from contradictions. As this essay demonstrates, whether out of admiration and respect in El Sexto, or with the absolute distance posed by the autobiographical narrator in López Murillo's story, the representation of the indigenous subject and, consequently, the assessment of his difference, are subjected to parameters that, if not fully equated with authoritarian discourses of integration and acculturation, do minimize indigenous agency on the horizon of the national community. Instead of that agency, these narratives reinforce the exceptionality of the indigenous subject in the prison setting and in the nation itself. In El Sexto, the construction of the political wisdom of the character Cámac elevates his representation to the condition of ideal model for nationality. In Bolivia, the disingenuous presence of Kenta, the indigenous character, among the political  prisoners  constitutes  a  remarkable  deviation  from expectations. I propose that both, idealization and caricature seem to inform the limitation that the narrators of these texts confront when trying to include or reject the representation of the indigenous within the codes shared by a presumably non-Indian audience of readers.