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

This article reviews the presence of French symbolism, particularly Verlaine and Mallarmé, in the poetry of Juan L. Ortiz. This drift is also present in some of the great American poets of the 20th century, such as Wallace Stevens, with whom Ortiz has several elements in common. At the same time, it shows the way in which this symbolist root merges with one of the extensive features of poetry of the Americas since Whitman: that of the celebratory poem, which sings and exalts what is present.

This paper aims to return to the problem of the «autor» from different readings of the work and figure of Juan L. Ortiz in order to question the underlying dichotomies that respond to metaphysical assumptions of the modern subject. We consider that the dichotomous pairs hide the relationship modes of different spheres of this work, so a reading that puts these presuppositions in tension would open a new ethical and political dimension and, eventually, a different way of considering the relationship between poetry and politics. From there we will outline a possible displacement of the author towards the writer in relation to a certain subjectivity of the living that takes up the links between literature and life.

This paper explores the enigmatic condition of poetic discourses caused by signified and signifier’s tension. The reading emphasizes the negativity in the poetry of Juan L. Ortiz, which will be conceived as a critical work that investigates the limits of consciousness and the possibilities of poetic writing itself. His poems know and assume the distance and dispossession of poetic writing. Likewise, this lyrical corpus presents a speaker in tension with the evoked landscape. In this paper we will map some poetic operations to search the literarial space of this tension.

Este trabajo, escrito luego de la segunda edición, revisada y aumentada, de la Obra completa de Juan L. Ortiz (2020), es al mismo tiempo una memoria y un balance de las distintas «publicaciones» de la obra del poeta. De la edición mencionada, pero también, de manera retrospectiva, de las precedentes: la edición de la obra reunida, en tres tomos, con el título de En el aura del sauce (1971) y la primera edición, luego de la muerte del Ortiz (1978), de la Obra completa (1996). Este trabajo, en definitiva, es una reflexión sobre la historia de la escritura poética y sus «maquinarias», sobre el verso como instrumento, el poema como dispositivo y el libro como objeto. Una reflexión sobre la vida y la sobrevida del poeta en su obra.

In the following text we will reconstruct some anchor points that made possible the preparation of the present dossier from the first expectations to the epistemological difficulties that making poetry criticism from an academic journal represents. In this introduction we will address the central (or marginal) points that this compendium dedicated to the poetic work of Juan Laurentino Ortiz leaves us in order to, once again, open the space for questioning, listening and poetic projection.

Este artículo propone una lectura comparativa entre La orilla que se abisma de Juan L. Ortiz y la escritura de Stéphane Mallarmé. Para ello, analiza el problema de la configuración espacial y la composición icónica del texto sobre la página, concebida como un continente significante con el que se vincula dialécticamente. De esta manera, se propone reconsiderar la dimensión rítmica de la poesía de Ortiz atendiendo al problema del espacio pictórico que implica la ruptura formal de Un coup de dés jamais n'abolira le hasard del poeta francés.

This work studies the sounds in the writing of Juan L. Ortiz. The proposal of a phon/ethic is the hypothesis that guides this study. A specific question is analyzed: the belonging of the poetic voice to what the poet calls «the voice from outside». Suspension of the assertive function of language and continuous questioning will be studied. A specific linguistics will be postulated in the resonance experience of Ortiz´s poetry.

It was performed a review of documents and articles including theoretical constructs that would allow understanding the process of implementation and the route to consolidation of University Social Responsibility (RSU) politics in Venezuelan universities. These institutions are going thru a crisis unable to implement RSU politics. It is essential the effort and commitment of those who lead their destinies, their community (including graduates) and the Venezuelan State, jointly, to be able to maintain academic quality and to form citizens committed to world issues, with skills to move forward to reach the goals of Sustainable Development Objectives (ODS), without leaving out RSU. To reach out the goals of ODS in the country and achieve a more sustainable environment for everyone, it is essential the self-diagnosis and the adoption of an integral approach of the RSU, considering all ambits of university action, with training, research and social projection of the university socially responsible.

The following paper is necessary, as the possibility of a critical approach to the conventional view of heritage, culture and tourism will allow us to reassess policies, discourses and actions undertaken by various actors who extol the socioeconomic benefits of the use of cultural assets, which gave rise to patrimonialization and touristification processes that relegate authentic socio-cultural and economic economic benefits to the communities that possess them. The method used for the reflective analysis considers three phases: the theoretical foundation of criticism in tourism and culture; an approach to a reality that evidences critical reflection; and, the conceptual proposal around rethinking the relationship between tourism, heritage and culture. In this reflective analysis, the document discusses the real impacts behind the patrimonialization of cultural goods, the role of the State and the hegemonic actors that establish a way of conceiving culture as domination. In contrast to this vision, the value of this as a form that emancipates and not that constrains, this from the reflexive critical contribution of the philosophical assumptions of culture, tourism and heritage with regard to the dynamics and practice of the activity called heritage tourism.