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

Travel, as a spatial, temporal or mental displacement, has been a literary topic in the universal narrative. Studied at various times, "travel literature" has been mutating until trying to become a literary subgenre in both European and American literature, but the treatment of this topic in many Asian literatures is still ignored. For this reason, in this work I will try to provide an approach to this topic in a particular culture such as the Japanese one. Thus, I will consider the trip as one of the obturator points in the Japanese cosmogonic myths that are compiled in the Kōjiki and the Nihonshoki. Focused on the first mythological cycle of Yamato, starring the primordial couple Izanagi-Izanami, I will reveal the displacement under two aspects: the journey-creator-of-life and the journey-generator-of-death. In both types of trips, the concept of beauty will be the connecting and triggering link.

The research focuses on the so-called political theater of Dario Fo and Franca Rame, conceived as a narrative tool of the Years of Lead. The following research aims to clarify the content of the investigative theater definition  suggested by Dario Fo and Franca Rame (who always considered the term “political theater” redundant) through unpublished sources, highlighting the investigative work that Fo and Franca carried out day after day on the facts that shocked Italy during those years.

Se trata de reflexionar acerca de la relación del discurso literario de Ignacio Aldecoa en su cuento «Young Sánchez»(1957) y la reescritura de este en el filme de Mario Camus (1963). De este modo ponemos de manifiesto su correspondencia poética, entendida tanto en lo que se refiere a las equivalencias narratológicas como en las líricas. Así, este trabajo expone las convergencias entre dos relatos que, a simple vista, parecen divergir.

El presente artículo propone un acercamiento a la poesía de Jorge Luis Borges y analiza, de manera privilegiada, la figura de la moneda dentro de su obra poética, en particular en los poemas “A una moneda”, “La moneda de hierro”, los apartados “Quince monedas” y “Unas monedas” contenidos en Obra poética (1923-1972) (1977). La finalidad del estudio es poner de relieve, por un lado, el papel simbólico de la moneda dentro de la economía lírica del autor y, por el otro, su anclaje filosófico, ya que el autor la elige como una de las metáforas privilegiadas para representar su idea de ambivalencia y dicotomía como sustancia de la realidad.

The publication in three volumes of the Complete Short Stories by Henry James in Spanish is a timely opportunity to analyze some translation guidelines by confronting five versions from different periods of James's famous short story "The Death of the Lion".

The "image" of Aesop has been crystallized in different texts since classical antiquity as a figure associated with "popular" literature and, therefore, the collections of fables attributed to him went through (and still go through) a complex history of transmission and transformation. In this history, the figure of Aesop as a fabulist has been modalized according to each sociohistorical context in which his fables were recreated. The notion of "image" (Lefevere, 1992) refers to the representations that each era of humanity, through the rewriting of canonical texts, builds of each writer. Also, the notion establishes a dialogue between the ancient sculptural representations, the descriptions in the Graeco-Latin texts and the illustrations of Aesop that most publications of recent fables contain. In this paper we propose to analyze two books of fables attributed to Aesop published in Argentina: Aesop. Fábulas (Ed. Página 12) and Fábulas y antifabulas by Graciela Repún and Enrique Melantoni (2013, Ed. Uranito) because they themselves make up a ‘corpus’ of analysis as they present Aesop as "character" and "narrator". We aim to describe the textual and paratextual operations used in the construction of Aesop as a character/narrator and/or author of fables in these publications in order to problematize the relations of the Greco-Latin fable genre with the current genres of children's literature and didactic materials.

The musicality of the poetic style of the Gorgian prose has been a feature discussed in its own language and even not always translated in modern languages’ versions of the text. In this article we seek to: 1. explore some of the criticisms of Gorgias based on passages from Aristotle's Rhetoric; 2. show the coincidence of the common places ('topoi') in Gorgias and Aristotle used for the specific arguments of the judicial genre; 3. interpret the musicality of poetic figures in the construction of arguments and consider their persuasive power. Finally, we will present our criteria for the translation of the musicality of Gorgias's poetic style in the piece In defense of Palamedes (2021).

The aim of this article is twofold: to demonstrate the need for a new translation of the Iliad based on an analysis of the available translations characteristics, and to present some strategies for the new translation used in the iliada.com.ar project.The former is achieved by taking into consideration not only the translation criteria used by contemporary authors, on which brief comparative analysis is made, but also the modes of circulation and the methodology of work in these publications. The reached conclusion is that the main deficiency of contemporary translations lies in the non-construction of a specific language to translate the Homeric and, therefore, the second part of the article presents the main strategies used in our project to achieve this goal.

Este artículo da cuenta de los aspectos más relevantes del proceso de traducción del griego al español del diálogo Prometeo de Luciano de Samosata (ca. 120-180 d. C.), entre los que se incluyen los debates llevados a cabo en el seno del grupo, el intercambio de opiniones y puntos de vista, criterios de traducción y los principios y decisiones teóricas y metodológicas que confluyeron para dar su forma final a este libro, publicado en versión bilingüe y con introducción, notas, proyecciones, glosario, índice de nombres propios y ejercicios, por la editorial de la Facultad de Humanidades y Artes de la Universidad Nacional de Rosario.