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

This article examines the works Notas de un ventrílocuo y Bolígrafo o sueños chinos by Germán Marín in order to propose an aesthetic of waste based on the extemporaneous residues of a culture evicted by modernity and the Pinochet military regime. It is a literature that evokes a past time in ruins from the handwritten word of a nostalgic person who redefines fragments of history through reflective memory

In this text I critically analyze the decisionist proposals on the status of art based on family resemblances or resemblances to paradigmatic examples proposed by Weitz and Ziff, as well as the notion of paradigmatic examples. I also analyze Kennick's proposal of the inconvenience of defining art to finally propose that, given the problems of these approaches, the best option is that adopted by most of the authors of the analytical philosophy of the arts, namely, to propose theories in which certain essentialist definitions have a place. But this, however, does not eliminate the decisionist element.

The aim of this article is to demonstrate that the mystical treatise known as “Siete grados o sendas”, that historiography and literary criticism have attributed to the hermit and mystic of New Spain Fernando de Córdoba y Bocanegra (1565-1589), was not written by him, but copied entirely from a Portuguese Franciscan chronicle, translated into Spanish, that circulated in the Hispanic territories at the end of the sixteenth century. It also explains the reasons why this hermit —was influenced by Franciscan spirituality and interested in his soul being united with God— he appropriated this treaty, transcribed it and sought to have other devout people read it and take advantage of its contents.

Meridiano de sangre de Cormac McCarthy y Ahora me rindo y eso es todo de Álvaro Enrigue se desarrollan en la frontera norte de México y la frontera sur de los Estados Unidos de América a lo largo de períodos entrelazados en el siglo XIX. Este artículo expone las dos perspectivas nacientes entre los EstadosNación en consolidación y cómo el genocidio perpetrado con la nación N’deé —específicamente la rama Chiricahua— ha sido adherido en el entramado de las narrativas analizadas para preservar las representaciones culturales de la nación indígena.

The current work proposes a reading of Manuel Payno’s Los bandidos de Río Frío (1888-1891), a foundational novel of nineteenth century Mexican literature. The proposed reading centers on the links between Payno’s novel and nineteenth century material cultural, with a particular focus on material objects that appear in Los bandidos de Río Frío. By tracing a parallelism between Payno’s passion for collecting and Universal Exhibitions, the essay analyses the novel —as well as the objects narrated and described in it— considering Payno’s memoirs about several European exhibitions visited by the author, and the role played by such visits in the configuration of the novel.

This essay focuses on the notion of “profound act” in the short story “Hegel y yo” (1971; Material de los sueños, 1974) by José Revueltas. In the first part, the protagonist’s discourse is analyzed in the light of the comparison between the Hegel-character (with whom the protagonist dialogues) and the Hegelphilosopher; it will be seen, then, how Revueltas’ Hegel is configured as an obscene reverse of the German philosopher. In the second part, the interpretation of the “profound act” will be complexified on the basis of the materialist interpretation that Vladimir Lenin and Louis Althusser make of Hegel’s Science of Logic. At the end of the analysis, it will have been demonstrated how the Revueltian notion of “profound act” alludes to a process that defines the perversion of historical becoming converted into the murder of difference which, as remembrance, always returns materially.

This text analyzes, from the perspective of Cultural Studies, how the novel Fiesta en la madriguera (2010) by J. P. Villalobos narratively translates the everyday negotiation of gender identity of a child subject whose enunciative circumstances are defined by the violent and macho context of drug trafficking. The young protagonist lives in a masculine world and, in his social learning, encounters the significant otherness of masculinities that precede him and perform the hegemonic and violent mandates of “being” a man. In the novel, his identity construction is complemented by media references (traditional songs and samurai films) that play a central role at the narrative level: Villalobos resorts to apocryphal and suggestive intertextuality to exhibit the phenomenological internalization of mass culture and assumes a self-sufficient and prestigious masculinity.

The present work is an approach to the Guadalupan theater, its origin and its space of representation. Currently we have numerous testimonies about theater with the theme of the Myth of the Apparitions in Tepeyac, but its presence in the public theaters established and dominated by the estates thatexercised power has not been proven, so the necessary question arises as to what was the objective and the public that watched these plays. In the presentwork the reader will find a plausible solution to this question.

This paper describes the distribution of the stress in monomorphemic words elicited in four Mapuche-Pehuenche-speaking areas of the Andes mountain range. For this purpose, the stressed syllables of monomorphemic words were analyzed, which were elicited from forty-four bilingual (Mapudungun-Spanish) adult speakers. It was concluded that: a) the stress in the mountain range is mostly oxytonic; b) it is possible to relate the north-south axis to the decrease in oxytonic stress; and c) the tendency for heavy syllables to attract the stress, as reported in the literature, is confirmed by our study. Further investigations on word stress in other regions where Mapudungun is spoken are an important projection of this study, so as to compare the findings presented herein.

Emergency remote learning in 2020 presented an unforeseen learning environment for both teachers and students. This context had a detrimental impact on the learning process, encompassing various physical and attitudinal factors. Consequently, this study aimed to investigate students’ perceptions on the efficacy of specific digital tools and active methodologies over a 17-week period in enhancing the lexico-grammatical learning of first-year English pedagogy students at a Chilean university. Employing an action research approach, two 50-minute weekly sessions were conducted throughout the 17-week duration. Data were collected through close-ended questions under the action research methodology, using a mixed-method approach. Additionally, a focus group was conducted to gain a deeper understanding of the survey findings. The results demonstrated that the learning experience met or exceeded students' expectations (92.84%). The most highly regarded active methodologies included the use of Canvas (µ = 4.42, SD = .99), Immediate Response Systems (µ = 4.32, SD = .80), and Mastery Paths (µ = 4.26, SD = .64). Discussion forums were considered the least favored active methodology (µ = 3.84, SD = 1.09). Moreover, the students expressed a preference for a return to face-to-face classes (57.37%) as opposed to a hybrid (36.84%) or online (5.79%) format.