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

The involvement of high-ranking military personnel in Brazil's politics has become common, especially after Jair Bolsonaro's election as a former army captain. Their political statements often reference the 1960s-1980s authoritarian military regime, keeping the dictatorship's memory alive in debates. Using sources like the Military Club Magazine, this article explores the Brazilian Army's narrative on the dictatorship, the movement to preserve its memory, and its political use by officers outside military headquarters in the past decade.

This dossier explores the complex relationship between political violence, authoritarianism, memory, and resistance in Latin America from the mid-20th century to today. Through case studies and historical analyses, it shows how violence—both physical and symbolic—has shaped national narratives, silenced dissent, and legitimised regimes, while also fuelling cultural and political resistance. Particular attention is paid to memory practices as tools of both repression and democratic renewal.

El presente artículo tiene como objetivo analizar la novela Peregrinos de Aztlán (1974) de Miguel Méndez desde una mirada interdisciplinaria entre la historia y la teoría literaria. Se desarrollará un estudio de su primera novela con especial atención al tema la guerra como un símbolo no sólo bélico sino de conflicto de identidad que pone a la luz la alteridad de los seres fronterizos. La Revolución Mexicana desde la mirada de los yaquis y la Guerra de Vietnam desde la perspectiva chicana son referentes extratextuales constantes en Peregrinos. Después de casi cincuenta años de publicación, la primera novela de Miguel Méndez deja un hilo abierto para la conversación sobre múltiples tópicos que desatan en los personajes un espacio para hablar de su memoria, reuniendo así una colectividad de personajes sumergidos en la otredad y la alteridad. De tal manera, es importante conocer este relato fundacional de la frontera del noroeste mexicano a través de la empatía de los personajes menos favorecidos. Lo anterior se justifica porque el leitmotiv de la novela son los marginados, no solamente los chicanos, habitantes de una frontera en la cual se reconocen diferentes de sus paisanos, como consecuencia de los factores territoriales, culturales, étnicos o bien, una combinación de todos estos elementos; sino también los campesinos, las prostitutas y los mendigos.

Los estudios literarios latinoamericanos han experimentado un creciente interés en las relaciones entre la literatura y el medio ambiente; es decir, ecocrítica. La presente investigación, además de sumarse a dichos esfuerzos, examina el cuento “A los pinches chamacos” de Francisco Hinojosa desde la econarratología, narrativa experiencial y ecocrítica urbana. De manera particular, se aborda este relato desde el punto de vista de la narración; es decir, de la focalización, con el objetivo de mostrar cómo la literatura tiene una participación destacada en la manera en que pensamos el medio ambiente y cómo nos relacionamos con él. Ya que la focalización implica reconocer la perspectiva que se tiene sobre determinados eventos, en el relato de Hinojosa, como resultado el lector, al llevar su trasfondo vivencial al acto de lectura, participa de los problemas medioambientales y urbanos desde la focalización infantil, perspectiva poco revisada en la compresión de la crisis medioambiental y en los problemas que sobre ella giran.

This work analyses the deconstructed concept of fatherhood as it appears in a selection of works by the Ecuadorian writer María Fernanda Ampuero and the Dominican writer Rita Indiana Hernández, both promoters of new literary styles through short stories, novels and hybrid texts with different aesthetics. It also addresses the demystified perception of the family institution in these authors’ narratives and contrasts it with the idealized images of these concepts in canonical literature prior to the most recent emergence of feminisms in Latin America. The renewed perspective of the works analyzed points to a necessary and important epistemological shift in different fields of knowledge. Drawing on philosophy, psychoanalysis and gender studies, this article discusses and critically questions the move towards new epistemological paradigms around fatherhood, whose strength and relevance have stood out, leaving a clear message of innovation and a transformative view of culture.

Short story production written by women in Mexico has received little attention, especially that published in the first half of the 20th century. Mi amigo azul (1934), by the mexican writer Hortensia Elizondo (1908-1953), is an expression of the tensions, concerns and itineraries of an author who lived and studied in various countries of the american and european continent, and who distinguished herself as feminist, writer, journalist, and film critic at a national and international level. The analysis of mexican short story writers like Hortensia Elizondo is important because of the literary quality and because for a long time “ha habido un silencio, involuntario o no, que nos hizo creer que no había muchas mujeres que se dedicaban a la literatura” (Pedroza, 2018). This article aims to analyze the production conditions of the author and the storybook Mi amigo azul from the socio-historical conceptual framework (Sarlo and Altamirano, 2001). In this sense, the socio-historical method considers that literature is a social practice determined or conditioned by the society in which the writer develops and publishes her work. As has happened with dozens of writers in the history of mexican literature, Elizondo's literary and journalistic work has received little or no attention from critics for a number of reasons that we associate, in principle, with her condition as a young woman, her feminism, catholicism and cosmopolitanism, in a conservative context marked by machismo, misogyny, nationalism and chauvinism.

The objective of this paper is to contrast three essays, by Besant, James and Stevenson, contemporaneous and similar to each other since they debate the capacities that the narrative has to capture reality with verisimilitude, understanding the concept of “verisimilitude” according to Aristotelian terms. In a second moment, the paper makes a comparison between the poetics proposed by these three essays, (especially in relation to the importance of the themes), with the creative project of Jorge Luis Borges, mainly through his texts: “El arte narrativo y la magia, “El arte de contar historias” and the prologue to the novel La invención de Morel. A clear link is found with Stevenson's postulates, and it is concluded that narration must be an operation that is categorically opposed to reality, considering, mainly, the mastery of the act of narrating itself, and at the same time, the craft of creating themes that surprise and captivate the reader's imagination. The paper is relevant in situating Borges's poetics under the lens of this discussion, and in emphasizing the relevance of thematic studies in this author.

Although the generation of violence in Eduardo Antonio Parra's narrative is usually associated with the frontier and marginality, it is pertinent to observe it through the search for domination: a masculinized logic of power. Thus, this essay aims to study the representation of male violence in two stories by this author. It is proposed that the mixture of perspectives on predation in "El cazador" and the remembrance of fratricide in "Al acecho" show how the hierarchy of masculinity shapes the subjectivity of the protagonists. While considering gender studies, it is feasible to mention that the establishment of the masculinity mandate turns the characters into victims and victimizers of their peers. This analysis points out the conflicting logic of power that is established in the men of the narrative through an examination of the literary elements and the configuration of gender.