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During the Puerto Rican 20th century, the disease metaphor predominates to analyze Puerto Rico's colonial political relationship with the United States. This metaphor manifests itself in various ways in Puerto Rican literature and visual culture. This dissertation analyzes the mechanisms that have done and undone biopolitical bodies and their relationship with historical time and tropical space in three Puerto Rican novels and documentary films. In addition, I analyze how advances in technoscience reinforce colonial status. Given the biopolitical panorama in Puerto Rico, I propose the culture of suspicion to redirect the biopolitical gaze, and the term trance literature to account for a discursive change in 21st century literature that transforms the political dimension of the body and dismantles the metaphor of the illness. In addition, other political forms are presented that distance us from the hegemonic technobiopower and bring us closer to other ways of understanding conviviality.

Los pies de San Juan by Eduardo Lalo is a hybrid work: it has been variously described as a photographic essay, an artist book, a chronicle-book, a performance album and a book-object. In this work emerges an obsession for detail and fragmentation, which makes it impossible to construct a global image of a San Juan of Puerto Rico that is explored on foot, camera at hand, in search of marks in the ground, waste and traces of decadence, rather than through panoramic views. This essay will analyze this sense of fragmentation and waste, taking into account the photographic repertoire but mainly focusing on the written reflections that accompany it. The cityscape is constructed as an “anti-postcard”, in which the parts selected never allow us to see a whole, and in which Lalo’s cosmovision of the subject “being” the city establishes a fusion between body and city., Los pies de San Juan de Eduardo Lalo é uma obra híbrida: ensaio fotográfico, livro de artista, livro-crônica, álbum performance, livro objeto, são alguns dos termos usados pela crítica para tentar defini-la. Nela, existe una obsessão pelo detalhe e a fragmentação que impede construir uma imagem global do San Juan de Porto Rico, que se percorre a pé, câmara na mão, em busca não de grandes vistas mas dos resíduos, das marcas no chão e dos rastros de decadência. Neste ensaio, explora-se esse trabalho com a fragmentação e os resquícios levando em consideração o registro fotográfico, mas focando principalmente nos trabalhos ensaísticos que o acompanham. A paisagem urbana é construída como um “antipostal”, no qual as partes selecionadas nunca permitem construir um todo e na que a proposta de Lalo de que o sujeito “é” a cidade, estabelece um vínculo de fusão entre o corpo e a urbe., Los pies de San Juan de Eduardo Lalo es una obra híbrida: ensayo fotográfico, libro de artista, libro-crónica, álbum performance, libro objeto, son algunos de los términos con los que la crítica ha intentado definirla. En ella existe una obsesión por el detalle y la fragmentación que impide construir una imagen global de la San Juan de Puerto Rico que se recorre a pie, cámara en mano, en búsqueda no de las grandes vistas sino de los residuos, las marcas en el suelo y los rastros de la decadencia. En el presente ensayo se explora ese trabajo con la fragmentación y los desechos, dando cuenta del registro fotográfico pero principalmente deteniéndonos en el trabajo ensayístico que lo acompaña. El paisaje urbano se construye como una “antipostal”, en la que las partes seleccionadas nunca permiten reponer un todo y en la que la propuesta de Lalo de que el sujeto “es” la ciudad establece un vínculo de fusión entre cuerpo y urbe.

Los pies de San Juan by Eduardo Lalo is a hybrid work: it has been variously described as a photographic essay, an artist book, a chronicle-book, a performance album and a book-object. In this work emerges an obsession for detail and fragmentation, which makes it impossible to construct a global image of a San Juan of Puerto Rico that is explored on foot, camera at hand, in search of marks in the ground, waste and traces of decadence, rather than through panoramic views. This essay will analyze this sense of fragmentation and waste, taking into account the photographic repertoire but mainly focusing on the written reflections that accompany it. The cityscape is constructed as an “anti-postcard”, in which the parts selected never allow us to see a whole, and in which Lalo’s cosmovision of the subject “being” the city establishes a fusion between body and city., Los pies de San Juan de Eduardo Lalo é uma obra híbrida: ensaio fotográfico, livro de artista, livro-crônica, álbum performance, livro objeto, são alguns dos termos usados pela crítica para tentar defini-la. Nela, existe una obsessão pelo detalhe e a fragmentação que impede construir uma imagem global do San Juan de Porto Rico, que se percorre a pé, câmara na mão, em busca não de grandes vistas mas dos resíduos, das marcas no chão e dos rastros de decadência. Neste ensaio, explora-se esse trabalho com a fragmentação e os resquícios levando em consideração o registro fotográfico, mas focando principalmente nos trabalhos ensaísticos que o acompanham. A paisagem urbana é construída como um “antipostal”, no qual as partes selecionadas nunca permitem construir um todo e na que a proposta de Lalo de que o sujeito “é” a cidade, estabelece um vínculo de fusão entre o corpo e a urbe., Los pies de San Juan de Eduardo Lalo es una obra híbrida: ensayo fotográfico, libro de artista, libro-crónica, álbum performance, libro objeto, son algunos de los términos con los que la crítica ha intentado definirla. En ella existe una obsesión por el detalle y la fragmentación que impide construir una imagen global de la San Juan de Puerto Rico que se recorre a pie, cámara en mano, en búsqueda no de las grandes vistas sino de los residuos, las marcas en el suelo y los rastros de la decadencia. En el presente ensayo se explora ese trabajo con la fragmentación y los desechos, dando cuenta del registro fotográfico pero principalmente deteniéndonos en el trabajo ensayístico que lo acompaña. El paisaje urbano se construye como una “antipostal”, en la que las partes seleccionadas nunca permiten reponer un todo y en la que la propuesta de Lalo de que el sujeto “es” la ciudad establece un vínculo de fusión entre cuerpo y urbe.

The thirty years between the 1972 publication of Rosario Ferré’s short story “La muñeca menor” and Pedro Cabiya’s 2003 novella “Relato del piloto que dijo adiós con la mano” span the cultural, political, and economic “shift” from a “regulatory state” to a neoliberal global order that, per Rebekah Sheldon’s analysis, has articulated and contextualized similar contrasting takes on biological and material reproduction. Focusing on their transformed imaginary of “monstrous” reproduction, I explore in this paper how the texts’ Gothic and SF modalizations refract local conditions as well as critical elements of that shift, full of increasingly urgent and extreme consequences in Puerto Rico, and even farther afield., Entre “La muñeca menor”, cuento de Rosario Ferré originalmente publicado en 1972, y “Relato del piloto que dijo adiós con la mano”, novella de Pedro Cabiya aparecida en el 2003, media una masiva transformación que, para Rebekah Sheldon, refleja el paso de un “estado regulador” al orden neoliberal globalizado dentro del que se insertan parecidas representaciones contrastantes de la reproducción tanto material como biológica. Partiendo del análisis de su representación de la reproducción “monstruosa,” examino en este trabajo la modalización gótica y de ciencia ficción de estos textos como articulación literaria de condiciones locales, así como de elementos de un proceso político, cultural y económico con implicaciones cada vez más críticas y urgentes para Puerto Rico y el mundo.

Linguistic subversion has been a paradigm-breaking tool for many writers to rise against the literary canon and the homogenization of national identities all over Latin America at different times in history. In this context, Rosario Ferré’s writing is analyzed. Ferré grew up as a member of the Puerto Rican 70’s Generation, which drove conceptualizations about Puerto Rican hybrid identities. These conceptualizations called into question a Hispanophile national identity that some of the island’s institutions and political organizations had made official, in opposition against the US colonialist attempts to linguistically and culturally assimilate Puerto Rican people. In this literary setting, Rosario Ferré’s case stands out due to her sociopolitical position, her particular incursion into the US literary market with English written publications linguistically and culturally “contaminated” by the Spanish language and due to her subversive self-translation practice. In one of The House on the Lagoon storylines, Ferré elegantly theorizes about her self-translation practice, which is analyzed in this article.Submitted: 30/04/2019Accepted: 12/07/2019How to cite:Sambolín-Santiago, A. (2019). Las tretas del débil: la autotraducción como subversión lingüística patriarcal en la literatura de la escritora puertorriqueña Rosario Ferré. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 475-499. doi: 10.27533/udea.mut.v12n1a07, La subversion linguistique a été un outil révolutionnaire pour de nombreux écrivains afin de faire face au canon littéraire et à l’homogénéisation des différentes identités nationales en Amérique latine à différentes époques de son histoire. C’est dans ce contexte que l’on analyse la littérature de Rosario Ferré, qui fait partie de la Generación del 70 portoricaine et qui a encouragé des conceptualisations sur les identités hybrides portoricaines. Ces conceptualisations transgressaient l’identité nationale hispanique que certaines institutions et organisations politiques de l’île avaient officialisée en s’opposant aux tentatives colonialistes des États-Unis qui prétendaient assimiler les Portoricains sur les plans linguistique et culturel. Dans ce contexte littéraire, le cas de l’écrivaine Rosario Ferré est très spécial en raison de sa position politique et sociale, de son incursion particulière sur le marché littéraire américain en publiant en anglais "contaminé" linguistique et culturellement par l’espagnol et de sa pratique subversive de l’autotraduction. Dans une partie de l’intrigue de son roman The House on the Lagoon, Ferré se donne la permission de théoriser sur l’autotraduction, pratique que l’on analyse dans cet article.Date de réception : 30/04/2019Date d'acceptation : 12/07/2019Comment citer cet article ?Sambolín-Santiago, A. (2019). Las tretas del débil: la autotraducción como subversión lingüística patriarcal en la literatura de la escritora puertorriqueña Rosario Ferré. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 475-499. doi: 10.27533/udea.mut.v12n1a07, La subversión lingüística ha sido una herramienta rupturista para muchas escritoras y escritores en toda Latinoamérica en diferentes momentos de su historia, frente al canon literario y la homogenización de las diferentes identidades nacionales. En este contexto se analiza la literatura de Rosario Ferré, quien forma parte de la Generación del 70 puertorriqueña, que impulsó conceptualizaciones sobre identidades puertorriqueñas híbridas. Estas conceptualizaciones transgredieron la identidad nacional hispanófila que algunas instituciones y organizaciones políticas isleñas habían oficializado en contraposición a los intentos colonialistas de los Estados Unidos por asimilar lingüística y culturalmente a los puertorriqueños. Dentro de este contexto, el caso de la escritora Rosario Ferré es muy especial debido a su posición político-social, su particular incursión en el mercado literario estadounidense, al publicar en un inglés “contaminado” lingüística y culturalmente por el español, y su práctica subversiva de autotraducción sobre la que elegantemente se da el lujo de teorizar en una de las tramas de su novela The House on the Lagoon (1995), que se examina en este artículo.Fecha de recepción: 30/04/2019Fecha de aceptación: 12/07/2019¿Cómo citar este artículo? Sambolín-Santiago, A. (2019). Las tretas del débil: la autotraducción como subversión lingüística patriarcal en la literatura de la escritora puertorriqueña Rosario Ferré. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 475-499. doi: 10.27533/udea.mut.v12n1a07

This article relates the notion of sexile (Manolo Guzmán) and the concepts of archipelago and rhizome (Glissant) and of minor literatures (Deleuze and Guattari), focusing on the case of Puerto Rico. We will analyze the literary and linguistic systems in which two poems are inserted (or not) – the poems are in the book Invitación al Polvo (1991), a posthumous work of the Puerto Rican Manuel Ramos Otero (1946-1990). The objective of this article is to understand the role of the Caribbean island geography and its history marked by colonization, by criolization and by the queer diaspora in Ramos Otero’s literature, also focused on gender and sexuality. The author had to exile in the United States, in 1968, due to his sexual orientation, which characterizes the concept of sexile. Our methodology is based on the analysis of the two poems, by which we can see that this encounter between cultures and identities does not take place in a neutral way: Ramos Otero, like so many immigrants, besides dealing with the diaspora’s own feelings (nostalgia, loss, rupture, deterritorialization and lack of belonging), suffers from oppression, ethnic-racial segregation and prejudice. It is concluded that, in association with the race, ethnicity and language prejudice, sexiled people also suffer from gender and sexual prejudice. In addition, the conclusion of this article also suggests that the double displacement (both geographic and queer) should be re-signified through the concept of the archipelago thinking, as proposed by Glissant (2005), in opposition to the universality of the monolithic subject., Este artigo apresentará uma relação entre a noção de sexílio (Manolo Guzmán) e os conceitos de arquipélago e rizoma (Glissant) e de literaturas menores (Deleuze e Guattari), tendo como enfoque o caso de Porto Rico. Serão abordados os sistemas linguísticos e literários em que se inserem (ou não) dois poemas do livro Invitación al Polvo (1991), obra póstuma do porto-riquenho Manuel Ramos Otero (1946-1990). O objetivo do artigo é perceber qual o papel da geografia insular caribenha e de sua história marcada pela colonização, pela crioulização e pela diáspora queer, na literatura de Ramos Otero, que enfoca questões de gênero e sexualidade. O autor precisou se exilar nos Estados Unidos, em 1968, em função de sua orientação sexual, o que caracteriza o conceito de sexílio. Tendo como metodologia a análise dos dois poemas, percebe-se que esse deslocamento entre culturas e identidades não se dá de maneira neutra: Ramos Otero, assim como tantos imigrantes, além dos sentimentos próprios da diáspora (nostalgia, perda, rompimento, desterritorialização, falta de pertencimento), sofre com a opressão, a segregação étnico-racial e o preconceito. Conclui-se que, associado ao preconceito de raça, etnia e língua, os exilados por motivos de identidade de gênero ou orientação sexual sofrem ainda preconceito de gênero e sexualidade. Além disso, a conclusão deste artigo é também uma proposta de que o duplo deslocamento (geográfico e queer) seja ressignificado através do conceito de pensamento de arquipélago, trabalhado por Glissant (2005), em oposição à universalidade do sujeito único (ilha).

The thirty years between the 1972 publication of Rosario Ferré’s short story “La muñeca menor” and Pedro Cabiya’s 2003 novella “Relato del piloto que dijo adiós con la mano” span the cultural, political, and economic “shift” from a “regulatory state” to a neoliberal global order that, per Rebekah Sheldon’s analysis, has articulated and contextualized similar contrasting takes on biological and material reproduction. Focusing on their transformed imaginary of “monstrous” reproduction, I explore in this paper how the texts’ Gothic and SF modalizations refract local conditions as well as critical elements of that shift, full of increasingly urgent and extreme consequences in Puerto Rico, and even farther afield., Entre “La muñeca menor”, cuento de Rosario Ferré originalmente publicado en 1972, y “Relato del piloto que dijo adiós con la mano”, novella de Pedro Cabiya aparecida en el 2003, media una masiva transformación que, para Rebekah Sheldon, refleja el paso de un “estado regulador” al orden neoliberal globalizado dentro del que se insertan parecidas representaciones contrastantes de la reproducción tanto material como biológica. Partiendo del análisis de su representación de la reproducción “monstruosa,” examino en este trabajo la modalización gótica y de ciencia ficción de estos textos como articulación literaria de condiciones locales, así como de elementos de un proceso político, cultural y económico con implicaciones cada vez más críticas y urgentes para Puerto Rico y el mundo.

This article relates the notion of sexile (Manolo Guzmán) and the concepts of archipelago and rhizome (Glissant) and of minor literatures (Deleuze and Guattari), focusing on the case of Puerto Rico. We will analyze the literary and linguistic systems in which two poems are inserted (or not) – the poems are in the book Invitación al Polvo (1991), a posthumous work of the Puerto Rican Manuel Ramos Otero (1946-1990). The objective of this article is to understand the role of the Caribbean island geography and its history marked by colonization, by criolization and by the queer diaspora in Ramos Otero’s literature, also focused on gender and sexuality. The author had to exile in the United States, in 1968, due to his sexual orientation, which characterizes the concept of sexile. Our methodology is based on the analysis of the two poems, by which we can see that this encounter between cultures and identities does not take place in a neutral way: Ramos Otero, like so many immigrants, besides dealing with the diaspora’s own feelings (nostalgia, loss, rupture, deterritorialization and lack of belonging), suffers from oppression, ethnic-racial segregation and prejudice. It is concluded that, in association with the race, ethnicity and language prejudice, sexiled people also suffer from gender and sexual prejudice. In addition, the conclusion of this article also suggests that the double displacement (both geographic and queer) should be re-signified through the concept of the archipelago thinking, as proposed by Glissant (2005), in opposition to the universality of the monolithic subject., Este artigo apresentará uma relação entre a noção de sexílio (Manolo Guzmán) e os conceitos de arquipélago e rizoma (Glissant) e de literaturas menores (Deleuze e Guattari), tendo como enfoque o caso de Porto Rico. Serão abordados os sistemas linguísticos e literários em que se inserem (ou não) dois poemas do livro Invitación al Polvo (1991), obra póstuma do porto-riquenho Manuel Ramos Otero (1946-1990). O objetivo do artigo é perceber qual o papel da geografia insular caribenha e de sua história marcada pela colonização, pela crioulização e pela diáspora queer, na literatura de Ramos Otero, que enfoca questões de gênero e sexualidade. O autor precisou se exilar nos Estados Unidos, em 1968, em função de sua orientação sexual, o que caracteriza o conceito de sexílio. Tendo como metodologia a análise dos dois poemas, percebe-se que esse deslocamento entre culturas e identidades não se dá de maneira neutra: Ramos Otero, assim como tantos imigrantes, além dos sentimentos próprios da diáspora (nostalgia, perda, rompimento, desterritorialização, falta de pertencimento), sofre com a opressão, a segregação étnico-racial e o preconceito. Conclui-se que, associado ao preconceito de raça, etnia e língua, os exilados por motivos de identidade de gênero ou orientação sexual sofrem ainda preconceito de gênero e sexualidade. Além disso, a conclusão deste artigo é também uma proposta de que o duplo deslocamento (geográfico e queer) seja ressignificado através do conceito de pensamento de arquipélago, trabalhado por Glissant (2005), em oposição à universalidade do sujeito único (ilha).

Linguistic subversion has been a paradigm-breaking tool for many writers to rise against the literary canon and the homogenization of national identities all over Latin America at different times in history. In this context, Rosario Ferré’s writing is analyzed. Ferré grew up as a member of the Puerto Rican 70’s Generation, which drove conceptualizations about Puerto Rican hybrid identities. These conceptualizations called into question a Hispanophile national identity that some of the island’s institutions and political organizations had made official, in opposition against the US colonialist attempts to linguistically and culturally assimilate Puerto Rican people. In this literary setting, Rosario Ferré’s case stands out due to her sociopolitical position, her particular incursion into the US literary market with English written publications linguistically and culturally “contaminated” by the Spanish language and due to her subversive self-translation practice. In one of The House on the Lagoon storylines, Ferré elegantly theorizes about her self-translation practice, which is analyzed in this article.Submitted: 30/04/2019Accepted: 12/07/2019How to cite:Sambolín-Santiago, A. (2019). Las tretas del débil: la autotraducción como subversión lingüística patriarcal en la literatura de la escritora puertorriqueña Rosario Ferré. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 475-499. doi: 10.27533/udea.mut.v12n1a07, La subversion linguistique a été un outil révolutionnaire pour de nombreux écrivains afin de faire face au canon littéraire et à l’homogénéisation des différentes identités nationales en Amérique latine à différentes époques de son histoire. C’est dans ce contexte que l’on analyse la littérature de Rosario Ferré, qui fait partie de la Generación del 70 portoricaine et qui a encouragé des conceptualisations sur les identités hybrides portoricaines. Ces conceptualisations transgressaient l’identité nationale hispanique que certaines institutions et organisations politiques de l’île avaient officialisée en s’opposant aux tentatives colonialistes des États-Unis qui prétendaient assimiler les Portoricains sur les plans linguistique et culturel. Dans ce contexte littéraire, le cas de l’écrivaine Rosario Ferré est très spécial en raison de sa position politique et sociale, de son incursion particulière sur le marché littéraire américain en publiant en anglais "contaminé" linguistique et culturellement par l’espagnol et de sa pratique subversive de l’autotraduction. Dans une partie de l’intrigue de son roman The House on the Lagoon, Ferré se donne la permission de théoriser sur l’autotraduction, pratique que l’on analyse dans cet article.Date de réception : 30/04/2019Date d'acceptation : 12/07/2019Comment citer cet article ?Sambolín-Santiago, A. (2019). Las tretas del débil: la autotraducción como subversión lingüística patriarcal en la literatura de la escritora puertorriqueña Rosario Ferré. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 475-499. doi: 10.27533/udea.mut.v12n1a07, La subversión lingüística ha sido una herramienta rupturista para muchas escritoras y escritores en toda Latinoamérica en diferentes momentos de su historia, frente al canon literario y la homogenización de las diferentes identidades nacionales. En este contexto se analiza la literatura de Rosario Ferré, quien forma parte de la Generación del 70 puertorriqueña, que impulsó conceptualizaciones sobre identidades puertorriqueñas híbridas. Estas conceptualizaciones transgredieron la identidad nacional hispanófila que algunas instituciones y organizaciones políticas isleñas habían oficializado en contraposición a los intentos colonialistas de los Estados Unidos por asimilar lingüística y culturalmente a los puertorriqueños. Dentro de este contexto, el caso de la escritora Rosario Ferré es muy especial debido a su posición político-social, su particular incursión en el mercado literario estadounidense, al publicar en un inglés “contaminado” lingüística y culturalmente por el español, y su práctica subversiva de autotraducción sobre la que elegantemente se da el lujo de teorizar en una de las tramas de su novela The House on the Lagoon (1995), que se examina en este artículo.Fecha de recepción: 30/04/2019Fecha de aceptación: 12/07/2019¿Cómo citar este artículo? Sambolín-Santiago, A. (2019). Las tretas del débil: la autotraducción como subversión lingüística patriarcal en la literatura de la escritora puertorriqueña Rosario Ferré. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 475-499. doi: 10.27533/udea.mut.v12n1a07

In her article “A Sinful Reaction to Capitalist Ethics in No quiero quedarme sola y vacía (2006)” Celina Bortolotto analyzes how Lozada’s characterization of the main character, La Loca, questions the ideals of free agency offered by consumerist capitalism and the urban gay male ideal under the promise of a liberating gay lifestyle in a social context defined by identity politics. The novel is a fictionalized autobiographical account of Puerto Rican author Angel Lozada’s misadventures in the early 2000s gay scene in New York. This essay plays with the punitive sense of the word “capital” in the seven capital sins as a thematic thread to invite a reflection on the concepts of virtue and value constructed under U.S. Protestant capitalism: the former as emancipatory guilt; the latter as the specific status society grants to objects, practices and people creating, in turn, subjects whose value is purely economic versus those whose lives are deemed (morally) valuable in themselves.

In her article “A Sinful Reaction to Capitalist Ethics in No quiero quedarme sola y vacía (2006)” Celina Bortolotto analyzes how Lozada’s characterization of the main character, La Loca, questions the ideals of free agency offered by consumerist capitalism and the urban gay male ideal under the promise of a liberating gay lifestyle in a social context defined by identity politics. The novel is a fictionalized autobiographical account of Puerto Rican author Angel Lozada’s misadventures in the early 2000s gay scene in New York. This essay plays with the punitive sense of the word “capital” in the seven capital sins as a thematic thread to invite a reflection on the concepts of virtue and value constructed under U.S. Protestant capitalism: the former as emancipatory guilt; the latter as the specific status society grants to objects, practices and people creating, in turn, subjects whose value is purely economic versus those whose lives are deemed (morally) valuable in themselves.

In her article “A Sinful Reaction to Capitalist Ethics in No quiero quedarme sola y vacía (2006)” Celina Bortolotto analyzes how Lozada’s characterization of the main character, La Loca, questions the ideals of free agency offered by consumerist capitalism and the urban gay male ideal under the promise of a liberating gay lifestyle in a social context defined by identity politics. The novel is a fictionalized autobiographical account of Puerto Rican author Angel Lozada’s misadventures in the early 2000s gay scene in New York. This essay plays with the punitive sense of the word “capital” in the seven capital sins as a thematic thread to invite a reflection on the concepts of virtue and value constructed under U.S. Protestant capitalism: the former as emancipatory guilt; the latter as the specific status society grants to objects, practices and people creating, in turn, subjects whose value is purely economic versus those whose lives are deemed (morally) valuable in themselves.

The poetic project of Puerto Rican Joserramón Melendes (1952) proposes an alternative orthographyaimed at reproducing the spoken language. This practice of a simplified phonetic writing ofSpanish is justified as a diction that is closer to popular speech, which installs Melendes’s aestheticsin a political field. This article advances an analysis of La casa de la forma (1986) centered in languageseen as a form of subversion. As will be seen, Melendes’s phonetic writing ends up trappedwithin its own limits., La poética literaria del puertorriqueño Joserramón Melendes (1952) propone una ortografíaalternativa llamada a reproducir la lengua hablada. Esta práctica de escritura fonética simplificadoradel español se justifica como una dicción que se acerca más al habla popular, argumento que instalael proyecto estético de Melendes en un terreno político. Este artículo propone una lectura de La casade la forma (1986) centrada en el lenguaje como aparato de subversión. Como se verá, en La casa dela forma la escritura fonética de Melendes termina atrapada en los límites de su propio andamiaje.

La poética literaria del puertorriqueño Joserramón Melendes (1952) propone una ortografíaalternativa llamada a reproducir la lengua hablada. Esta práctica de escritura fonética simplificadoradel español se justifica como una dicción que se acerca más al habla popular, argumento que instalael proyecto estético de Melendes en un terreno político. Este artículo propone una lectura de La casade la forma (1986) centrada en el lenguaje como aparato de subversión. Como se verá, en La casa dela forma la escritura fonética de Melendes termina atrapada en los límites de su propio andamiaje., The poetic project of Puerto Rican Joserramón Melendes (1952) proposes an alternative orthographyaimed at reproducing the spoken language. This practice of a simplified phonetic writing ofSpanish is justified as a diction that is closer to popular speech, which installs Melendes’s aestheticsin a political field. This article advances an analysis of La casa de la forma (1986) centered in languageseen as a form of subversion. As will be seen, Melendes’s phonetic writing ends up trappedwithin its own limits.

In her article “A Sinful Reaction to Capitalist Ethics in No quiero quedarme sola y vacía (2006)” Celina Bortolotto analyzes how Lozada’s characterization of the main character, La Loca, questions the ideals of free agency offered by consumerist capitalism and the urban gay male ideal under the promise of a liberating gay lifestyle in a social context defined by identity politics. The novel is a fictionalized autobiographical account of Puerto Rican author Angel Lozada’s misadventures in the early 2000s gay scene in New York. This essay plays with the punitive sense of the word “capital” in the seven capital sins as a thematic thread to invite a reflection on the concepts of virtue and value constructed under U.S. Protestant capitalism: the former as emancipatory guilt; the latter as the specific status society grants to objects, practices and people creating, in turn, subjects whose value is purely economic versus those whose lives are deemed (morally) valuable in themselves.

Este ensayo presenta la vida de un colectivo social que por más de cuatrocientos años ha sido víctima del aislamiento cultural. En pleno desarrollo manufacturero a mediados del siglo veinte en la isla, la raza negra no tuvo las mismas oportunidades de empleo en el área urbana de la ciudad. El autor hace uso de la crónica para darle voz a una clase social desamparada que va camino a un entierro. Este artículo refleja la desigualdad y la segregación cultural junto con los efectos negativos que afecta una comunidad., This paper presents the life of a social group that for more than four hundred years has been the victim of cultural isolation. Manufacturing in full swing in mid-twentieth century on the island, the black race did not have the same employment opportunities in urban areas of the city. The author uses the Chronicle Narrative Style to give voice to a helpless social class on their way to a funeral. This article reflects the cultural inequality and segregation along with the negative effects that affect a community.

Este ensayo presenta la vida de un colectivo social que por más de cuatrocientos años ha sido víctima del aislamiento cultural. En pleno desarrollo manufacturero a mediados del siglo veinte en la isla, la raza negra no tuvo las mismas oportunidades de empleo en el área urbana de la ciudad. El autor hace uso de la crónica para darle voz a una clase social desamparada que va camino a un entierro. Este artículo refleja la desigualdad y la segregación cultural junto con los efectos negativos que afecta una comunidad., This paper presents the life of a social group that for more than four hundred years has been the victim of cultural isolation. Manufacturing in full swing in mid-twentieth century on the island, the black race did not have the same employment opportunities in urban areas of the city. The author uses the Chronicle Narrative Style to give voice to a helpless social class on their way to a funeral. This article reflects the cultural inequality and segregation along with the negative effects that affect a community.

In his classic study The Way of the World Franco Moretti argues that the characteristic journey from youth to maturity that the Bildungsroman narrates amounts to a symbolic representation of the integration of the bourgeoisie self into modernity. According to Moretti, this genre becomes obsolete by the end of the First World War, when the loss of faith in the civilizing ideals of modernity make it impossible to represent integration into a coherent social whole. However, many critics argue that the genre is being revitalized by writers who stand in the margins of modern society due to their gender, race or class. Nilda, by, Nicolasa Mohr, illustrates the transformations the Bildungsroman undergoes in the hands of the US born-and-raised Puerto Rican writer of the second half of the 20th century. In Nilda the education of the heroine does not symbolize the poor immigrant¿s successful acceptance and integration into mainstream culture. On the contrary, the awakening of the self serves as a metaphor for the appearance of a distinctive Puerto Rican space within the American literary experience, a complex space from which Mohr reaffirms her heritage while at the same time she critically examines pervading patriarchal roles within Puerto Rican culture.

In his classic study The Way of the World Franco Moretti argues that the characteristic journey from youth to maturity that the Bildungsroman narrates amounts to a symbolic representation of the integration of the bourgeoisie self into modernity. According to Moretti, this genre becomes obsolete by the end of the First World War, when the loss of faith in the civilizing ideals of modernity make it impossible to represent integration into a coherent social whole. However, many critics argue that the genre is being revitalized by writers who stand in the margins of modern society due to their gender, race or class. Nilda, by, Nicolasa Mohr, illustrates the transformations the Bildungsroman undergoes in the hands of the US born-and-raised Puerto Rican writer of the second half of the 20th century. In Nilda the education of the heroine does not symbolize the poor immigrant¿s successful acceptance and integration into mainstream culture. On the contrary, the awakening of the self serves as a metaphor for the appearance of a distinctive Puerto Rican space within the American literary experience, a complex space from which Mohr reaffirms her heritage while at the same time she critically examines pervading patriarchal roles within Puerto Rican culture.

El artículo analiza dos textos de la colección Vírgenes y mártires. "Letra para salsa y tres sonetos por encargo' de Ana Lydia Vega y "Milagros, Calle Mercurio" de Carmen Lugo Filippi. Se argumenta que los textos "legibles" en el sentido de Barthes son textos abiertos. La resistencia al cierre narrativo, se arguye, pone al lector/lectora en la posición de cuestionar los arreglos" de género en la sociedad y la ética de estos. Se conduye que la posición "mujer" es problemática y, en ultimo análisis, imposible como posición subjetiva.

El artículo analiza dos textos de la colección Vírgenes y mártires. "Letra para salsa y tres sonetos por encargo' de Ana Lydia Vega y "Milagros, Calle Mercurio" de Carmen Lugo Filippi. Se argumenta que los textos "legibles" en el sentido de Barthes son textos abiertos. La resistencia al cierre narrativo, se arguye, pone al lector/lectora en la posición de cuestionar los arreglos" de género en la sociedad y la ética de estos. Se conduye que la posición "mujer" es problemática y, en ultimo análisis, imposible como posición subjetiva.