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Starting from a question about the "diasporic" position of certain authors of cultural criticism in Latin America, always halfway between academic affiliation and a kind of fractious position regarding their increasingly bureaucratized practices of knowledge administration, this paper proposes a reading of three representative texts by the Brazilian-Argentine critic Raul Antelo: Crítica acéfala, Archifilologías latinoamericanas. Lecturas tras el agotamiento and A ruinologia. These strange and problematic texts seem to be articulated from a position that not only (post)critically revises the foundations of more conventional criticism, but also moves toward the behavior of the most radical bids of artistic conceptualism; in other words, in them criticism becomes an act: intervention. And therein lies its forceful emergence in the framework of contemporary literary and cultural studies. [ABSTRACT FROM AUTHOR]

Most of the literature about Revista Moderna (1898-1903) and Revista Moderna de México (1903-1911) assumes that both publications integrate a single editorial project because of its affiliation with the Latin American modernism, particularly with that of the second generation, which presented a more decadent aspect. Although some scholars have noted the differences between the two formats, the petit revue and the North American styled magazine, the truth is that Revista Moderna de México has been reviewed in very similar terms to its predecessor, that is, as a literary, elitist and minority magazine, representative of a group with a specific literary positioning. In this paper, I will examine some of the devices that the editors of Revista Moderna de México used to articulate this transformation not only of format, but also of discursive positioning, mediated by the political and publishing market conditions from that time. This study pretends to draw attention to the set of negotiations and resistance that some agents of the literary field carried out through their professionalization process and their search for an alleged autonomy regarding other recognition figures during the transition from the 19th century to the 20th century. [ABSTRACT FROM AUTHOR]

This paper proposes to address the various temporalities that Lola Arias's biodramatic project on the Malvinas War (the video installation Veterans, the documentary play Minefield and the film Theater of War) brings into play, in relation to the problems associated with temporality that are specific to the narrative of war in general and the Malvinas War in particular. In the first place, each of the works that make up the project is considered as an update of a power (Paolo Virno). Secondly, both the project as a whole and some of its scenes are approached as devices that allow to display what Didi-Huberman calls the fecundity of anachronism. The objective is to think about the novelty that this project introduces in relation to the anachronism that the combatants, designated at the same time as "war boys" and veterans, embody, and which translates into an image in their heads that, in a way of iteration characteristic of the trauma, is neither forgotten nor changed. [ABSTRACT FROM AUTHOR]

The edition of La novela de la poesía (2012) already made evident two fundamental issues in Tamara Kamenszain's writing: on the one hand, a specific inscription of the passage poetry/novel/essay; on the other, the book (the edition, the support, the object) as a link. More recently, El libro de Tamar (2018) and Libros chiquitos (2020) illuminate in a special way two other constitutive aspects of the process: one, the temporal spiral between the program of the 70s and the present of writing, which converts the series in a long duration narrative; two, the problem of limits in the form of scale. In this paper I propose to read, at the intersection of El libro de Tamar and Libros chiquitos, three scenes as inflections in a long duration story with the test of time and limits: the tempo of the prose (the writing of the poem as the rhythm of the narrative and the prose as the distillation of the real of the verse), the magnitudes of the book (the book and the masterpiece of the 70s, the poetics of the little books as a inflection of the contemporary sublime), the intersection between the inscription of the present and the creation of a community. [ABSTRACT FROM AUTHOR]

Anclajes, from its beginnings and until today, has fostered the dissemination of articles and book reviews linked to descriptive linguistics, sociolinguistics and the historiography of the languages of Latin America. This paper reviews how the publication has witnessed, during the last twenty-five years, the advances and changes in research on Amerindian languages, cultures and literatures. [ABSTRACT FROM AUTHOR]

The main purpose of this paper is to demonstrate the existence of an Italian interest in Latin American culture under fascist dictatorship. Having given rise to an increasing dissemination of Hispanic culture in Italy, cultural relations between Italy, Spain, and Latin America in the 20s and 30s will be examined. During that period, there was a very strong ideological affinity between Italy and Spain, which explains why the Italian government promoted Spanish-language literature more than others did. Even so, studies show that the spread of Hispanic editorial production in Italy was probably due to accidental meetings between publishers and not to a clear governmental policy. As for Hispano-American literature, the name Mario Puccini stands out as one who helped make modernist writers (such as Rufino Blanco Fombona and Amado Nervo) known in Italy. Accordingly, the essay's main objective is to focus on his professional activity in order to better understand which was the starting point for members of Cristoforo Colombo Institute (1923-1935), the only Italian government body responsible for the promotion of Hispanic culture. [ABSTRACT FROM AUTHOR]

Over the last decade, studies on masculinities have become a growing field of scholarship in Argentina. This paper provides a preliminary state of the art and critical account of the latest research on the topic. We emphasize the relation of these studies with others on sexual diversity, identifying important ongoing debates and alerting about vacant areas of inquiry. Focusing on an assessment of both fields' most important contributions, the paper deals with two major sets of disciplines: history, sociology and anthropology on one hand, and literary, cinematographic and cultural studies on the other. [ABSTRACT FROM AUTHOR]

In the framework of a broader investigation into the imaginaries of the afterworld in present-day Argentine literature, this paper aims at addressing the ways in which Carlos Ríos's Cuaderno de Pripyat (2012) narrates the afterworld of an identifiable historical event, the Chernobyl disaster, creating further tension between the crisis itself and the possibility of a post-apocalyptic setting that brings a radical and immeasurable interruption into play. First, we analyze the ways in which this multiplication of temporalities affects the presentation of the testimonies collected in the story. Next, the paper focuses on the collage as a possible explicative key to the fragmentary composition of the story based on the tension between the rationality of that which remains and that of referential oversaturation. [ABSTRACT FROM AUTHOR]

This paper focuses on the work of Chilean journalist Georgina Durand, pseudonym for Raquel Delaporte Prieto (1893-2003), in particular on a series of interviews published in the newspaper La Nación (Chile) in the last century in the late thirties and early forties. On the one hand, the paper analyzes the creation of biographical profiles of her interviewees as professional artists and intellectuals, conveying information to create cannons and hierarchies for emerging fields of knowledge at that time. On the other hand, attention is given to her role as interviewer and as a professional in a work and social context in which women's participation in the public arena was still contested. In this context, it also considers the rules governing what can and cannot be said, the tensions between public and private spheres and the potential relationship between the journalist and her readers. In the end, one could suggest that Durand achieves a balance between "correct" practice as a professional journalist, particularly in the production of her interviews and the construction of a subjectivity. [ABSTRACT FROM AUTHOR]

A problematic link made of tensions and contradictions relates Elvira Orphée to Tucumán, the Argentinian province where she was born and the space represented in many of her texts. This paper explores one of the aspects of this problematic link by revealing the fact that the author's figure is fictionalized in Pretérito perfecto, novel published in 1983 by another writer from Tucumán, Hugo Foguet. After pointing out the elements which allow to relate Negra Fortabat, the character in the novel, to Orphée, the analysis meditates on the probable reasons for such fictionalization and on its implications regarding the image that Foguet constructs of himself as a writer. It is postulated that the figurative presence of Orphée in Pretérito perfecto works in at least three directions, intimately related to each other: 1) to develop the dispute over how to write a novel in general and how to write a novel about Tucumán in particular; 2) to incarnate the counter figure of a writer, which enables to make a necessary tabula rasa over every antecedent and to show, in that way, how disruptive and foundational the novel by Foguet is in itself; 3) to represent the tensions between a peripheral literary field located in Tucumán and a central literary field located in Buenos Aires [ABSTRACT FROM AUTHOR]

In the set of recently published novels on the subject of post-dictatorial memory, that of the visual artist Gerber Bicecci (1981) stands out for a writing that uses, among other apparently disparate expressive elements, Venn diagrams, to name the ineffable generated by the disappearance, exile and silence imposed. This paper intends to analyze the writing of Conjunto vacío, highlighting the creative self-reference, and the reading effects based on the coexistence of visual and linguistic codes of different species. According to my interpretation, the novel answers this and other questions that Argentina's society is still around forty years after the last dictatorship, at which time the crystallized and deceptive responses directed especially to the new generations return. [ABSTRACT FROM AUTHOR]

this paper analyzes the significance of the expression "argentino neutro" [neutral Argentinian], used from 2009 to 2015 in official documents on the education portal Educ.ar and on the Ministry of Education's various TV channels ("Encuentro," "Pakapaka" and "DeporTV"). By examining style manuals in detail from Encuentro and Pakapaka, corresponding to the years 2012-2015, we will attempt to show that these documents construct a linguistic model alternate to the various attempts at Spanish language unification, in particular "Panhispanism" or so-called "neutral Spanish." Moreover, this alternative linguistic model was consistently reflected in the Ministry of Education's television programming, which exhibited a much more diverse linguistic representation in Argentinian media than usual. [ABSTRACT FROM AUTHOR]

From an interdiscoursive and interdisciplinary perspective, this paper explores different representations with which the Mapuche People of the Gulumapu constructed their processes of cultural and territorial differentiation in tension with the Chilean Nation State. Through heterogeneous discourses -historical, literary, media, testimonial and of political organizations-, a process is expressed that moves from an ancestral unitary vision to strategically assumed modern conceptions, typical of new geopolitical and supranational scenarios, such as those of the State and/or nation. It is concluded that this process mainstream their discourses, which as a whole represent a shared collective imaginary that relates the ancestral notion -Wallmapu- with the modern vision -nation and/or Mapuche State. [ABSTRACT FROM AUTHOR]

The work of Juan José Saer highlights the mediated nature of language through the verification of the unavoidable presence of a gaze. However, the detailed description of the characters' perception in his novels presents a problem that transcends that recognition. For in his narrations the gaze faces obstacles that hinder its projection, summoning a question. In this paper we study the dimensions of this caesura figure as a privileged space of inquiry about the subject of the gaze. Based on the follow-up of a series of textual operations included mainly in El limonero real (1974) and in Nadie nada nunca (1980), in which the reading process is subverted to its basic assumptions, we recognize the ambivalent "half-erased" status of meaning in the literary text between understanding attempts and their denial. [ABSTRACT FROM AUTHOR]

The figure and work of Rubén Darío have been the object of appropriation in Nicaragua, according to the given dominant political and ideological configurations. This paper describes and analyzes the operation performed made by Casa de las Américas, on the centennial of the birth of the poet, in 1967. In the "Encuentro con Rubén Darío" held in Varadero in February of that year and the issue of Casa de las Américas that contains the various papers given by intellectuals discussing Dario's contributions. The political outcome of the event was to canonize the Nicaraguan poet as anti-intellectual, together with the figures of José Martí and Simón Bolívar. The discussions that occurred among intellectuals present at the Encuentro about the figure of Darío are analyzed in this article. Finally, we describe how the appropriation of the figure and work of the poet for the revolutionary discourse occurs in Nicaragua over the next decade. [ABSTRACT FROM AUTHOR]

Antonio Di Benedetto (1922-1986), one of the most important Argentinean writers of the twentieth century, published in 1953 Mundo Animal, a volume of short stories in which the animal figure becomes fundamental, as its title makes explicit. Within vinthe fictional universe of the work, this figure is incarnated in the human and vice versa, suggesting that humanity, beyond its exclusive attributes-reason and language-, shares a broad common substratum with other living beings. This existential configuration not only provokes hesitations in the reader, but has also ontological implications, that is, it leads to questioning about meaning schemes and the human condition in these fantasticallegorical stories. The purpose of this paper is then to investigate and interpret Di Benedetto's fictionalization of these encounters and borders between the animal and the human, analyzing different textual manifestations of this question: the quid pro quo procedure, the non-human narrators, the animality of children, the relationship with psychic pathologies, the ontological proximity between the two worlds, the metaphor of the mirror, and the corporality. [ABSTRACT FROM AUTHOR]

The question of purity in language has been a common topic in the fields of language ideological debates in the Spanish-speaking world. In this paper, we propose an analysis of the various conceptualizations on linguistic correctness in the work of Ricardo Monner Sans in order to elucidate the links between his linguistic theory and his position on language policy. In that sense, we assume that these conceptualizations should be analyzed as a consequence of a more general consideration about linguistic usage and purity. This consideration seeks a regulatory intervention on the linguistic practices of society based on philological knowledge. Thus, the dimension of usage is divided into a common usage which corresponds to the widespread use in community, and correct usage, that which has been legislated by philological knowledge and which is, for this reason, the criteria for linguistic correction on which the ideal of a homogeneous linguistic community is based. [ABSTRACT FROM AUTHOR]

Based on contributions from historical reading, bibliographical material and analyses of Louis Marin's visual representation, this paper addresses the formats of a group of printed texts published by the gaucho-esque writer Luis Peréz between 1830 and 1833, specifically a series of loose leaf pages and the two newspapers El Gaucho and La Gaucha. Its aim is to explore links between the material features of these works, the type of reader which the author attempted to attract, and the meaning and ideology of his texts. [ABSTRACT FROM AUTHOR]

Juan José Saer’s literature and essays, as well as most of the criticism about the author, allow for exploration of the idea of “zone” expressed in diverse forms throughout his career. This paper attempts to revisit some of these considerations and address the pictorial aspect of his works. The various avant-garde movements that began to emerge between the late fifties and early sixties helped shape a new image of the Argentine littoral region. Saer, who often met with avant-gardists in the cities of Santa Fe and Rosario, joined in these literary and visual renewal movements and incorporated into his literature forms, materials, and manners of observation that resulted from these various abstract tendencies, mainly abstract expressionism and geometric abstraction. The aim here is to observe how Saer “disrealizes” the traditional landscape based on these figures and thus challenges the hasty relationship that early critics established between his texts and a more or less traditional realism. [ABSTRACT FROM AUTHOR]

This paper addresses the role of the poetics of objects in relation to El Rastro by Ramón Gómez de la Serna, published in 1914. The author sketches the poetics of everyday objects in keeping with the aesthetics of the “objet trouvé,” seeking to broaden and, in turn, challenge the limits of art. Both this aspect and the catalog of objects described in the work are discussed, and analysis is made of the predominant kitsch images in the text. This perspective has resulted in a new poetic viewpoint, in tune with classical avant-garde trends, contemporary aesthetic tendencies, and post-modernity. [ABSTRACT FROM AUTHOR]

A widely accepted hypothesis among readers and critics states that Oliverio Girondo maintained an avant-garde position throughout his literary career. However, it is possible to read an unsuccessful attempt at avoiding experimentation in his intermediate works, such as Interlunio (1937), Persuasión de los días (1942), and Campo nuestro (1946), written between two different avant-garde periods in Buenos Aires: one in the 1920s, the other in the 1950s. In analyzing these works, this paper shows Girondo’s hesitations about the idea of literary renewal following the 1920s, as well as the influence of nationalist ideals that contrast the internationalism that he had expressed in his preliminary works. It also explains his subsequent radicalization, in the late 50s, stemming from his connection with a group of young poets that sought to reclaim a place for experimentation. [ABSTRACT FROM AUTHOR]

In El Torito de los Muchachos (1830), Luis Pérez deploys voices, not always Gauchos and Federalists, but sometimes Uniterian and literate, who utter fictional truths in the form of a confession. In a historical moment in which the press was a vehicle of influence on public opinion, Pérez aims his publications toward broad swaths of the public to include of illiterate groups through oral readings. This paper analyzes the ways in which these confessions allowed truths to stand up amid a war of words, as they sought to occupy an imagined public space on whose field discursive conflicts were fought. [ABSTRACT FROM AUTHOR]

From the perspectives of everyday aesthetics and hermeneutics, this paper analyzes Pequod (1995), a Vitor Ramil novel set in the Brazilian pampa and conceived around the unique features offered by the experience of cold weather. By analyzing the thoughts and actions of Pequod's characters, our main goal is to point out how a vital relationship with weather leads to an existential stance, or philosophy of life, aimed at understanding the world. [ABSTRACT FROM AUTHOR]

In Dos partidos en lucha (1875), and especially in La bolsa de huesos (1896), Eduardo Holmberg configures fictional narrations in which Darwinian theories and the contemporary debates and dilemmas of science acquire a significant centrality. In both cases, and in addition to an emphatic adherence to Darwinism and a clear apology for the scope of scientific practice, it is possible to detect a problematization of the institutional place of science, its feasible connections with the society and politics, and its role within the state structure. As a correlate, both narrations reveal tensions around and reformulations of one of their central axes, which is also central to the work of Charles Darwin: the modes of thinking, emphasizing or relativizing the link between human life and animal life. The aim of this paper is to address the interaction between these two issues in Holmberg's fictions, through a contrastive textual analysis that contemplates the cultural context of the period. [ABSTRACT FROM AUTHOR]

Language usage is probably one of the most discussed issues in language scholarship, and undoubtedly a frequent cause of division among researchers on this field. The usage-question is also present in some instances of the language-ideological debates which took place in Latin America and Spain all along the 19th century and deep into the 20th It reveals itself tightly bound to issues also related to this question in other areas, like property and law, allowing the research on what could be called a linguistic political economy, which rules and laws are being there subjected to debate. This paper proposes to begin the discussion by analyzing some crucial texts of Andrés Bello, Miguel Antonio Caro, Rufino José Cuervo and Rudolf Lenz, which can help to sketch the boundaries and scope of this issue.b [ABSTRACT FROM AUTHOR]

This paper studies Victor Juan Guillot's detective stories, hitherto, completely ignored by the literary criticism and the historiography of the detective genre in Argentina. We assert that in these stories it is possible to see the transition from a certain detective narrative -which was clearly predominant from late 1870s to 1930s, having melodramatic features and close links with the political and social reality-into a new kind of tale much closer to the English detective story of the Golden Age, and further from empirical national life. In Argentina, this new type of detective tale will be developed vigorously during the 1930s and the 1940s. Thus, we attempt to show that the detective stories included in Historias sin importancia (1920) and El alma en el pozo (1925) are in the same line with the early tradition of the genre in Argentina, while the stories included in Terror: cuentos de crimen y misterio (circa 1935) have mostly the same features as those of the 1930s. We also seek to put on view how Guillot's conception of the detective story in 1925 anticipated Jorge Luis Borges's conception of the genre in the 30s. [ABSTRACT FROM AUTHOR]

Literary criticism on Ricardo Piglia s narrative has often been oriented to micro-analyses, as if a permanent focus on minimal features was required: a sentence, a phrase, a quote. This leads to a further problem: the difficulty in envisaging a macro approach and systematization of the originality of Piglia's narrative process. Thus, this paper intends to provide a broader view in an attempt to identify four recurrent rhetorical devices in his work: understatement, paradox, ellipsis and synechdoque, in relation to some literary genres (Bildungsroman, detective fiction and paranoid fiction). [ABSTRACT FROM AUTHOR]

The memory of peoples is built upon the clash between different discourses and sectors which strive to occupy a privileged place in this collective symbolic space. Other discourses work deconstructing those hegemonic narratives, reporting what they have left aside and giving voice to those who have been systematically silenced. This work tries to account for the way in which La lengua del malón, by Guillermo Saccomanno, builds itself as a counter-discourse, which allows to discern the position of some social sectors in reference to discourses and devices that determine what is adequate, moral, vulgar, tasteful, normal. To the same extent, this paper attempts to exhibit those sectors's complicity in keeping hierarchies, categories and institutions, which are conservative, oppressive and repressive, together with their alliances with those who interrupted democratic and popular processes. The novel is based on the coup d'etat which overthrew Perón's government in 1955, and it hints the continuing relationship with other tragic moments of the Argentinian history: the extermination of native peoples and the dictatorship that started in 1976. La lengua del malón is built as a narrative of abjection suffered by those who fail to answer those hegemonic parameters supporting not only the official history, but also the society. [ABSTRACT FROM AUTHOR]