Search

Don’t give up, maan! ¡No te rindas! (2002), by Hazel Robinson Abrahams (1935), can be considered as a (re) foundational fiction. From a decolonial position, which makes visible an untold territory and history, this novel puts on the table the impossibility of a single and homogeneous Colombian nation, while breaking the national literary canon, especially since the treatment of Creole, and ends up rewriting this ultraperipheral region, breaking myths about the Raizal identity by putting the accent on the African traces on which it was founded. [ABSTRACT FROM AUTHOR]

A critical approach on theoretical interaction and on literary history structuring is essential due to the conformation, survival and undermining of the mechanisms that build memory. This paper focuses on the connection between the construction of literary canon and the dynamics of memorability. In this regard, those processes make possible not only the consolidation of a national literary canon, but also to depict the changes on the concept of historian and critic based on four Colombian Literature Histories. According to authors such as José María Vergara y Vergara, Baldomero Sanín Cano, Antonio Gómez Restrepo and Roberto Cortázar the concept of canon can be understood as a mechanism, as a cartography that cannot be static and that also varies according to the proposed mapping. [ABSTRACT FROM AUTHOR]

this article shows the first methodological tools for an alternative reading of the contemporary indigenous literature: a journey onto the root that claims for coordinates. The confluence between writing and oral expression displays fluctuant relations among the oral indigenous traditions and the literary canon. Texts by Hugo Jamioy Juagibioy, Anastasia Candre Yamakuri and Alba Lucía Cuéllar are presented in order to trigger dialogue scenarios allowing different cosmonogies to approach each other as an essential element to appreciate the esthetical value of this literature. [ABSTRACT FROM AUTHOR]