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A genetic analysis of the manuscripts and editions of six poems relating to the "Locas mujeres" section of Lagar (1954) by Gabriela Mistral, published between 1941 and 1943 by La Nación of Buenos Aires. "La dichosa", "La desasida" and "La abandonada", along with "La trocada" and "La tullida", which were omitted from Lagar but included in manuscript indexes, and finally "La otra", a poem which appears in the volume Poesías completas (1958) and also belongs to the "Locas mujeres" series. The present study allows us to dismiss the biographical interpretation of these texts as being linked to the death of Juan Miguel Godoy, a reading proposed by Palma Guillén and echoed by a section of Mistralian critics. [ABSTRACT FROM AUTHOR]

Chilean contemporary poetry is marked in an explicit as well as in an implicit way by the Chilean dictatorship experience. A strict analysis of postdictatorship works will reveal scars of this period (1973 - 1990), even in apparently less political aspects, such as, the representations of space. Many authors have developed some of the most interesting reflections about Chilean political and cultural history over the last four decades, provoking a tension in their work of some of their most unshakable assumptions. In other words, the nation state, the neo liberal economic model, national, ethnic and gender identities and the national space. This paper will show how the contemporary space implies a challenge that demands a critical opening towards experimenting with artistic and political forms. For example, Andrés Anwandter poetry sheds light on the spatial experience in a complex way and with a high aestethic and intellectual performance, elaborating representations of an heterogenous city, as a stage of an unfair and half-done modernization, with a landscape that still preserves scars of political violence, economic model transformations and the ambigous border between public and private space. [ABSTRACT FROM AUTHOR]

Luego de revisar la recepción crítica de Claudio Bertoni, recojo las numerosas menciones y reflexiones en sus entrevistas que explicitan la influencia de la teología negativa. A partir de allí, analizo la presencia de dicha perspectiva religiosa en su poesía, y esbozo algunas interpretaciones que permitirían entender su obra escrita (y también plástica) como un intento por dar cuenta de su compleja relación con Dios mediante la precariedad y la desesperación.

Este artículo hace un recuento y un análisis de la poesía chilena que se produce dentro y fuera de Chile en los años setenta, con especial énfasis en la concepción del exilio y el insilio. Además de focalizarse en las problemáticas "exilio-insilio", su desarrollo y posterior integración, este trabajo analiza fundamentalmente las relaciones que se producen entre los poetas y su entorno a través de sus representaciones subjetivas en diferentes situaciones y lugares, especialmente urbanos. Tanto las ciudades del interior como las ciudades del exilio adquieren connotaciones represivas que inciden en las problemáticas de un sujeto escindido en los poemas.This article is an inventory and analysis of Chilean Poetry in the seventies, written in Chile and abroad, emphasizing the "exilio" and "insilio" concept. Apart from focusing on the "exilio-insilio " problem, its development and subsequent integration, this work analyzes the relationships between poets and their environment by means of subjective representations in different situations and places (especially urban). The cities of Chile, as well as foreign cities in the countries of exile, acquire repressive connotations, which influence the problems of the divided subject in this poetry.

Este trabajo pretende atender al carácter mitogenésico de la narración "Al alba", perteneciente al libro Otro cuento de pájaros (Santiago: Las Dos Fridas, 1999) de Soledad Fariña, como prototexto y paralelo de la "escritura" del Libro que fragmentariamente -desde el cuestiona-miento constante de los medios de representación y la capacidad perceptiva del poema- se realizará en la trilogía La vocal de la tierra (Santiago: Cuarto Propio, 1999), que incluye los poemarios El Primer Libro (Santiago: Amaranto, 1985), Albricia (Santiago: Archivo, 1988) y En Amarillo Oscuro (Santiago: Surada, 1994), constituyéndose como una nueva escritura sagrada -alternativa al libro judeocristiano patriarcal- de identificación prehispánica, de epicentro genérico femenino, que constituye a la sujeto en relación protolésbica con la Madre, ofrendante con respecto a la Diosa iniciadora, e integrante de la pareja de Amazonas amantes.This paper examines the mythogenesic character ofthe story "Al alba " from the book Otro cuento de pájaros (Santiago: Las Dos Fridas, 1999) by Soledad Fariña, seen as aprototext and a paralel to the "writing " ofthe Book that in afragmentary way -under the constant questioning ofthe means of representation and the perceptive capacity to be found in this poem- is realizedin the trilogy entitled La vocal de la tierra (Santiago: Cuarto Propio, 1999), a book that includes the collections ofpoems El Primer Libro (Santiago: Amaranto, 1985), Albricia (Santiago: Archivo, 1988) and En amarillo oscuro (Santiago: Surada, 1994); the trilogy thus becomes a new Holy Scripture -an alternative to the judeo-christian and patriar-chal Book- which can be identifiedwith the prehispanic culture and is focused in the female gender that constitutes the subject in a protolesbic relation with the Mother, as an offering to the iniciating Goddess, and as a member ofthe couple ofAmazon lovers.

La viajera espectral de Poema de Chile reflexiona sobre la adopción del nombre Mistral. Los fundamentos de esta elección van desde retornar a una intimidad anterior, la escena primigenia del campo, hasta el rechazo a la sociedad urbana. Este acto moderno de autonominarse constituye una atribución consciente frente al menoscabo y a los insultos recibidos en una posición representativa anterior. En vista de lo cual, la fantasma reclama los lugares, las palabras, los bienes y exige la recomposición de los cuerpos despedazados por el discurso blanco y etnocéntrico.The travelling spectrum of Poema de Chile reflects on the adoption of the name Mistral. The causes of this choice gofrom coming back to a previous intimacy -the original scene of the country- to the rejection of the urban society. The name she gives herself is a conscious act and therefore, a modern one, which is used as a response to the damage she received when she was in a previous situation. As a result, the ghost calls for the places, the language and the goods that were stolen, and she demands to recover the bodies that were torn by the white and ethnocentric discourse.

Food and drink recreated in the Chilean poetry offer an alternative space to reflect upon ethnic matters, social class, gender and political violence. Every topoi defines a food route where stories have their say. In this way, we find four main routes: those in which writing priviledges the construction of native communities around food preparation; those in which aesthetical projects elaborate their rural patrimony around food to defend themselves from centralized domination; those whose symbols construct and deconstruct cannibalistic desires among different intersubjectivities and those whose linguistic ancestry make hunger a motif of political discontent either by imagining abundance in the land of milk and honey or by elaborating the hunger of gods who demand human sacrifices [ABSTRACT FROM AUTHOR]

This article proposes and discusses some aspects of the poetic representation of the Magellanic territory which we find in El cementerio más hermoso de Chile. We advance on the thesis that the metaphor of the cemetary, which functions as a pivotal point for the author, synthesizes the telling of the history of entropy of time and of the place-state, whose unfolding, however, is not absolute death. On the contrary, as Kooch's Tehuelche cosmogonic myth -which operates as the subtext for the collection- from the original sadness for loneliness and the enveloping darkness emerges, at last, a world of life with its lights and shadows. [ABSTRACT FROM AUTHOR]

After an examination of Claudio Bertoni's critical reception, I pick up numerous mentions and reflections in his interviews that make explicit an influence from negative theology. From there, I analize the presence of that religious perspective in his poetry, and I outline some interpretations that would allow to understand his written (and also plastic) work as an attempt to show his complex relationship with God through poverty and despair. [ABSTRACT FROM AUTHOR]

This paper sets out to investigate the representations of childhood in El regreso by the Chilean poet of the 50s, Efrain Barquero. We propose that in this poem there is a scenic disposition where an adult -represented a child-, standing opposite his dead father, is about to carry out the anthropofagical rite of eating him up. By means of this cannibalistic act, the lyrical persona manages to close his childhood and to go on fully into adulthood. [ABSTRACT FROM AUTHOR]

This article is an inventory and analysis of Chilean Poetry in the seventies, written in Chile and abroad, emphasizing the "exilio" and "insilio" concept. Apart from focusing on the "exilio-insilio" problem, its development and subsequent integration, this work analyzes the relationships between poets and their environment by means of subjective representations in different situations and places (especially urban). The cities of Chile, as well as foreign cities in the countries of exile, acquire repressive connotations, which influence the problems of the divided subject in this poetry. [ABSTRACT FROM AUTHOR]

In this article for the special issue of Revista Chilena de Literatura devoted to Chile's bicentennial, I explore multiple literary, scientific, and geographic connections between Vicente Huidobro's poem Altazor and the global philosophical-scientific contexts of the first few decades of the 20th century. I consider the impact of a series of linguistic, critical, allegorical, and gravitational "falls" in the trajectory of Altazor's "viaje en paracaídas" in order to think through the impact of a linguistic event in the poem's gravitational field. By engaging myriad critical approaches to the poem's "illegible," ambiguous conclusion, I link the Chilean and European avant-garde poetic scenes (Madrid-Paris-Santiago) with the scientific imaginaries of important discoveries in theoretical and experimental physics in the early 20th century (Berne and Copenhagen). I explore the ways in which Altazor in and of itself the marks the discursive passage between Newtonian and quantum cosmovisions vis à vis the historical context of the quantum/relativistic paradigm shift in physics that was contemporary to the poem's composition. Altazor's meaning-making activities, read with respect to quantum and cosmological concerns, show how Huidobro's long poem traces the falling motion of a linguistic and cosmic event that, nevertheless, is horizon-less and radically heterogeneous in nature -a facet of the poem that is indicative of the kinds of quantum fluctuations whose "path" cannot be accurately predicted or described with total certainty or mastery. [ABSTRACT FROM AUTHOR]

This paper examines the mythogenesic character of the story "Al alba" from the book Otro cuento de pájaros (Santiago: Las Dos Fridas, 1999) by Soledad Fariña, seen as a prototext and a paralel to the "writing" of the Book that in a fragmentary way -under the constant questioning of the means of representation and the perceptive capacity to be found in this poem- is realized in the trilogy entitled La vocal de la tierra (Santiago: Cuarto Propio, 1999), a book that includes the collections of poems El Primer Libro (Santiago: Amaranto, 1985), Albricia (Santiago: Archivo, 1988) and En amarillo oscuro (Santiago: Surada, 1994); the trilogy thus becomes a new Holy Scripture -an alternative to the judeo-christian and patriarchal Book- which can be identified with the prehispanic culture and is focused in the female gender that constitutes the subject in a protolesbic relation with the Mother, as an offering to the iniciating Goddess, and as a member of the couple of Amazon lovers. [ABSTRACT FROM AUTHOR]

The travelling spectrum of Poema de Chile reflects on the adoption of the name Mistral. The causes of this choice go from coming back to a previous intimacy -the original scene of the country- to the rejection of the urban society. The name she gives herself is a conscious act and therefore , a modern one, which is used as a response to the damage she received when she was in a previous situation. As a result, the ghost calls for the places, the language and the goods that were stolen, and she demands to recover the bodies that were torn by the white and ethnocentric discourse. [ABSTRACT FROM AUTHOR]