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The emergence of Maya writers bursts with original, novel, and transgressing proposals, within the contemporary political context of recognition of cultural rights and vindications from First Nations peoples. Such emergence has awakened a growing interest among diverse publics. Among them, literary critics stand at a special place, as many of them have tried to define such emergence and locate it as a particular category within the national or regional literary sphere. Contrary to that assimilationistic approach, this paper argues that through their literary works Maya writers are involved in a larger artistic indigenous movement that pursues not a place in the national literature, but that aims to question and redefine the hegemonic literary canon itself. [ABSTRACT FROM AUTHOR]

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]

Gender Studies and contemporary Literary History have recently begun to promote the (re)discovery of female writers, artists, and intellectuals of the Spanish Silver Age, with the aim of bearing witness to their cultural contributions to the present day, which have often been silenced and forgotten. The recovery of female writers and artists of that period is not only a way out of "anonymity" for these women --a process that is undoubtedly a work of absolute justice--, but it also entails a reworking of the canon of the Spanish Silver Age, questioning assumptions and interpretations consolidated in our critical tradition, as well as recovering a large amount of literary/artistic production and identifying the patriarchal nature of our cultural and artistic elites at the dawn of modernity. One of the most striking cases of this group of "silenced" women is María Lejárraga, an essential and also a very active literary writer of the Hispanic Modernism. Several circumstances --starting with her own decisions, since she adopted as her pseudonym the name of her husband-- led her to become a true ghostly absence, despite her great relevance for the Hispanic literature of the first half of the twentieth century. [ABSTRACT FROM AUTHOR]

Actually, the pedagogy and the teaching are looking for new inclusive and equality models. For this reason, it is fundamental to think how the women writers are represented into the second language textbook. In the next pages, based on genre theories, we will reflect on literary canon which is transmitted in the Spanish as a Second Language classes. In this sense we will analyse the inventory and the treatment of women and men writers that are studied into two of the most important textbooks: Curso de literatura. Español lengua extranjera (Edelsa) and Curso de literatura española moderna (Edinume). Definitely, based on gender studies, we will think about the literary canon which is offered by the textbooks to the students, with the aim of checking if the image of the literary canon that we transmit to them is egalitarian or if it perpetuates genre differences. [ABSTRACT FROM AUTHOR]

This article discusses the results of the initiative "200 years of republican history, 200 Colombian literary works" in which an important group of readers - conformed mostly by specialists and connoisseurs of Colombian literature- selected the 'most important' literary books in Colombian history. The Technological University of Pereira (Master and Doctorate in Literature, the University of Caldas (Manizales Book Fair, in association with La Patria from Manizales and Colombia National Radio in 2019, call this project to celebrate the bicentennial of Colombia's national independence. In the selection, the image of literature in the midst of globalization is projected, that is, that articulates local production with modern practices of cultural production, a vision that faces, at the same time, the risk of ignoring authors and homogenizing evaluations of literary practice, which do not adjust to certain 'stereotypical' forms. [ABSTRACT FROM AUTHOR]

This essay outlines a theoretical and conceptual framework to propose a counter-canon that allows us to situate some authors and works that document the possibility of identifying a maritime port chronotope in Chilean literature. This view is situated in the paradigm of the radical Enlightenment, articulated from a transoceanic and geophilosophical perspective of urban-port locations. An analytical battery is developed to address the contexts of production of the works, defining genealogies and critical cartographies from a geo-cultural perspective. From this, a corpus of works is delimited to give concrete consistency to the proposal of a counter-canonical maritime-port chronotope in the first half of the twentieth century. [ABSTRACT FROM AUTHOR]

Memory and testimony studies renew classic debates that confront established theses on the violence of the 20th century. In this framework, I read the critical itinerary of Anclajes as it expands the literary canon from a corpus cut out by the memoirs in conflict in the Southern Cone. I argue that memoirs are not involved as a remnant of anecdotes of a defeat, but that they emerged in the very center of literary production as a divergent corpus that illuminates a new point of conflict in the colonial dispute over language, writing and territory. [ABSTRACT FROM AUTHOR]

This research presents an analysis of the dialog between parody and irony, as a gender and a literary modality respectively, through its subversion function in the "Seventh book (Journey the dark city of Cacodelphia)" of the novel Adán Buenosayres by the argentinean writer Leopoldo Marechal. This study starts with an introductory approach to the general context of the novel, where narrative structure, the positioning of the modern man as the hero of the 20th century are discussed, along with the implicit parody in the "Journey to the dark city of Cacodelphia" and its predominant irony, both as subversive elements of transgression of the represented literary canon, in this case by the "Hell" of the Divine comedy by Dante Alighieri. [ABSTRACT FROM AUTHOR]

This article argues in favor of developing readings at the crossroads of environmental, literary and heritage educations. These will be the axis proposed to address challenges arising from the environmental crisis and the loss of cultural memory in students and citizens in general. These issues are explored especially in relation to the emblematic problem of water culture. We propose some criteria for the development of a new inclusive ecological canon with world literature texts. Based on these priorities, we describe the possible foundations of environmental awareness, of tangible and intangible cultural heritage and of the most useful teaching methods to promote dissident readers who wish to foster water culture within specific communities. All this is in keeping with new educational and cultural currents and seeks to have a positive impact on the education of 21st century citizens. [ABSTRACT FROM AUTHOR]

Since the end of the 20th century a new critical project led by women has been underway in Morocco, focused on the literary production of women writers from Morocco and other parts of the Arab world. It is a true gynocritical project that establishes an intellectual dialogue with the North American researcher Elaine Showalter, who coined the term gynocritics in 1981 in reference to a new framework for studying literature produced by women. This paper looks at the extent to which Moroccan gynocriticism has provided new tools for criticism and literary studies, as the emergence of this phenomenon has altered the terms of debate regarding women‟s writing in Morocco. In their analyses, female Moroccan critics address women‟s writing from new perspectives, defending the recognition of women writers and their acceptance within the Moroccan literary canon. [ABSTRACT FROM AUTHOR]

The short novels Zulai and Yontá by Costa Rican writer María Fernández Le Capellain, published in the early twentieth century, are part of global aesthetic, ideological, and spiritual trends that had a considerable influence on the elites of the time (Theosophy, Freemasonry, etc.). However, these can also be studied within the processes of construction of the Costa Rican literary canon as an example of exclusion or invisibility at different levels. This article aims to analyze a series of discourses produced by Costa Rican literary criticism that led to the consideration of the author's work, in the best of cases, as a minor phenomenon within the development and evolution of national letters, excluded from the project of national identity. [ABSTRACT FROM AUTHOR]

In this paper we study the scene of the learning of reading and the encounter with the Book as six contemporary writers narrate in their memoirs. Through the analysis of three autobiographemes related to this experience of the childhood -the mentor's influence; the school rebellion; the list of influential literary works-, we will appreciate the consoling and corrective power of the book during the Spanish Civil War and the earlier years of the Francoist regime. From this approach, this paper will show, on the one hand, how the main characters of the selected memoirs reject the imposed literary canon, as well as the formal educational system in favor of self-learning. On the other, it will give us a portrait of Spanish society in those repressive years. [ABSTRACT FROM AUTHOR]

The development of this proposal aims to establish criteria whose application reveals the suitability of the literary texts that Spanish as a foreign language students will work in the classroom. The evaluation method proposed here involves a reflective exercise around two concepts: the one of Harold Bloom's Western Canon and the one of literary canon for the teaching of languages, integrated in turn by four models: normative canon, canon available or materialized, canon direct and indirect canon. The thematic categorization of the corpus of intertextual micro-stories of the Leonese group and the analysis of their confluences founds a pattern for the exploitation of canonical works exemplified in Don Quixote. [ABSTRACT FROM AUTHOR]

This article delves into the subjects and vital topics of Eliacer Cansino's literature work destined to a young audience and invites us to reflect on how its enjoyment can develop the critical thinking of teenagers of the 21st century. To carry out this research, a descriptive methodology has been used, using the technique of documentary analysis. In this way, since literature and reality conform both faces of a coin in the training of young readers, considering precedent studies, it has been elaborated a check list related to the formative canon of the literature of adolescence and youth. The results justify that reading Eliacer Cansino's literature destined, initially, to a young audience is an essential literary reference that contributes to the development of critical thinking from the reading experience. [ABSTRACT FROM AUTHOR]

A state of the question on compensation for private copying in Spain is outlined. We first briefly describe the concept of private copying in the context of copyright, and the antecedents of fair compensation in Spain. Them its current legal regime is analyzed, commenting its main advantages and disadvantages. We also review the collection by private copy in the last decade and the forecasts on its evolution in the coming years. [ABSTRACT FROM AUTHOR]

In his Complete Poetical Works, La realidad y el deseo, Luis Cernuda very often pursued polemics or homage. Among those who became the victims of his attacks were Juan Ramón Jiménez, Pedro Salinas, Jorge Guillén, Dámaso Alonso and critics and scholars in general. Among those on whom he bestowed his homage were Federico García Lorca, Mariano José de Larra, André Gide, Verlaine, Rimbaud and Goethe. In both cases the poet betrayed his determination to build an alternative canon, different from the official literary system. 'Un contemporáneo' is perhaps the piece in which both lines of his argument coincide, and in which Cernuda ironically anticipates his own homage and blames contemporary criticism for its blindness, under the same logics he had used in his poems dedicated to Lorca, Larra, Gide, etc., i.e., the glorification of the poet as a literary hero. [ABSTRACT FROM AUTHOR]

This paper aims to initially describe and interpret the mechanisms of work and author's literary canonization in a specific cultural community, Latin America. The case studied is that of Argentine writer Manuel Puig and his work. The interactive relationship among cultural context, social institutions and systems of social and evaluation meaning allows a description and attempted explanation of the imbued meaning relations in the constitution of the canonized literary repertoires (Even Zohar), their selection criteria, ideological nature and the way in which social practices associated with this process are formed by a variable number of discursive practices. To do this, we analyze an illustrative set of communicative events and their textual instances, through which the literary canon and cultural effects are articulated: positioning, aesthetic appreciation, author and discourse iconisation, and professional influence, critical and academic thematization, among others. Thus, we study a case of canonical integration by the Argentine writer Manuel Puig into Hispanic and universal literary canon at the end of the century, and set up an interaction with the parameters of canonical construction from the previous generation, the so-called "Latin American literary boom". [ABSTRACT FROM AUTHOR]

Promoting reading in the initial educational levels plays a central role in order to ensure the academic success of students in future stages. This article analyzes the Dialogic Literary Gatherings (TLD), a Successful Educational Action based on the reading and discussion of classic works of universal literature, which is being implemented in several schools in Spain and different Latin American countries. Through the history of Khadija (10 years old), a Moroccan student attending a primary school in Spain, the article discusses how Dialogic Literary Gatherings, besides contributing to accelerate instrumental learning through the reading of the best works of literature, fosters among students values and feelings, such as friendship and solidarity, fundamental in the emotional and academic development of children. [ABSTRACT FROM AUTHOR]

This essay seeks to show the way Jorge Luis Borges thinks about the concept of classical text in his essays. In general, Borges' position could be described as 'counter-canonical', as a will to desacralize classical texts through a number of discursive strategies. Among them, there is an emphasis on the transformational capacity of the act of reading, and on the multiplicity of language itself, which makes it impossible for a text be considered, a priori, as 'predetermined' or perfectly coherent. Through Borges' readings of the Quijote and Dante's Commedia, it is possible to see his will to work with canonical texts in fragmentary, partial, even contradictory ways that deny the possibility of producing perfect and monumental texts and, in the process, create irreverent, dynamic and imaginative readings of the works of the past. [ABSTRACT FROM AUTHOR]

This article analyses the early works of Augusto Monterroso, published in the years 1941 and 1942, in the newspaper El Imparcial and the magazine Acento. We intend to demonstrate that three of the main features of his late work are already present in these short stories; namely: the blending of literary genres, humour (specifically the use of irony) and the use of literary tradition to structure the narrative. We understand the concepts of literary tradition and literary canon from the perspective of the sociology of culture rather than an aesthetic standpoint. Hence, the explanation we give of these three features, present in Monterroso's early works, agrees with Gonz\lez Zenteno's thesis. Zenteno suggests that the renewal of the literary canon originates from a peripheral position (in this case, from Central America) partly because ease and daring are natural to this position. The fact that Monterroso was aware of his challenge at an early age (nineteen years) and met it without the solemnity and seriousness others may have applied to it, shows him to have been unique. [ABSTRACT FROM AUTHOR]

This article intends to review the corpus and the canon of nineteenth-century Argentinian literature which are currently broadened and modified through new schools and critical perspectives (from feminism to the archival science, from Colonial and Post-colonial studies on the "history from below"), and lead us to another possible library of the 19th century. Brothers Lucio and Eduardo Mansilla, revisited from academic research and creative rewriting, emerge as the tip of the iceberg of a historical and literary world which knowledge is far from being closed or exhausted. [ABSTRACT FROM AUTHOR]

This article discusses the involvement of Spanish exiles living in Mexico in the country's literary production in the mid-20th century. The author comments on the role of the journal "Revista Mexicana de Cultura" in offering a space for these exiles and their writings. She also considers the relationship between the Mexicans and the Spanish exiles, including its influence on Mexican literature.

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]

Based on an analysis of more than sixty reports on own path reading students teachers of pre-school and primary education second during the courses 2011/12 and 2012/13, we have appreciated some relationships relevant between forms of mediation, canon reader and reading habits. Thus, we have observed some mediation styles that seem to lead with greater guarantees to reading success paths. We have classified our informants in three major groups, in accordance with Reader canon in which are installed: social canon readers and readers of academic canon, not readers. The better or worse quality mediation seems to be decisive in most of the cases. So much in the academic field as in the familiar, the mediation acquires, in our view, more efficiency when it translates into models of behaviour and not only in verbal recommendations, when it is accompanied by emotional complicity or when the substantive aspects of one's life. University teaching practices have to provide to the students rewarding experiences of reading. [ABSTRACT FROM AUTHOR]

The fortune of 18th and 19th century French literature during the development of the Argentine publishing field (1920-1955) is surprisingly unstable due to strong editorial modifications that annul the canonic treatment usually reserved to books considered “classics". As we shall see in popular editions of Madame Bovary and Salammbô, these modifications either introduce the political and economical context in the novels, or materialize, in the paratext, internal tensions of the text. This perspective broadens, in the line of Donald McKenzie's work, the theoretical scope, as it considers the book (and not only the text) as an indicator of meaning, thus transforming editorial devices into unexpected readers. [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]

Among the institutions that participate in the configuration of the literary canon, the schooling institution plays a key role in the shaping and transmission of the inherited corpus. The tension institution-teaching-corpus updates the debate upon the notions of "classic" and "canonical". In such a context, the studying syllabuses on the Language and Literature curricular field result in revealing certain devices of the criteria used by teachers when cutting down, ranging and legitimizing a particular corpus destined to propose a textual cartography in the education field. Thus, the reading of the Language and Literature syllabuses belonging to the secondary schooling institutions of La Pampa province in the last years will allow the investigation on the theoretical and methodological assumptions -implicit or explicit- which operate in the construction of the canon and the redefinition of "classic" in the teaching practice. [ABSTRACT FROM AUTHOR]

El incremento en la publicación de antologías de poesía española iniciado en el franquismo como proceso de creación de un canon literario alcanza su culminación durante la democracia, sobre todo entre 1995 y 2008. El presente ensayo analiza esa proliferación antológica desde la perspectiva de la política cultural desplegada por los distintos gobiernos democráticos y desde los presupuestos teóricos del capital cultural. Cuestiones tales como los hábitos de lectura, el valor simbólico del libro y de las antologías, y el proceso de canonización de los estamentos académicos, así como de los premios, conforman el eje de este estudio. [ABSTRACT FROM AUTHOR]

A literary criticism of the late 15th century Spanish novel, "La Celestina," also known by the title "Tragicomedia de Calisto y Melibea," by Fernando de Rojas is presented. The author discusses the features of the book that led to its inclusion in the canon of Spanish literature, the world order of nature and fortune that the book imposes on its characters, and the unique type of social disorder the work presents to the lives of the protagonists, largely due to their ill-advised love affair.

En este artículo se ofrecen evidencias derivadas del la teoría del discurso que demuestran que el canon literario mexicano ha ignorado una excelente novela, como es Los días terrenales cuyas características discursivas la situarían en un nivel igual o superior a la denominada novela de la ciudad, me refiero a La región más transparente. [ABSTRACT FROM AUTHOR]

The inclusion of Salvadora Medina Onrubia (La Plata, 1894-Buenos Aires, 1971) in the secondary school literary canon constitutes one possible way of working on the issue of genre as teaching content. In this article, we study the convergence of feminine and anarchist assertions in the narrative texts of this author, the intent of her discourse and the reading public to whom it is addressed. Secondly, we evaluate the possibility of including Salvadora Medina Onrubia's fiction in the reading repertoire for secondary education. [ABSTRACT FROM AUTHOR]

A comparison of school textbooks for literature teaching in Argentine high schools during the years of democratic transition and manuals edited after the education reform imposed by the Federal Education Act (1993) shows fundamental transformations. Not only do these changes relate to the works and authors chosen for classroom reading but also to the theoretical, didactic and cultural criteria through which that literary school canon was built in the 80's as well as nowadays. In fact, changes made in the selection of authors, works and genres reveal much deeper changes: those related to various underlying conceptions in the design of a corpus for teaching literature in high school. This essay proposes a possible interpretation of changes in the criteria that defined the construction of a literary canon for Argentine high school. Special consideration was given to transformation experienced in three aspects: representations of power at school, literary taste and contents considered culturally legitimate. [ABSTRACT FROM AUTHOR]

The article analyzes how Mother Castillo's mystic works were integrated into the canon of Colombian literature, with the support of 19th century intellectuals. Literary critics, writers, and historians proposed the deliberate formation of a national identity taking Mother Castillo's mystic works as the starting point since they are part of a political hegemony and a Catholic ideology. The article also discusses the process of Mother Castillo's inclusion in the canon of Colombian literature despite her being a female and an unknown writer from the Colonial period. [ABSTRACT FROM AUTHOR]

This article argues for the inclusion of santafesina (of Santa Fe, Argentina) poets Marilyn Contardi and Estela Figueroa in the canon of 1980s Argentinean literature. The essay examines both the established names from the Argentinean literary field of the era, as well as current research agendas. Attention is placed mainly on the quality of the writing in the aesthetic dispute, not on the rhythms of the market, the publishing house parameters, or the rituals and places that assure a reputation to an author. The analysis tries to account for the authors' involvement in history and especially in poetry. [ABSTRACT FROM AUTHOR]

To celebrate the 100th-year anniversary of the Cry of Dolores, the Antología del Centenario (1910) compiled a series of works belonging to a canon of Mexican literature. The work was then put into question during the political, social and cultural events that occurred immediately after the Mexican Revolution. This article examines the changes in the construction of the Mexican literary canon and how the celebration of different commemorative events highlights the importance of reformulating the national literary landscape taking into account its political and historical motivations. [ABSTRACT FROM AUTHOR]

The formulation of the concept of classicus, referred to the most distinguished authors, appears the first time in the 2nd century A.D. It derives from a metaphorical use of the term, understood in its oldest meaning (at the beginning classicus refered to an old social division based on the financial solvency of each citizen, and established in Rome during Servius Tullius' time). Therefore, the metaphorical use of classicus refers to the best archaic Latin writers, as if they were the ideal inhabitants of an old literary Rome. The term classicus undergoes many modifications throughout History, until Italo Calvino made the last big formulation of the term at the end of the 20th century. In short, there is an evolution from a hierarchic conception to an open and more personal idea of the "classics". Despite all these changes, between the first and the last formulation it happens to be a surprising connecting thread: an invisible city and a Latin author that lives there. [ABSTRACT FROM AUTHOR]

No text is a 'classic' when published for the first time. Classics are done by the readers through the passing of time. Though their readings and re-readings ensue from one generation to the another, they are not result of a random selection. On the contrary, the texts which become classics bear a mysterious attraction that keeps them from suffering time's wearing out and being forgotten. Readers are not passive recipients of an immutable discourse. And in every new historic circumstance when a new reading is done, it assigns a significantly or just slightly different value to the classics from the original one they had. [ABSTRACT FROM AUTHOR]

This paper studies the literary canonization processes in Chilean literature and their relations with social and cultural identities. Its purpose is to establish the boundaries of the texts and metatexts written by Chilean canonical authors, starting with the romantic generation of 1852 (or 1842) and ending up with the works published in the last decade of the XX century. The hypothesis of this essay is that Chilean literature can be said to have its origins focused on a single canon, which is later replaced by a series of plural, parallel and even opposite canons. [ABSTRACT FROM AUTHOR]

The author asserts that a well-defined and independent canon of literature has not emerged in Peru. She questions the idea that a Peruvian literary canon was consolidated around 1905 and points out social and political conditions, including those related to Peru's defeat in the Pacific War, that she maintains made it impossible to continue the 19th century hegemonic republican model in which literature constituted one of the ideological elements driving the development of Peru after its independence from Spain. The article examines the influence of key Peruvian authors and critics, including José de la Riva Agüero, Manuel González Prada, and Adolfo Vienrich, on the social and political development of Peru.

This article deals first with Borges' reception as a canonic author, a goal which he aimed at since the Thirties by questioning generic classifications and national literature, and from the view of a rewriting's poetic. The central corpus of the work, Borges and the Spanish literature he disliked, renders an unfixed and hedonist canon, based on his own aesthetics, and resting on two points: the exercise of literature, and the various metaphysics within it. Borges' corpus rescues a remarkably scanty number of names: Unamuno, Quevedo and the Baroque, Cervantes and especially the Quijote. [ABSTRACT FROM AUTHOR]

Self-construction and the relationship between writing and the body are two essential problems in the works of Severo Sarduy. This article discuses then the discursive strategies by which the Cuban writer puts the body into play as a basis from which to build his own representation as an artist and as a rebel intellectual and from which he argues against the modern categories on the ground of the canon-forming process put into practice in Cuba since 1959. It also endeavours to show the way in which the use of these discursive devices tries to carry out a transgression of the disciplinary traits of writing and of the disciplined features of the body in order to make illness literary, as if it were only through language that it can be represented. [ABSTRACT FROM AUTHOR]

The article explores the indigenous tradition in the works of Peruvian author Eleodoro Vargas Vicuña. While Vargas' work is well known among literary critics, it has rarely been studied among Hispanists. Vargas, whose first book was titled "Nahuín," is considered to be one of the more profound writers of the generation of 1950 in Peru. His style is often called "neo-indigenous" and aims to preserve the indigenous tradition in Peru. The article examines Vargas' work and questions what his intentions are in constructing identity through his style.

The article discusses historical and spacial continuity in identity narratives. While several discourses tend to define identity in historical and national terms, as with prominent figures such as Simón Bolívar or José Martí, these characteristics in fact limit their identities. It argues that if the Latin American essay is solely based on identification, then canonical processes of these essays should continue along the same path. The article analyzes identity construction on both the narrative and canonical levels using examples from speeches and discussions by Venezuelan author Teresa de la Parra.

Analyzes the evolution of identity attributions in relation to the Girardian appropriation mimesis. Result of official discourses reinforced by historic and literary canons; Link between the attribution of the qualities of a person and a monosemic world; Factors which led to a new understanding of power relationships in relation to localities and their correlatives.

El artículo ofrece un análisis de aspectos claves dentro del campo de los estudios coloniales hispanoamericanos en los Estados Unidos. La década de los años setenta llevó a cabo un nuevo interés en el canon de textos hispánicos. Aunque este interés surgió, algunos académicos resistían este estudio, viéndolo como una imitación al modelo analítico castellano. Según el artículo, el objetivo de este estudio es analizar la relación indígena con la cultura colonizadora.

El artículo habla del canon tradicional en los estudios coloniales hispanoamericanos. Se menciona la adoptación de las divisiones espacio-temporales europeas y como resultó inadecuada en un corpus textual para las colonias hispanoamericanos. El siglo XX introdujó la noción de discurso como una sustitución para la palabra literatura en los estudios coloniales latinoamericanos.

This article presents a reply by the author of the book "Pedro Antonio de Alarcón (prensa, política, novela de tesis)" in response to a review of the book by Noël Valis, which appeared in issue number 78.3 of this journal. He criticizes Valis' dismissal of Alarcón from the Spanish literary canon while emphasizing several points raised in his book, including Alarcón's reactionary ideology as well as the spiritual and religious elements in his works. He is also critical of Valis' omission of Alarcón in her book "Sacred Realism," which deals with religion and spirituality in 19th and 20th century Spanish literature.