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Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Laric poetry, as it is understood in Chile from Jorge Teillier's essay "The poets of the lares", that is, a return to the village and family origins as a rejection of the uprooted modernity that overrides traditional values, has prompted understandings that range from the exaltation of the nostalgic and provincial character to views that consider it as evasive aesthetics that lacks historical sense. As far as this work is concerned, my intention is to make a contribution to the critical analysis of laric poetry in terms of its political aesthetics that are related, according to what I propose here, directly with the historical processes of our country during the 20th century. [ABSTRACT FROM AUTHOR]

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyzes Violeta Parra's relationship with Chilean popular poetry, specifically in regards to the tradition of verses with religious themes. The influence of her brother Nicanor in her work of compiling popular songs is highlighted. Violeta immerses herself in the peasant world and rediscovers her roots through music and poetry. Although one cannot speak of a religious quest in her work, an attitude of gratitude and criticism towards the divine figure is observed. Additionally, the use of "canto a lo divino" (singing to the divine) as a method of teaching the Catholic doctrine by the Jesuits in Chile is mentioned. [Extracted from the article]

In this essay we outline five constellations of poetic and visual practices, starting with the dictatorship in Chile (1973-1990), but connecting them with works from previous decades. Without wanting to be exhaustive, our intention is to show how poetry and related practices have shaped a creative response of counterattack and antithesis, as well as resistant ways of life through art at different times and areas of Chile. [ABSTRACT FROM AUTHOR]

Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Paramar (2019), by Chilean poetjuan Carreño (Rancagua, 1986), outlines a transit whose residuality allows elaborating the territory of the neozone, from which a visibility and imagination of space rises. The territory, on the one hand, accounts for a social, critical and political spatiality of the community and the subject, and, on the other hand, it accounts, based on affects, for a way of inhabiting the world and of relating, with the others. For its part, the visible language is configured from the imagination of the territory itself, the projection of an aesthetic image and a poetic vision. [ABSTRACT FROM AUTHOR]

This article analyzes a set of interviews with Mapuche poets proposing a metadiscursive articulation between the literary field (poetry) and the journalistic field (interview). The corpus analisys's suggest the existence of three tension in poetic practice that can be seen in interviews with the authors. These tensions are manifested in three fundamental binomials that function here as categories of analysis: high-low culture; public-private distinction and dynamic articulation between identity-alterity. Finally, an intercultural dimension it is proposes as an articulating pivot of categories previously implemented and analyzed in Mapuche poetry. [ABSTRACT FROM AUTHOR]

Copyright of Caravelle: Cahiers du Monde Hispanique et Luso-Bresilien is the property of Presses Universitaires du Mirail and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reviews certain crossed plots in the work of Juan Luis Martínez, particularly in La nueva novela, specifically related to 1) their modes of insertion into the field of Chilean poetry, especially considering the way they relate to the works of Vicente Huidobro and Nicanor Parra, that precede its work; 2) their strategies of simulation, parody, and shrouding of the figure and identity of the author, as well as their paradoxical connection to the legacy of Borges; 3) the convergences and divergences between Eastern and Western thought, or the assumption of the impossibility of the poem: the "pajarístico" trapped in the net of the ideogram. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This test will analyze the book Rompan Filas (2016) of Bruno Vidal from three lines of sense, the allegory (Benjamin), the heteroglossia (Bajtín) and the subjective draft (Sarlo) to define the sway between the nominal thing and the poetical thing, the contradiction. This central aspect of this work will part from the allegory of horror as a problematizing element of the narrativity of traumatic experiences; the refraction of voices leads to heteroglossia, which carries a responsibility as ethics of the text; finally, the prerogative filter will try to support the interstice between remembering and forgetting, between documentary and ficcional aspects. [ABSTRACT FROM AUTHOR]

Copyright of Revista Canadiense de Estudios Hispánicos is the property of Asociacion Canadiense de Hispanistas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Within the literary project of the Chilean poet Olga Acevedo, Las cábalas del sueño, the seventh collection of poems originally published in 1951 and republished in 2019, shows a poetic-philosophical itinerary in gradual transition from individual unity to spiritual totality, including, in this journey, sufferings and intimate longings born from an intense process of self-reflection and initiation. In this article we will posit that, through this poetic proposal, the author opens an innovative route in the Chilean imaginaries of the first half of the 20th century, creating a poetic cartography centered around female spiritual evolution. We will attend to this phenomenon through an analysis focused on the female experience of Campbell's "mythic journey", conceptualizing it as a strategy to frame the exploration of the subjectivity of the lyrical speaker. In order to do this, the analysis will be structured in four stages, or phases, through which the poetic transit is carried out in order to elucidate the transformations that the speaker undergoes on her way to accomplish an intimate experience linked to the sacred and to the potential encounter with divinity, the ultimate goal of the Acevedian poetic project. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Chela Reyes (1904-1988) is a chilean writer born in Santiago, the same year as Pablo Neruda. She has a relevant poetic production, almost unknown, that can and should be considered as part of the tradition of the Chilean historical avant-garde. This work aims to show how, in Ola nocturna, her third book of poems published in 1945, the author uses characters and references from Greek mythology to shape her imaginary. Its figurative universe is constituted by powerful evocations of a maritime space in which Eros and Thanatos are confused. Characters such as Eolo, Hippocampus, Sirens, Neptune, Echo, Venus, are part of its mythological-poetic gallery. Through these figures the poet builds a surprising and fascinating world in which eroticism is both creation and destruction. [ABSTRACT FROM AUTHOR]

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

The aim of this article is to review and to analyze the passages relating to the Chilean territory in the epic poems that reported Arauco's War in the 16th century. Even if their central argument consisted of the warlike events, some passages gave content to the description of the space as an epic landscape. As it will be demonstrated, the representation of the territory not only was formed attending to the physical conditions of the land, but also to the literary resources of the epic that characterized to the south of Chile as a challenging and dangerous scene, historical and simultaneously literary space, representative of the heroic and indomitable condition of the Kingdom of Chile. [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]