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Many of the networks created among women in Latin America in the early 20th century were significant for the development of feminisms in countries in the region. This article examines the links between the Peruvian María Jesús Alvarado Rivera and Argentinean women involved in female emancipation struggles, and their effects during Alvarado's exile in Argentina (1925-1936). From a theoretical-methodological point of view, we begin with the concept of social network, encompassing various forms of connection between social actors. The study analyzes how links forged through a common interest in the feminist struggle impacted the personal trajectory of María Jesús Alvarado. This study also provides an opportunity to view material from the personal archives of María Jesús Alvarado Rivera, with restricted, limited access, held by the Flora Tristán Peruvian Women's Center in Lima. [ABSTRACT FROM AUTHOR]

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María Zambrano and Octavio Paz began publishing each other’s writings since they met at the Second International Congress of Anti-Fascist Writers in 1937 in Valencia. With respect to their continued collaborations in Mexico, France, and Spain, the scarcity of comparative studies of the two authors is surprising. Essays like ‘Filosofía y poesía’ (1939), ‘La destrucción de las formas’ (1944) and ‘Poema y sistema’ (1944) by Zambrano show a clear repercussion in the essayistic and poetic work of Paz, also beyond his books El arco y la lira (1956) and Los hijos del limo (1972/1974). Some of the most obvious parallel aspects between the two oeuvres are the description of analogies, the metaphors of masks, the observations of a dialectic between opposites, and the quest for a lost unity. With the re-readings of the aforementioned essays, I propose to portray the underestimated influence of the philosopher in the work of the poet.

Este artículo tiene tres ejes fundamentales: 1) Esbozar una reflexión teórica sobre una posible “literatura del exilio” como género, a partir de distinguir sus definiciones, particularidades conceptuales y principales tipologías. 2) Presentar al escritor mexicano Victoriano Salado Álvarez como un “autor del exilio”, paradójicamente atado a fuertes vínculos de nacionalidad. 3) Narrar su experiencia en el exilio centroamericano durante la Revolución mexicana, y a la vez mostrar su legado en la cultura, las costumbres y, especialmente, en la historia política de esa región, con la convicción de ver en este autor a un notable centroamericanista, veta tan fascinante como poco estudiada no sólo en su extensa obra, sino en la historia de la literatura mexicana.

María Teresa León's Las peregrinaciones de Teresa is a short story collection published in 1950. This article examines two of its stories from the perspective of the neologism transmemoria, which the author presents in her introduction, with the aim of exploring its critical potential for analyzing the essential meaning of the stories. This allows us to question the use that Hirsch, Young and Bedingfield have made of the concepts of postmemory and transmemory since the early 21st century to highlight the value of the production of "vicarious" discourses about the past by the second generation of exiles and immigrants based on their own reinterpretation of the trauma suffered by their parents. From the analysis of the two narratives and León's use of the term transmemoria, this article argues for an alternative model of memory in which the resulting narratives have an emancipatory role and in which utopia prevails over trauma and experience over inheritance. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata 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 examines the intersections between memory, documentary, and animation through an analysis of the film Gurs, historia y memoria (2017). Verónica Sáenz's documentary incorporates animated sequences by the renowned cartoonist Paco Roca to recuperate the memories of Spanish Republican exiles in the French camp Gurs. Although the graphic novel of the Spanish Civil War has piqued the interest of academics and critics, there are few studies devoted to the intersections between this genre and animation. In this article, I propose that the animated segments of Gurs, historia y memoria function as a reflective membrane that regulates the viewer's affective response based on the affirmative and future-centric structure of hope, with the goal of reconstructing a multidirectional memory of the Gurs camp aimed at promoting solidarity with Syrian refugees. [ABSTRACT FROM AUTHOR]

This study examines Violeta Serrano's narrative, which depicts her experiences as a young migrant during Spain's 2008 economic crisis, through the lens of Maria Zambrano's concept of "crisis". However, this proposition is not straightforward. Disparities and a temporal gap separate the crises faced by Serrano and Zambrano, as well as the migration flows they are associated with. This raises the question: can Zambrano's concepts serve as a unifying framework for understanding autobiographical literature authored by different types of migrants, transcending traditional barriers between migration movements?" [ABSTRACT FROM AUTHOR]

I will present a reflection that seeks to address part of the work of the Chilean writer Patricio Manns motivated by highlighting his poetics of exile. Manns is a writer whose political commitment to resistance and opposition to the dictatorship of the genocidal Augusto Pinochet, who had to face exile and clandestinity, is known. This political fact accentuates his poetics of exile not only due to the spiritual conditions but also due to the historical events that occurred in the collective sphere of Chilean society. Part of the approach to his cantological writing will be from an epistemological perspective that includes the category of the subaltern thinker. [ABSTRACT FROM AUTHOR]

O artigo propõe uma investigação de Diário 1973 - 1983, diário fílmico do cineasta David Perlov, compreendendo o cotidiano como exílio idealizado pelo autor. Nessa perspectiva, que se apoia na análise crítica das noções de arquivo e de cotidiano, percebe-se a câmera e a fabricação da imagem como meios que procuram isolar o presente de significações contextuais e implicações traumáticas do passado de Perlov. Entende-se que à câmera de Perlov é dado o papel de tanto concretizar quanto impedir exílio idealizado pelo autor em Diário 1973 - 1983.

En este ensayo, el autor plantea un diálogo entre la novela La belleza del mundo, de Héctor Tizón, y los arquetipos bíblicos de Adán y Eva, la pérdida del paraíso y el destierro, y el retorno al Edén. A partir de la traición primigenia de la esposa del protagonista, se inicia la integración a un tiempo cíclico e infinito –el del exilio. En el destierro, el protagonista está marcado por su afán de anular la temporalidad real y, a la vez, su propia identidad; intenta forzosamente olvidar la propia historia, lo cual lo conduce a una crisis de identidad. Al cabo de un largo recorrido, se plantea la necesidad de incorporar los acontecimientos de la vida a un tiempo mítico que regenere y perpetúe todas las acciones, y en el cual se busque el sufrimiento para alcanzar la salvación. El autor evidencia paralelismos diversos del texto con la doctrina cristiana: el protagonista comprende que para regresar a su propio centro debe perdonar. Y eso solo es posible regresando, enfrentando su pasado: el tiempo de redención es un regreso, pero el mismo-nuevo sitio no vuelve a ser jamás el paraíso.

Tenemos la oportunidad de dar a conocer algunas de las cartas que Alain Guy dirige a María Zambrano en el exilio, las primeras se las envía a Roma y las últimas que vamos a comentar el profesor le escribe a su casa cerca del monte Jura. En este artículo damos noticias de algunas de sus cartas, hasta ahora inéditas.

Las rutas de los personajes cirqueros de Angelina Muñiz-Huberman se extienden hacia tiempos y espacios improbables que unen el pasado con el presente y el continente europeo con el americano. Viajeros incansables por España, Francia, Cuba y México, estos cirqueros, magos y alquimistas, cuestionan las normas de cada lugar visitado al punto de poner en entredicho medidas que inquebrantables como lo son las dimensiones del tiempo y el espacio. Por este motivo y con la finalidad de profundizar en las rutas de las escritoras judías en Hispanoamérica, este estudio ofrece un acercamiento a los itinerarios, los tiempos y los espacios de la vida circense en la obra muñiciana, en especial en los libros La burladora de Toledo (2008) y El último faro (2020). Si bien el circo es un tema menor en el amplio mundo literario de esta escritora perteneciente a la segunda generación del exilio republicano en México y representante de las voces del judaísmo en Hispanoamérica, se trata de un aspecto relevante en la medida que conecta los grandes temas que caracterizan su obra tales como el exilio, el judaísmo, el humorismo y la ruptura de los cánones estéticos.

El artículo revisa la novela de Esther Seligson La morada en el tiempo como un texto representativo del tema del exilio, por un lado, y como una obra que carga rasgos importantes de la poética de la autora, por otro. A partir de la crítica hecha en torno a la novela, se muestra cómo para esta escritora la idea de frontera, que se trata de vincular con la vivencia de un exilio emocional, está presente en su obra desde distintos aspectos como: la traducción, la ruptura de fronteras genéricas, los viajes. Para esta revisión aludo a otros textos de la autora, así como a estudiosos de la obra de Seligson, como Angelina Muñiz Huberman y Jacobo Sefamí, entre otros; en quienes me apoyo para subrayar la vinculación que yace en la obra de Seligson entre escritura, identidad y exilio.

This article focuses on the exile following the October 1934 events in the department of Maine-et-Loire, specifically in its capital, Angers, and the nearby town of Trélazé. Utilizing French primary sources - both departmental and local - and the limited existing bibliography, it sheds light on the political refugees, their challenges, and their survival strategies in exile with the support of leftist organizations and the Spanish immigrant community. The article also presents the response and discourse of French authorities and public opinion, who were generally opposed to the presence of these refugees. [ABSTRACT FROM AUTHOR]

Botto’s aestheticism, abundantly emphasized by two of the critics most committed to pointing out the qualities of his poetry, Fernando Pessoa and José Régio, constitutes one of the most relevant aspects of his lyricism and stems from the desire to create beauty through art. To this incessant search for beauty corresponds a constant experience of exile. The purpose of this presentation is to highlight at least three different meanings for both the term “beauty” and the term “exile” invoked in the title. Both can be read in a more abstract sense of an ideal of life, which hovers above the hardships of the real world. Both can be related to the poet’s work, in search of a singular language that effectively expresses his lyrical identity, his worldview and aesthetically identifies his work. And both can be related to the search for an effective space in which a human being seeks to find the necessary conditions for a dignified life, even far from his country of origin. All these connotations will be woven into this text. [ABSTRACT FROM AUTHOR]

This paper seeks to demonstrate how the recognition and study of women's exile narratives could bring new analytical and reflexive registers to the field of philosophical work on political punishment. In order to do this, first of all, a review of its classical, Greek and Roman origins is made, pointing out that, although the exile has varied over the centuries, there are certain constituent elements that are maintained in its contemporary applications. This leads us to observe the way that these constitutive elements of exile are present in a particular way in women's exile narrative writing - especially those of the last civil-military dictatorships of the Latin American Southern Cone. To recognise and include these women's experiential narratives in a highly masculinised textual and analytical corpus allows for new approaches and reflexive projections to the field of philosophical studies on exile. [ABSTRACT FROM AUTHOR]

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Análise de quatro livros de Yolanda Morazzo que foram reunidos em Poesia Completa (1954-2004) na investigação de uma poética da diáspora que atualizou a história oficial a partir do exercício da memória, em trânsitos por Portugal e por Angola, nos quais manteve os elos identitários e culturais com Cabo Verde. A sua extensa obra poética evidencia a resistência da voz feminina que, nos exercícios da oralidade e de outras modalidades performáticas, estão alinhadas com a nação cabo-verdiana, a qual constantemente relembrou e reavivou em seus versos de diáspora, na remissão da crioulidade pela diferença que rearticulará projetos globais, em tensão entre o hegemônico e o contra-hegemônico. O artigo percorre a recepção do que foi considerado subalterno na perspectiva das histórias locais que, embora identifiquem esse lócus de origem, também procuraram a reversão de preconceitos que inspiraram na crença comum de que somente as pessoas que são de algum lugar considerado privilegiado podiam “falar”. Com base em Carmen Lucia Tindó Ribeiro Secco, Edward Said, Inocência Mata, Manuel Brito-Semedo, Simone Caputo Gomes, Toni Morrison, Walter Mignolo e outro/as percebo a poesia reivindicativa da inclusão de segmentos sociais injustiçados, na Literatura representativa do encontro com o outro.

Tradução de "Marcuse in America — Exile as Educator: Deprovincializing One-Dimensional Culture in the U.S.A", de Charles Reitz.

En 1982, se publicaban los dos tomos de los diarios íntimos de Rosa Chacel titulados, respectivamente, Alcancía. Ida y Alcancía. Vuelta. Habían sido escritos entre 1940 y 1981, por lo que cubrían las casi cuatro décadas de su exilio en Brasil y constituían un fidedigno testimonio del impacto de la diáspora intelectual durante el franquismo en la condición “post/autónoma” de la literatura escrita dentro y fuera de España tras la Guerra Civil. Sin embargo, esta condición “post/autónoma” no solo se manifestaba en el testimonio que Chacel ofrecía de las dificultades experimentadas en el exilio –que evidenciaban la imposibilidad de una escritura separada de las vivencias de un sujeto marcado por la historia política del siglo XX–, sino que, tal y como defenderé en mi comunicación, al intercalar en la narración autobiográfica el comentario de distintas obras literarias, la autora cruzaba las fronteras entre el diario íntimo y el ensayo, y, así, demostraba que el pensamiento en torno a la literatura se encuentra atravesado por los soportes –el cuaderno privado, en este caso– en los que se materializa. Las lecturas de Michel Butor, Cesare Pavese, André Gide, Graham Greene o T. S, Eliot, entre otros/as, registradas en Alcancía, se entrelazan con la narración de la propia vida. Por un lado, esto supone acabar con la oposición entre un género como la crítica literaria –ligado al auge de la opinión pública– y la autobiografía –vinculada, al contrario, con la esfera íntima–, y, así, ampliar los soportes en los que es posible expresar una opinión legítima sobre los textos literarios. Por otro lado, al introducir la lectura como parte esencial de la autobiografía, Chacel cuestionaba una noción de valor intrínseca a los textos para subrayar su dependencia de las experiencias individuales. En suma, el diario íntimo, cuya publicación se enmarca en el progresivo interés que, a finales del siglo XX, comienzan a despertar las literaturas del yo, se convierte en un soporte que aumenta las posibilidades de establecer una reflexión en torno a la literatura más allá de las dinámicas de legitimación y reconocimiento que Pierre Bourdieu señaló como constitutivas del campo literario contemporáneo, una faceta que merece ser explorada cuando se trata de comprender los cambios en las condiciones de producción desde las últimas décadas del siglo XX hasta la actualidad.

Las peregrinaciones de Teresa es un libro de cuentos escrito por María Teresa León y publicado en 1950. En este artículo, se analizan dos de los cuentos desde la perspectiva del uso que, en la introducción, la autora hace del neologismo transmemoria. El objetivo es explorar el potencial crítico de este término como significado esencial de esos relatos. Ello lleva a cuestionar la utilización que, desde principios del siglo XXI, han hecho Hirsch, Young y Bedingfield de los conceptos de postmemoria y transmemoria para destacar el valor de la producción de discursos “vicarios” sobre el pasado por parte de la segunda generación de exiliados e inmigrantes según su propia reinterpretación del trauma sufrido por sus padres. A partir del análisis de los dos relatos y del uso que León hace del término transmemoria, este trabajo reivindica un modelo alternativo de memoria en el que los relatos resultantes poseen un papel emancipador y en el que la utopía prevalece sobre el trauma y la experiencia sobre la herencia.

Após o golpe militar de 1964, Lucia Tosi foi uma das muitas cientistas exiladas do Brasil negligenciadas pela historiografia. Durante o exílio na França, Tosi tornou-se uma das fundadoras do Grupo Latinoamericano de Mujeres en París, colaborando em publicações relacionadas aos estudos de gênero e ciência no boletim Nosotras. Neste texto, discutimos a atuação de Lucía Tosi no Grupo Latinoamericano de Mujeres em Paris a partir de alguns textos de sua autoria publicados no boletim Nosotras, destacando seu olhar sobre as relações de gênero, ciência e política, no contexto do exílio em decorrência da Ditadura Militar no Brasil.

Este artigo, consagrado às artes do espetáculo, é dedicado ao O agora que demora (Le présent qui déborde). Nossa Odisseia II, o novo espetáculo multimídia e multiforme da artistacarioca Christiane Jatahy. Tal criação corresponde ao segundo volume de um díptico inspirado na Odisseia homérica. Ele se segue de Ítaca. Nossa Odisseia I. O que esta diretorapretende mostrar com sua mais recente criação e como ela faz isso? Eis a problemática que pretendemos responder. Para tanto, nosso es-tudo será dividido em três partes. A primeira pretende analisar o referido espetáculo, estrato por es-trato, desde sua gênese até a sua realização cênica. A segunda parte, abordará a singularidade da encenação dos atores, desenvolvida por Christiane Jatahy junto ao elenco com o qual trabalha. No que concerne à terceira parte, iremos analisar o papel do espectador, matriz da pesquisa dramatúr-gica destacriadora brasileira. Ao longo de nosso artigo, mostramos em que medida o mito homérico vemquestionar a vida, tanto a vida íntima de Christiane Jatahy quanto a vida contemporânea em geral, ou melhor, nosso presente e suas problemáticas societais. O teatro aparece, assim, como um ato de resistência face à opressão política.

Reseña a Laura Beatriz Moreno Rodríguez, México frente al exilio cubano, 1925-1940

O artigo aborda a presença e a visibilidade de artistas latino-americanos na coleção do Centre national des arts plastiques (Cnap), Paris-França. Trata-se da primeira e mais perene iniciativa mundial de criação de um fundo estatal de obras dedicadas à arte viva, uma iniciativa que surgiu em finais do século XVIII e persiste até hoje. O estudo das temporalidades de ingresso das obras na coleção, apontando para a importância da década de 1980, contribui para a história da arte global ao reposicionar o impacto institucional da mostra “Magiciens de la terre”, bem como da centralidade de Paris para os artistas latino-americanos, sobretudo em tempos de exílio. Dentro desse amplo contexto, discute-se a invisibilidade das mulheres artistas nos circuitos latino-americanos a partir do corpus de obras presentes no Cnap.

Sesenta años después del fallecimiento de Martínez Barrio y Giral, exponemos sus experiencias en el exilio republicano con especial atención a dos variables: praxis política y vivencias personales. Con ese objetivo, los inicios de nuestro análisis se sitúan en su paso a Francia en febrero de 1939, dentro del cortejo que acompañó en su salida de España a Manuel Azaña. Desde entonces, iniciaron un peregrinaje profesional con coincidencias en su primera etapa: fijaron residencia en México y ahí protagonizaron la restauración de las instituciones republicanas. Posteriormente estuvieron alejados geográficamente el uno del otro, pero cercanos en la amistad y en su acendrado republicanismo. Principios a los que nunca renunciaron, como tampoco a sus deseos de ver derrocado el régimen franquista y restaurada la República en España. Sus sensaciones, cuando no amargura, al no ver hechos realidad esos objetivos se describen en estas páginas, tras la consulta de una documentación inédita.

Si, por una parte, la novela corta ha vivido a la sombra de otros géneros narrativos como la novela y del cuento y, por otra, la literatura del exilio español del siglo XX lo ha hecho a la sombra de la literatura “oficial” (la peninsular, la canónica en ese sentido), no es difícil colegir el rotundo olvido o destierro de la novela corta de escritores españoles en el exilio que siguió a la guerra civil, para la que no ha aportado ningún estudio hasta la fecha. A la luz de los destacados pero escasos estudios sobre ese género literario, especialmente los de cariz histórico, se propone aquí aportar unas primeras notas que contribuyan a su reubicación en las historias de la literatura y a la confección de un corpus de textos, reivindicación con la que se desea también abrir otras vías de investigación y acercamiento a la novela corta.