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Artesana de sí misma by Claudia Cabello Hutt reevaluates the place of Nobel laureate Gabriela Mistral in the literary and intellectual history of Latin America, illuminating and filling a number of lingering voids in the study of this canonical figure. Cabello Hutt introduces readers to Mistral’s vast but scarcely studied journalistic prose as well as her unpublished manuscripts, letters, and images held in the United States and in newly opened Chilean archives. Moving beyond her amply discussed poetry, Cabello Hutt demonstrates that Mistral’s essays, visual representations, and gender performance are key to understanding Mistral’s self-construction as a Latin American female intellectual and internationally recognized writer. From 1920 until her death in 1957, Mistral shaped salient national and transnational debates, brokered relations between major writers, and fashioned a new model of the transnational intellectual in the context of anti-imperialist Latinoamericanism, US-promoted Pan-Americanism, and rising populist politics and social movements of the time. Placing Mistral’s gender, class, and racial performances in richer context, Cabello Hutt reveals them as not only groundbreaking and strategically fashioned, but also as a logical product of the tensions, desires, and power struggles of the cultural field of this period—a cultural field in the process of redefining the interactions between the intellectual, the masses, and political and cultural institutions. Further, by mapping out the transatlantic intellectual networks in which Mistral operated—networks that included José Vasconcelos, Alfonso Reyes, Victoria Ocampo, and Joaquín García Monge—Artesana de sí misma also examines the processes of democratization and modernization that transformed the cultural field in the wider region between 1910 and 1940. Artesana de sí misma de Claudia Cabello Hutt reevalúa el lugar de Gabriela Mistral, premio Nobel de literatura, en la historia literaria e intelectual de A, https://docs.lib.purdue.edu/purduepress_previews/1007/thumbnail.jpg

A partir da leitura do epistolário de Anna Melissa Graves, este trabalho recompõe o relacionamento de cumplicidade entre a escultora chilena Laura Rodig e a, até então desconhecida “patrona”, Consuelo Lemetayer. De maneira especifica, esta indagação de arquivo analisa as redes queer de cooperação transnacional e transatlântica nas que essas intelectuais e artistas da primeira metade do século XX participam. De maneira geral, a análise contribui à reconstrução, quando menos parcialmente, de uma história cultural de mulheres escamoteadas pelas memórias nacionais hegemônicas., A partir de la lectura del epistolario de Anna Melissa Graves, este trabajo recompone la relación de complicidad entre la escultora chilena Laura Rodig y la, hasta ahora desconocida “mecenas”, Consuelo Lemetayer. De manera específica, esta indagación de archivo analiza las redes queer de cooperación transnacional y transatlántica en las que participan estas intelectuales y artistas de la primera mitad del siglo XX. De manera general, el análisis contribuye a la reconstrucción, cuando menos parcial, de una historia cultural de mujeres escamoteadas por las memorias nacionales hegemónicas., Based on the reading of the correspondence of Anna Melissa Graves, this work resbuilds the complicity relationship between the Chilean sculptor Laura Rodig and the, until now unknown "sponsor," Consuelo Lemetayer. Particularly, this archive inquiry analyzes the queer networks of transnational and transatlantic cooperation in which these intellectuals and artists of the first half of the 20th century took part. In a general way, the analysis contributes to the (at least partial) reconstruction of a cultural history of women scamped by hegemonic national memories.

Gabriela Mistral and Alfonsina Storni were fully aware that they were living in a time of transition, marked by great economic, political and social transformations. The essays and chronicles they publish in newspapers and magazines between the end of 1910 and 1930 give testimony to their particular point of view about these processes of modernization as well as to their attempts to intervene and destabilize the hegemonic discourses about them. The purpose of this paper is to reflect upon the relationship between Mistral and Storni with certain aspects of modernization, based on their journalistic prose. What does it mean for them, as women, writers and workers, to live in a time of transition? What is their particular vision of a period of radical transformation for women and other disempowered people?, Gabriela Mistral y Alfonsina Storni tuvieron clara conciencia de estar viviendo en un tiempo de transición, marcado por grandes transformaciones sociales, políticas y económicas. Los ensayos y las crónicas que publican en diarios y revistas entre fines de 1910 y 1930 dan testimonio de su particular visión de estos procesos de modernización así como de sus intentos por intervenir y desestabilizar los discursos hegemónicos en torno a ellos. El propósito de este ensayo es reflexionar acerca de la relación de Mistral y Storni con ciertos aspectos de los procesos de modernización a partir de sus ensayos periodísticos. ¿Qué significa para ellas, en tanto mujeres, escritoras y trabajadoras, vivir en una época de transición? ¿Cuál es su particular visión acerca de un período de radical transformación para la mujer y otros sujetos desempoderados?

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Gabriela Mistral, una mujer de un metro y ochenta centímetros de altura, rasgos indígenas, vestir franciscano, que no usaba joyas ni maquillaje, construye una imagen pública compleja y altamente funcional para su éxito como sujeto intellectual panamericano. La imagen pública de los escritores e intelectuales latinoamericanos en las primeras décadas del siglo veinte se crea y se pone en circulación por medio de mecanismos de difusión y recepción que involucran nuevas tecnologías y medios, sobre los que una escritora como Gabriela Mistral posee diversos grados de control. El explosivo crecimiento de la prensa, en conjunto con la importancia progresiva de la fotografía, abrió nuevas formas de difusión, circulación y representación tanto para la obra como para la imagen de los escritores. La imagen pública de Mistral es un producto –inestable y en permanente re-significación– que no está determinada únicamente por representaciones visuales, sino que mediante la interacción de textos literarios, testimonios, imágenes, discursos orales y prácticas simbólicas, que dan forma al ícono cultural que fue y es Gabriela Mistral.

1922 has been described as an exceptional year in what we may (hesitatingly) call the globalising of modernism as an early episode in the contemporary history of ‘World Literature’. For the European and Anglo-American contexts, it was the year of publication of James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, Paul Valéry’s Charmes, Virginia Woolf’s Jacob’s Room, W. B. Yeats’s Later Poems, Henri Bergson’s Durée et simultanéité, Rilke’s Sonette an Orpheus, and the revised edition of Oswald Spengler’s The Decline of the West (1918), to mention a few prominent examples.1 The English translation of Wittgenstein’s Tractatus (1921) also appeared the same year; it was a work, as Michael North indicates, that inaugurated a ‘linguistic turn’ in Western philosophy and thus stands as a proper complement to the linguistic reflection and experimentation practiced by the emerging avantgardes.2 In the Hispanic world, 1922 represented an equally-significant year: to mention a few examples, at this time César Vallejo published his ground-breaking verse collection Trilce, Juan Ramón Jiménez his highly influential Segunda antolojía poética, and Oliverio Girondo his Veinte poemas para ser leídos en un tranvía. In 1920, Miguel de Unamuno had issued his ekphrastic masterpiece, El Cristo de Velázquez, which is worth noting because Christological symbols abound in Mistral, who also wrote at length on Francis of Assisi.

A partir de la lectura del epistolario de Anna Melissa Graves, este trabajo recompone la relación de complicidad entre la escultora chilena Laura Rodig y la, hasta ahora desconocida “mecenas”, Consuelo Lemetayer. De manera específica, esta indagación de archivo analiza las redes queer de cooperación transnacional y transatlántica en las que participan estas intelectuales y artistas de la primera mitad del siglo XX. De manera general, el análisis contribuye a la reconstrucción, cuando menos parcial, de una historia cultural de mujeres escamoteadas por las memorias nacionales hegemónicas.