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Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 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.)

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc 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 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 case study discusses Argentine author Luis Pérez, Gaucho literature, 19th century Argentine popular literature, literary canon, and the political response to Pérez's writings in Buenos Aires, Argentina in the 1830s. The author uses historical sources which include Pérez's papers, letters written by his contemporaries, and printed criticisms of Pérez written by the city of Buenos Aires which describe him as seditious, criminal, and a "tavern orator."

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]

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]