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Part of the poetry of Abigael Bohórquez (1936-1995) can be read as poetry of homosexual testimony. Specifically, his last collection of poems, his poetic testament, Poesida (1996), allows for this reading, since this cruel but supportive document seeks to put shame on the side of the heteronormative discourse, the one that reacted by condemning homosexual practices at the height of the Hiv/Aids pandemic in the 1980s & 1990s of the 20th century. Poesida will be studied from the poetics of misrepresentation, as a proposal for analysis for the dissident resistance to the discursive normalization that the collection of poems offers, both in the confrontation of the literary tradition, as well as in the poetic space and in the autobiographical references. Bohórquez builds a mural, a testimony, a series of songs and portraits so as not to forget, dignify and resist the shame with which they tried to classify those who died with the weight of stigma and guilt. [ABSTRACT FROM AUTHOR]

This article reviews the history, context, topics, and texts of Larvaria magazine (2018-2019), which in the course of one year only published poems whose theme was not love. Seven announcements and six issues were published with great acceptance from unusual audiences for literary magazines, such as high school students and prisoners. Most of the poems were written by young people under 30 years old. Part of the key to its success is seated in the opening of a social media webpage that accompanied the creation, growth and closure of the magazine; beside this, by means of images and publications, questions were raised over orthodox and outdated definitions of what is poetry and what does it mean to be a poet. Larvaria gained the support of a net of independent magazines which allowed its distribution, promotion, dissemination and sale throughout Mexico and other countries. [ABSTRACT FROM AUTHOR]

Copyright of Liminalities is the property of Liminalities 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 ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses 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 aims to study the poetic image of ruin as a way of responding to the inevitable passage of time in Como la lluvi [2001-2008] and La edad de las tinieblas [2009]. The enunciation in both books is based on the authorial voice that perceives the proximity of his own death, while identifying a world increasingly immersed in destruction. Ruin, then, is crossed by the topic of time as a mark of destruction and a sign of death. However, as we analyze in this article, time also makes it possible, through the value of the instant, to counter that ruined world and rescue the value of poetry. [ABSTRACT FROM AUTHOR]

Copyright of Revista Interdisciplinaria de Estudios de Género de El Colegio de México is the property of El Colegio de Mexico AC 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 paper analyzes five excerpts from the North American Free Trade Agreement (nafta) that have been subjected to intervention, through a work of erasures and overlays to the original document, which appear in the intervention as a mellow-grey watermark, in Hugo García Manríquez's Anti-Humboldt. This article aims to read the original document along with the bold words selected by the author in order to extract a sense that challenges the increasingly tightened migration policies on the United States-Mexico border. What this approach produces is a counter-discourse that proclaims for the territorial opening and the decriminalization of the border crossing. This work thus presents an oblique proposal which highlights the segregationist ideology hidden behind the proclamations of freedom and harmony of the agreement. [ABSTRACT FROM AUTHOR]

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.)

The article presents an examination of the history of railroads in Mexico. It focuses on the representation of railroads in art, poetry and literature intended for middle- and upper-class audiences during the period of modernization that coincided with the administration of Mexican President Porfirio Díaz. It discusses how the upper and middle classes responded to progress and modernization and explores the anxieties that these groups held over the social and cultural changes that accompanied modernization and the growth of railroads

The life of Octavio Paz practically coincides with the 20th century, and his judgements on history thus come from an uncommonly wide span and perspicacity. This article explores this vision of an empire and a rebellion in two cases which he knew well: Mexico and India. Every empire carries within itself the seed of its destruction and every rebellion is a debtor to the empire which it hates, this appears to be the synthesis of the paradox which Octavio Paz ventures. This conception is not far from the poetics of the Mexican; this is another aspect which this article takes in precision. [ABSTRACT FROM AUTHOR]

This essay examines the emergence of Maya women poets in Mexico and Guatemala within the context of a larger indigenous movement that claims its right to cultural difference. I argue that while Maya women are positioned inter and intra official nationalism, ethnic nationalism and western feminism, they create their own multidimensional subjectivities through poetry. The analysis focuses on the resignification of traditional cultural symbols and the negotiation of culture, power, gender and genre in their poems. Taking examples from three regional locations, my work explores the ways that contemporary Maya women poets rewrite the past and reinvent themselves through the appropriation of conventional literary forms. This essay engages the work of Briceida Cuevas Cob, Calixta Gabriel Xiquín, X'vet Ruperta Bautista Vázquez, and Maya Cú. Overarching questions of language, the production of other knowledges, and the "engendering of ethnicity" frame the discussion. [ABSTRACT FROM AUTHOR]

After a presentation of some of the outstanding deeds in the life of Juana Inés de la Cruz, in the first part, we intend, in the second part, to point out her lyrical production, emphasizing particularly the baroque character or her poetry. We analyse the first few lines of the poem Primero sueño, and we present a global view of this important poem, the most significant one of the Mexican writer. [ABSTRACT FROM AUTHOR]