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The article analyzes the relationship between exile and identity in Uruguayan poet Cristina Peri Rossi. Her poetry collection "Estado de exilio" is examined, and four moments in her journey are identified: pain, castration, integration, and love. Psychoanalysis is used to interpret these stages, highlighting how exile breaks the rigid structures of the subject. The importance of language and writing as ways to overcome the pain of exile is mentioned. The article concludes by emphasizing the possibility of reinventing identity through exile. [Extracted from the article]

This article analyzes the presence of the exile and memorialist issue in Maruxa Vilalta's short narrative. It focuses on three aspects of her work: the stories "Diferència" and "El meu dia foll" and the collection "El otro día, la muerte". These texts reveal different identity levels that range from post-memory to collective and multidirectional memory. The objective of the article is to highlight Vilalta's literary production in relation to her condition as an exile, an aspect that has been little studied in existing academic analyses about her. [Extracted from the article]

The article analyzes the use of dashes in the poetry of Cristina Peri Rossi and its connection with the poetry of Emily Dickinson. Both authors use dashes as a way to overcome the social limits of their respective exiles and sexual identities, as well as of poetic language. Dashes act as dislocation, a locus of eroticism, and dissent from official reading. They are studied in relation to litotes and as a mechanism to propose alterities, identities, and dissident epistemologies in two modalities of exile. [Extracted from the article]

The article reflects on the Chilean literary scene in exile between 1973 and 1982 and the presence of women writers in that context. During this period, women seem to disappear or dilute their presence, but by examining the material produced at the time, a significant number of women can be found as marginal notes. There is a void that makes it difficult to establish links and continuities between the literature prior to the coup and the proliferation of texts authored by women that emerged from 1983 onwards. The objective of the article is to contribute to filling this void and giving them a place in the historical narrative. [Extracted from the article]

This article analyzes the authorial projection of Venezuelan writer Karina Sainz Borgo through her novel "La hija de la española" and her public statements about it. It is highlighted that the protagonist, Adelaida, presents herself as morally superior to those who oppose her politically. Additionally, it is mentioned that the representation of immigrant characters focuses on highlighting their honesty and bravery. The novel is presented as a political critique of the Venezuelan system and presents two opposing ideologies. The author has been criticized for her ideological stance in the novel, although she herself has stated that she is not seeking to make propaganda. The relationship between the author and the work is also analyzed, as she shares the condition of being an exile with the protagonist and has expressed her personal connection to the context of Venezuela. [Extracted from the article]

This article analyzes the literary criticism of María Dolores Arana during her exile in Mexico. Arana collaborated in various periodical publications, including magazines founded by Spanish exiles, where she wrote critical articles and reviews of literary novelties. Her anti-Franco struggle and modern ideological approach are highlighted. Although her exile was definitive, it is argued that her participation in Papeles de Son Armadans marked her intellectual and authorized return to Spain. [Extracted from the article]

The article analyzes the work of Cristina Peri Rossi from a perspective of poetic drift, highlighting the influence of exile on her work and the presence of literary figures related to the sea and travel. The relationship between exile, nostalgia, and writing is explored, suggesting the idea that exile can be seen as a form of reconquest and the search for a new dwelling. The importance of memory in exile is mentioned, and how nostalgia transforms the time of loss into an evocative time. The article also analyzes the novel "La nave de los locos" as a metaphor for exile, and highlights the character of Equis as a representative of exiled subjectivity and identity instability. [Extracted from the article]

The article analyzes the narrative of Argentine writer Tununa Mercado and her relationship with exile. It focuses on her autobiographical texts about uprooting and examines their connection with time and space in exile. It highlights the importance of Mercado's writing as a female voice in the context of exile and mentions her books "En estado de memoria" (In a State of Memory), "La letra de lo mínimo" (The Letter of the Minimum), and "Narrar después" (Narrating Afterwards). The article also addresses the importance of memory and how exile affects the sense of belonging and the spatial and temporal continuity of individuals. It emphasizes the feeling of suspended time during exile and the difficulty of establishing roots in a new place. The text also analyzes the relationship between Mercado's writing and her experience of exile in Mexico, as well as the influence of Mexican culture on her perception of the world. It mentions the importance of minimal details in her writing and how they emerge after a process of incubation. Additionally, it highlights the importance of the everyday in her narrative as a form of subjective reconstitution. The article also raises the question of whether returning to the territory allowed for a re-rooting and the possibility of recovering roots, but points out that the return does not always meet expectations of closing the gaps and restoring pre-exile relationships. It emphasizes the difficulty of return and the feeling of foreignness experienced by exiles when returning to their country. Mercado's narrative reflects this process of return and nostalgia for what was left behind. Overall, the article analyzes the relationship between Mercado's writing and her experience of exile, highlighting the importance of writing as a way to reconstitute oneself and make sense of the experience of uprooting. [Extracted from the article]

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Muchas son las coincidencias y también las peculiaridades que confluyen en estas dos extraordinarias producciones que por sí solas merecen nuestra especial atención. Ambos rodajes se iniciaron durante conflictos bélicos, bajo el fragor de los disparos y la explosión de las bombas como fondo del escenario. En ambos casos, y en esto coinciden ambas películas, el fascismo y el nazismo actuaron como telón de fondo y también en su rápida retirada de la cartelera. La película italiana tuvo el gran mérito de haber salvado la vida a varios cientos de personas: judíos, gitanos, antifascistas... La cinta española quedó sepultada en los archivos de la desmemoria del tiempo durante más de medio siglo y lanzó al exilio a varios de sus componentes.

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.

Copyright of CiberLetras is the property of Lehman College, City University of New York, Dept. of Languages & Literatures 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 purpose of this article is to analyse Elena Garro's poetry compiled in Cristales de tiempo (2008) from a hermeneutical point of view. For biographical reasons, the Mexican author's lyrical production has been relegated to a second line within the 20th century Latin American poetics. For this reason, in this paper we examine some of her most significant poems, highlighting her adherence to a surrealist aesthetic in which the lyrical voice finds no possible refuge other than escape to other realities. [ABSTRACT FROM AUTHOR]

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]

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 Trashumante. Revista Americana de Historia Social is the property of Universidad de Antioquia 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 Andares: Revista de Derechos Humanos y de la Naturaleza is the property of Quito Universidad Andina Simon Bolivar, Sede Ecuador 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 deals with the presence of poetry and poets in the exiled magazine Encuentro de la Cultura Cubana, directed by Jesús Díaz, and published in Madrid from 1996 to 1999. The article takes a tour of the various issues of the publication to approach the space dedicated to poetry and the tribute made to authors such as Gastón Baquero, Dulce María Loynaz, Roque Dalton, Heberto Padilla, Eliseo Diego, Fina García Marruz, Rafael Alcides, among others. Based on these texts, and also appealing to the novel by Jesús Díaz Las palabras perdidas (1992), and one of its protagonists El Rojo, the role played by poetry and poets in the magazine is traced. This function would be twofold: on the one hand, to unite that broken body and divided what is the island of Cuba and, on the other, to highlight the total disagreement between poetry and politics. [ABSTRACT FROM AUTHOR]

El artículo analiza la trayectoria académica, proyección nacional e internacional de Ricardo Nassif entre 1948 y 1984. Por un lado, estudiamos su participación en proyectos y programas de formación docente en el país y en el extranjero, desde su graduación en 1948 hasta 1975. Por otro, la experiencia del exilio obligado a partir de 1975 hasta su muerte en 1984, interpretando su circulación y producción académica en ese contexto de restricciones y posibilidades. El análisis se basa en fuentes documentales y en testimonios y documentos de archivos personales. Nuestro trabajo se suma a las iniciativas que ponen en el centro las trayectorias y circulaciones de actores en el estudio de la producción de ideas en el campo de la educación. También, aporta a la descripción de las experiencias exiliares conosureñas, que significaron interrupciones y reinvenciones profesionales, destierros obligados, vidas profesionales y personales interrumpidas, atravesadas por el desarraigo, las pérdidas y el dolor.

En este artículo reflexiono sobre la vida y obra de la poeta alicantina Francisca (Paca) Aguirre y propongo que la escritura fue su venganza frente a la terrible orfandad y pobreza que le regaló la posguerra. Lo que sus escritos evocan dialoga en este texto con la historia de otra mujer de su generación, mi abuela. En primera persona, planteo enormes coincidencias entre dos vidas paralelas, heridas de guerra en dos continentes, que resistieron una con su voz, otra con su palabra, con el fin de trasmitir a las generaciones que seguimos dosis homeopáticas de posmemoria que atraviesan de Norte a Sur y de Este a Oeste a varias generaciones. El resultado es un diálogo intergeneracional donde la poética del duelo que plantea Francisca, la Paca, Aguirre sirve de pretexto para plantear un ejercicio autobiográfico de homenaje y memoria sobre el canto y los versos como fuentes historiográficas subalternas.

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.

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 Estudios Internacionales is the property of Instituto de Estudios Internacionales de la Universidad de Chile 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 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]

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.

El presente texto aborda la figura de Antígona a través de las diversas recepciones que esta ha tenido en la teoría feminista, particularmente en María Zambrano, Judith Butler y Bonnie Honig, en tanto en cada una de ellas, además de una interpretación, hay un modelo de acción política y de confrontación con la institucionalidad. El exilio, el duelo y la natalidad, modelos que identificamos en cada una de estas autoras, aparecen como tres modelos diferentes, pero que en el análisis se revelan más cercanos y porosos a los posibles cruces. Finalmente, proponemos a partir del término “obediencia promiscua”, utilizado por Butler, una posible respuesta feminista al conflicto irresoluble con el poder institucional.

El presente artículo se propone hacer un recorrido por la vida de la escritora y periodista Tununa Mercado, con el objetivo de situar su experiencia personal y su obra literaria, dentro de una dinámica de creación de saberes que permiten comprender el exilio argentino asentado en México desde una mirada amplia y diversa. Desterrada en 1974, vivió su exilio en compañía de su familia para volver a la Argentina en 1987. Durante su tiempo en México entrelazó el periodismo, la literatura, y el tejido, con el activismo político. Su experiencia previa como docente en Francia, durante la dictadura de Onganía, fue el eje de partida para el proceso de adaptación que viviría años más tarde en un territorio desconocido. Toda esta experiencia quedaría plasmada en su libro En estado de memoria, referente indiscutible de la dinámica exiliar en México y sus múltiples aprendizajes.

En el presente escrito se analiza la trayectoria profesional e intelectual de Néstor Alberto Braunstein (1941-2022), psiquiatra y psicoanalista argentino, exiliado en México en 1974. Formado en la Facultad de Medicina de la Universidad Nacional de Córdoba (UNC), Braunstein fue profesor en la Escuela de Psicología; espacio iniciático de un viaje intelectual y de formación que culminó en el psicoanálisis. Se estudia el lugar que los recintos universitarios cordobeses desempeñaron en la formación intelectual y profesional del personaje, así como en la producción de un libro: Psicología: ideología y ciencia, del cual Braunstein no sólo fue coautor, sino también su principal promotor en México. El libro es una compilación de las clases de Introducción a la psicología, materia que Braunstein, Marcelo Pasternac (1933-2011), Gloria Benedito y Frida Saal (1936-1998) dictaron entre 1973 y 1974; editado por Siglo XXI México, en 1975, se incorporó rápidamente a los programas de las carreras de Psicología en toda América Latina, cambiando la enseñanza universitaria de esta disciplina y se convirtió en la principal carta de presentación de sus autores en el contexto de un exilio numeroso.

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.

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.

Este artículo parte de la aseveración de que aquello que se ha denominado “campo intelectual” tiene, en el caso paraguayo, una territorialidad fragmentada por el exilio y la migración. Esto no es novedoso, pero sí permite resaltar, en segundo lugar, que ese quiebre geográfico implica también una fragmentación temporal, pues la introducción –en ese campo– de los discursos (por lo general, críticos y disidentes) del exilio se da de modo diferido, como rescate tras el regreso de la democracia. De modo que esos textos se presentan al mismo tiempo modo inaugural y ya como archivo (en sentido foucaultiano), con distintas capas de historicidad. Para graficar esto, presento aquí algunos casos (Ramiro Domínguez, Oscar Creydt, entre otros) como disparadores, para nada determinantes. Finalmente, la propuesta de este artículo es que el rastreo de ese archivo permite la reconstrucción de una “memoria discursiva” a través de las esquirlas que esos textos clandestinos desperdigaron, de modo oculto, en el devenir de una posible historia intelectual para el Paraguay.

Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras 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 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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