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Copyright of Ciência & Trópico (03042685) is the property of Fundacao Joaquim Nabuco 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 Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 Revista Poligramas is the property of Universidad del Valle 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.)

Este texto es una reseña del libro O mundo desdobrável: ensaios para depois do fim, de la escritora brasileña Carola Saavedra. Se intentó mostrar cómo los ensayos contenidos en la obra despliegan la pregunta “¿Qué puede hacer la literatura?”. Hacemos también algunos apuntes sobre lo que llamamos “inconsistencia teórica” de la obra, indicando, al final, las posibilidades que vislumbra Saavedra para la literatura de los próximos años.

In 1938, Graciliano Ramos publishes the work Vidas Secas that fits into Brazilian Modernism, highlighting the tragic life of the migrant. Thus, this research aims to investigate, under the method of French Discourse Analysis and the Ecocritical perspective, the man-environment relations and the representations of the countryside and of the backwoods that the author outlines, also dialoguing with the human feeling. which is awakened in the dialogue with the place and the environment, bearing in mind the concepts of topophobia and topophilia. As main results, it can be said that the discourses present in the narrative predominantly demonstrate the feeling of horror (topophobia) of the Caatinga, in a tone of social criticism, due to the problems resulting from the drought. Therefore, Ecocriticism and Humanistic Geography (topophobia and topophilia) are fertile areas of interdisciplinary knowledge, with a view to revealing human-environment relations. [ABSTRACT FROM AUTHOR]

Between 1961 and 1962, Carolina Maria de Jesus travelled to Argentina, Uruguay and Chile to promote her book Quarto de despejo (Child of the Dark: The Diary of Carolina Maria de Jesus). The record of her journey was published in the appendix of Casa de Ladrillo, under the title Diario de viaje. This article presents the writings on her travels through Buenos Aires, Rosario, Córdoba and Mendoza. In addition, the paper discusses the effects caused by a Black intellectual in transit through Latin America. In dialogue with theorists of ethno-racial issues, we seek to demonstrate the importance of the Brazilian author's international tour in providing legitimacy to Black people as traveling and intellectual bodies that think of the region from their base. The discussion proves relevant given the need to expand studies on the narratives of black women in displacement. [ABSTRACT FROM AUTHOR]

Copyright of Caravelle: Cahiers du Monde Hispanique et Luso-Bresilien is the property of Presses Universitaires du Mirail 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 Letras de Hoje is the property of EDIPUCRS - Editora Universitaria da PUCRS 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 Odeere is the property of Edicoes UESB 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.)

La comunidad negra estuvo subrepresentada en la literatura brasileña en el pasado y tuvo su historia interpretada por el entendimiento blanco, sufriendo una interposición en su discursividad, que relegó a esos individuos a múltiples silenciamientos como consecuencia del racismo. En este artículo se analizan datos que muestran una resemantización de narrativas literarias que representan aspectos vividos por este colectivo, así como la autoría y predicación negra. A través de una metodología exploratoria, que consideró tanto aspectos cuantitativos como cualitativos, fue posible conocer un nuevo escenario literario emergente en Rio Grande do Sul, como resultado de la resistencia de ese estrato étnico. La representación contemporánea de esos sujetos marca una reelaboración social que se ficcionaliza, respondiendo a las demandas de nuevos lectores que desean verse escenificados y humanizados, que sus historias sean contadas por quienes viven en esa realidad y pueden legítimamente hablar sobre el tema. Las recientes inversiones en políticas públicas, encaminadas a la emancipación de este colectivo, aportaron una resignificación social que produjo un efecto protagonista, tan deseado en el tiempo. Estos hallazgos fueron observados a partir del análisis de la literatura gaucha elaborada por autores negros en las dos primeras décadas de este siglo.

Este texto se basa en dos críticas a la centralidad del proyecto modernista brasileño, una de Franklin Távora, con motivo de la conmemoración de los 70 años de la Semana de Arte Moderno del 22, y la otra de Luís Augusto Fischer, en el libro Duas formações, uma história: das ideias fora do lugar ao perspectivismo ameríndio, con motivo de las celebraciones del centenario, este año 2022. El libro de Fischer no versa precisamente sobre el centenario, sino que se organiza a partir de la crítica a la constitución de la Semana de Arte Moderno como punto cero y terreno infranqueable de nuestra modernidad, que borraría otras formas posibles de pensar la historia de la literatura brasileña de forma distinta a la actual. El artículo responde a ambas críticas con algunos ejemplos de relecturas de Mário y Oswald de Andrade que muestran cómo sus obras aún resuenan (a través de sus fracasos y sus éxitos) en la literatura y el arte contemporáneos.

The following essay analyzes "As enfibraturas do Ipiranga", the final poem of Paulicéia desvairada, by Mário de Andrade. The poem written in 1921, which imitates the form of a secular oratory performed by the entire population in the center of the city of São Paulo, offers an anticipatory, allegorical, and problematic vision of the modernist movement of 1922. Here, the aesthetics disputes are presented as permeated by social clashes in the open amphitheater of the city. The impasses of the modernization process in Brazil that are present in the poem continue to resonate, like an echo, a hundred years after its writing. [ABSTRACT FROM AUTHOR]

El presente trabajo tiene como objetivo presentar una visión general de las producciones contemporáneas actuales de sagas fantásticas en Brasil y sus principales características. Las sagas fantásticas son una modalidad narrativa de historias en serie cuya característica principal es la institución de un universo único que definimos como paracosmo (MARTOS GARCIA, 2009). Para conceptualizar sagas fantásticas utilizamos los estudios de Martos Núñez (2006, 2007), Martos García (2009, 2010, 2011) y García Rivera (2004, 2006, 2013) como marco teórico, dialogando con conceptos de otros autores (BOURDIEU, 2013; JENKINKS, 2009; BAKHTIN, 2002; BECKETT, 2009; CAMPBELL, 2007, entre otros). Por lo tanto, a partir de los autores mencionados, creamos una posible delimitación / clasificación de fantásticas sagas brasileñas por líneas, de acuerdo con la estructuración de sus paracosmos. Hemos definido cuatro líneas posibles. Así, este estudio presenta una visión general de las fantásticas sagas en Brasil, a partir de la definición de sus tipologías.

Fonseca, I. M. (2017). Textualidades Indígenas Watunna – Mitologia Makiritare. Boa Vista, Roraima, Brasil: Editora da UFRR. Isabel Maria Fonseca, residente en el Estado amazónico de Roraima (Brasil) y profesora del Instituto Insikiran de Formación Superior Indígena de la Universidad Federal de Roraima (UFRR), publicó en 2017, con la editorial de la UFRR, el libro Textualidades Indígenas Watunna - Mitología Makiritare, resultado de la investigación para su TFM y del trabajo de campo realizado entre el pueblo ye'kuana. Su obra pretende contextualizar y presentar este texto de la tradición oral ye'kuana, que representa su visión cosmogónica y los paradigmas culturales ancestralmente seguidos por esta sociedad. Además, este trabajo de Crítica Literaria presenta esta narrativa como característica del discurso literario, corroborando, a través de un diálogo con varias voces eminentes de la Crítica Literaria Brasileña, la necesidad de considerar las narrativas indígenas como parte de la Cultura Literaria de Latinoamérica y de un Brasil plural.

El pensamiento de Antonio Candido está permeado por una totalidad heterogénea, en la que se construye una historia de los empeños de una literatura periférica por llegar a constituir un sistema y una tradición. Esta literatura está definida en identidad, pero también en diferencia, dentro de los archivos de la “civilización”. La historia de la literatura brasileña se erige desde las tradiciones centrales y occidentales y las domésticas. Además de señalar su aspecto humanista moderno a partir de esos conceptos, se releva el americanismo (o el brasileñismo) mesticista de Antonio Candido, creencia compartida por la gran mayoría de los intelectuales latinoamericanos del siglo XX. Lo apoya su inspiración hegeliana y marxista que reitera tanto la transitoriedad de la coherencia de una unidad, creando “un equilibrio inestable” de ese sistema epistemológico, como la disrupción e inconformismo que lo movilizan y la desconfianza en la doxa naturalizadora de cualquier clase que sea.

Copyright of Letras de Hoje is the property of EDIPUCRS - Editora Universitaria da PUCRS 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 Álabe is the property of Alabe 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.)

El artículo analiza las visitas de los escritores Paulo Barreto (1915) y Julia Lopes de Almeida (1922) a Argentina, en el contexto de la diplomacia cultural informal desarrollada por los diarios de Buenos Aires y de Río de Janeiro, procurando establecer el impacto que pueden haber tenido en la circulación de la literatura brasileña en publicaciones periódicas argentinas. Se destaca la retórica de la gran prensa comercial y de los mencionados escritores sobre el periodismo y los viajes y se discute el papel que el mercado de lectores de Buenos Aires desempeñó en la formación del campo literario en Brasil.

In 1938, Graciliano Ramos published the novel Vidas Secas. A “little book without landscapes, without dialogue and without love” that has become one of the classics of literature. In 1968, Nelson Pereira dos Santos adapted this “dry little book” and produced one of the classics of Brazilian cinema. The proposal of this article is to show how Graciliano Ramos looked and translated the landscapes into literary images and how Nelson Pereira read the words of Graciliano Ramos and transformed them into cinematographic images. Specifically, the article will focus on the understanding of how the arrangement of words and images in the construction of the narrative keeps a work current and provokes readers and viewers, keeping the work always read, seen and studied.

In an intersemiotic perspective, we think about the process of narrative transformation from the literature to the movie, analysing the movie Lavoura Arcaica, directed by Luiz Fernando Carvalho, based on the novel by Raduan Nassar. The novel, narrated in the first person, finds an enunciative filmic complexification. André tells the episodes of his return to the paternal house, describing the atmosphere and the reflection of the character in a complex space-time process. The film rescues, through the feature of the voice off, the literal speech of the character of the novel. However, this discourse becomes a secondary enunciation in the film due to the enunciative heterogeneity of the movie, marked by the presence of the image and the varied narrative resources (diverse sounds, intra and extradiegetic music, etc.).

Copyright of Revista Poligramas is the property of Universidad del Valle 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.)

En este artículo se elabora una lectura del relato del escritor brasileño Machado de Assis, El alienista. Se propone un primer acercamiento al análisis de este texto literario y de este escritor tan importante y olvidado en la academia costarricense. La lectura versa sobre el tema de la locura, dando luces sobre todo a la institución que ha pretendido dominarla: la psiquiatría. De tal forma, este trabajo reflexionará acerca del surgimiento del alienismo como discurso, como institución y poder que ha construido la figura del alienado, para luego destinarlo al encierro.

En este trabajo se dibuja un panorama general de un fenómeno literario contemporáneo en Brasil, generalmente identificado por la nomenclatura de literatura indígena. Primero, son presentados algunos cuestionamientos acerca de esta literatura a partir de la lectura antropológica emprendida por Gell y Danto acerca de las idiosincrasias de la obra de arte indígena y de las cuestiones referentes a su aceptación en Occidente. Se referencia, aún, la aplicación de las consideraciones hechas en los años 80 por Roemer cuando éste estudió la literatura de los indígenas estadunidenses. Por fin, a partir del análisis de corpus compuesto por trece libros escritos por indígenas brasileños, son presentadas sus principales características y son propuestas una serie de reflexiones, unas respaldadas en las teorías anteriormente exhibidas - y por tanto, generales - y otras pertinentes exclusivamente al caso brasileño.

Reseña crítica de ¿Por qué Brasil, qué Brasil? Recorridos críticos. La literatura y el arte brasileños desde Argentina editado por Roxana Patiño y Mario Cámara. Editorial Universitaria Villa María: Villa María, 2017, 318 páginas.

This research finds support on Mikhail Bakhtin and the Russian Circle's ideas, concerning the language and its interaction within a social context. With this theoretical basis, the paper analyzes the Brazilian works No chão da fábrica, by Roniwalter Jatobá, and De mim já não se lembra, by Luiz Ruffato, both written in the 20th century. We focused on the socioeconomically deprived characters from poor regions of Brazil that migrated to São Paulo in search of a better (material) life. They restrain in their own speech, where stand out the social class contradictions, since there is a conflict between the degrading work conditions in the factory activities with which they are involved and a certain ennobling ideology within the labor universe. The working class assimilates what discursively elevates the bourgeois' labor, but the last clashes with the inhospitable reality of the labor setting; consequently, that conflict dislocates the discourse in relation to the quotidian praxis. [ABSTRACT FROM AUTHOR]

This article offers a perspective on the national problem present in the brasilian regionalist novel A bagaceira (1928), by José Américo de Almeida. Its main character, Lucio, young reformer of the nordestine fazenda, tries to found a new national community by binding together two confronted cultural worlds: the brejo and the sertão. First, I derivate the structure of the novelistic world from Lucio´s personality; according to this, the reading of nature (sensible world) provides the knowledge of the brasilian culture. Nonetheless, the national synthesis fails because Lucio doesn´t consider this reading nor does he transform its inherited image. My thesis is that this situation is due to an epistemological shift: from the medieval model, which recognises the imaginary as valid foundation for effective knowledge, to the modern model, that detaches the imaginary from the realm of experience. [ABSTRACT FROM AUTHOR]

In a decolonial perspective, this article visits two novels, written by Brazilian authors, whose protagonists are also women: Amrik, by Ana Miranda, and Ponciá Vicêncio, by Conceição Evaristo. The notions of epistemological disputes and the ecology of knowledge of Boaventura de Sousa Santos serve as an impetus to identify which knowledge is at stake in the narratives and to understand how they relate, blend or oppose western hegemonic knowledge. This political and literary analysis shows us that the diversity of the world, in its inexhaustible character, does not admit a single adequate epistemology, but demands an ecology of knowledge that encompasses the equally inexhaustible diversity of non-canonical experiences of knowledge. [ABSTRACT FROM AUTHOR]

Rachel de Queiroz and Lygia Fagundes Telles appeared in the Brazilian literature not just because their literary talent, but mainly for being women in a scene predominantly male and for giving voice to female and strong characters in a conservative education context. In their books, both the authors in a certain way have reported the problems of a generation of women who were limited by social values rooted in a patriarchal and Christian culture over the XX century. The parallel drawn here between As três Marias, by Queiroz (1939), and As meninas, by Telles (1973), clarifies this point. Through the comparison between the two texts, we discuss in this article questions as the social role and sexual liberation of women in this system, beyond the female emancipation, the pressure of social conventions and the few life options that women had access especially in the first half of the XX century, debating paradigms under the social diversity and the female perspective. [ABSTRACT FROM AUTHOR]

This article was originally written for the exhibition "Biblioteca Ayacucho: un sueño de religación continental", with curatorship of Marcela Croce. The event took place on July 1, 2019 at the University of Buenos Aires (UBA). The text in question was devoted to discussing the intellectual relations between Ángel Rama and the group of Brazilians in the light of the process before and after the formation of the Venezuelan publishing house, coordinated by Rama and José Ramón Medina from 1974. We back in this way the correspondences between the Uruguayan critic and the Brazilian group that directly participated and contributed to the figuration of Brazilian literature in the Ayacucho Library. This group was composed mainly (although not exclusively) of Antonio Candido, Darcy Ribeiro, Berta Gleizer Ribeiro and Gilda de Mello e Souza. For that, the documentation recently compiled, analyzed and published in Brazil and Uruguay was considered by Haydée Ribeiro Coelho (2015) and Pablo Rocca (2016), experts in the participation of Brazilians in the Ayacucho Library and in the critical work of Ángel Rama. In this way, we intent to problematize the emergence of lines of influence between the Uruguayan critic and the Brazilian group in the context of Latin American transit or exiles, prioritizing in intellectual relations the cultural intersections that led to the entrance - for the first time systematized and methodologically elaborated - of Brazilian literature in the process of establishing the Latin American intercontinental canon, as developed unprecedented since the insertion of Brazilian literature (and others) in the Ayacucho Library. [ABSTRACT FROM AUTHOR]

Copyright of TRANS: Revista de Traductología is the property of TRANS: Revista de Traductologia 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.)

A critique is developed for unnatural narratives, which respond to a new narratological schema understood in anti-mimetic terms. The main characteristics of these narratives are described in relation to concepts such as reader, time or narration, regarding the development of experimental literatures and within the context of a politics of the impossible that aims to set up (post) postmoden alternate ontologies through the representation of possible worlds that evade social reality and whose sociological role is social control. In addition, the internal contradictions of these unnatural narratives are emphasized.

Mi trabajo explora el modo en que la novela Un soplo de vida, de la autora brasileña Clarice Lispector, reflexiona sobre la relación entre vida y escritura a través de la remisión a un sistema cosmogónico creado por la propia Lispector y que estaría sustentado en una serie de mitos de emergencia, como los llama Mircea Eliade, a los que he atribuido el nombre de Madre Árbol, Cópula Universal y Mensajeros Paganos. Se argumenta que la lectura de la novela a través de dichos mitos muestra una concepción de la realidad que podría calificarse como “divina”; realidad en que la escritura se va configurando como el producto de una suerte de transmutación de la conciencia creadora.

Este artículo reflexiona sobre las manifestaciones literarias oriundas del universo indígena brasileño. Se plantea una reflexión acerca de lo que podríamos llamar etnopoesia, en cuyo universo mito y poesía se corresponden. Se trata no sólo de problematizar la antigua historiografía de la Literatura Brasileña que desconsidera - en la discusión sobre sus orígenes -, las producciones literarias precoloniales de matriz oral que sobrevivieron a la colonización, sino también de devolver potencia a la literatura entendida como pensamiento salvaje. Por medio de una concepción perspectivista, según la cual no tiene sentido pensar en la "naturaleza" y en la "cultura" como elementos diferentes, buscamos responder a las siguientes preguntas: ¿Qué nos pueden enseñar las poéticas amerindias? ¿Qué está en juego en la ética de su heterogeneidad? ¿Cómo podemos, en vez de dar voz a ese otro, permitirnos oírlo? ¿Qué posibilidades de experiencias interculturales pueden brotar de una poética de la alteridad - nacida del contacto con las manifestaciones literarias indígenas? Se incluyen en este caso las producciones literarias contemporáneas inspiradas en la poética amerindia, como es el caso de las traducciones / transcreaciones de Josely Vianna Baptista de los cantos que integran el Ayvu rapyta, de los Mbyá-Guarani. Abstract This texts reflects about the literary manifestations from the Brazilian indigenous universe. It is intended a diving process in what we call ethnopoetry, where the myth universe and poetry are related. It’s is not just out to problematize the old historiography of Brazilian Literature that disregard- at the discussion about the origins – the pre-colonial literary production of oral matrix that survived to the colonization, but also to return the potency to the Literature understood as wild thinking. Through a perspectivist conception, where it does not make sense thinking about “nature” and “culture” as distinct elements, it is desired to answer the following questions: what can be taught by the Brazilian indigenous poetry? What is in the game in the ethics of its heterogeneity? How can we, instead of giving voice to the other one, permit ourservelves to listen to it? And what possibilities of intercultural experiences may flush of a poetry of otherness – born in the contact with indian literary manifestations. It is added in this case the contemporary literary production, inspired in the Brazilian indigenous poetry, as the case of translation/transcriptions of Josely Vianna Baptista of songs which make part of Ayvu rapyta from Mbyá-Guarani.

Este artículo buscará pensar de qué manera la literatura brasileña aparece en la pugna por formar parte de una literatura-mundo. A partir de la imposición misma de una economía pensada en la relación de mundo presente en el vocablo globalización, la proposición de Goethe de una literatura mundial pasa a ser el punto de partida para el estudio de esa inserción. Se observa que reservar un espacio periférico dentro del peculio común del mundo a las literaturas de América Latina no es suficiente para incluirla en el discurso de lo “mundial” y mucho menos para llevar a cabo lo que Spivak llama “una competición limpia”. Más especificamente, es de nuestro interés pensar el caso de Brasil dentro de América Latina, su posición aún más periférica en relación a la inserción en la literatura-mundo, y que tiene, sin embargo, otras resonancias a partir de los estudios de Franco Moretti y de las nuevas publicaciones de Machado de Assis en los Estados Unidos, que dieron visibilidad a la crítica brasileña que aborda estas cuestiones.

In contemporaneity, realism as a narrative form and approach is being quite commented on by the theory and the critics. In the Brazilian context, some specialized critics, when trying to delimit the contemporary, highlight realism in direct relation to the super exposition of violence, seen as one of the main themes of today. In that sense, expressions such as "brutalist" (BOSI, 2002) and "fierce realism" (CANDIDO, 2011), for example, brush the analyses of works that conjugate violence and realism. However, despite the profusion of narratives that are constructed upon this binomial, the proposition of this work is not to associate realism with marginality or violence. Through the reading of the novel Crow Blue, by Adriana Lisboa, published in 2010, we intend to work with the experience of what Schøllhammer identifies as "affective realism" (2002, 2004, 2011, 2013). [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo 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.)

In this research, we will approach Raduan Nassar writing, paying attention to the modus operandi of the writer. Considered a prose-poetic attempt we will for the textual fabric of the novel Lavoura Arcaica, published in 1975, in order to understand how they engendered the themes elected in a lyrical language set in prose, as well as analyze the ambivalence of discourses of the protagonists in this not often read work. Thus, we aimed to know a little more nassariana literary creation, whose artistic and literary writing takes into consideration dense and key issues for the human being, through a lyrical-poetic language very strong and in constant dialogue with other discourses.

The present work analyses, under an anthropologic perspective, each one of the phases of the rites of passage lived by the protagonists of Guimarães Rosa’s Campo geral and Mia Couto’s Terra sonâmbula, trying to track in these texts the elements related to the traditional societies’ culture and trying to identify the meaning of the mentioned elements in the specific context of the authors. The two writers mix these primitive components with the regional culture and therefore achieve, starting also from the local representations, to reach a universal extent.

Traducción de algunos fragmentos del libro más reciente de la poeta brasileña Angélica Freitas —nacida en la ciudad fronteriza de Pelotas, en 1973—, se trata de un libro de una radicalidad inusitada en nuestro continente: Un útero es del tamaño de un puño.