This article presents a reflection on the concepts of fusion and fission as applied to the Mexica pantheon. We will explore how these concepts reflect both divine polymorphism and the complementarity of divine actions. The aim is to demonstrate the necessity of viewing deities not as isolated entities, but as beings integrated into a rhizomatic network, governed by the principles of duality and complementary opposites. In this context, we will also examine the dual conception of the pantheon and the relevance of distinguishing between gods and goddesses.
Spanish accounts of the Conquest and colonization of Mexico's central high plateau mention Indian populations that were naturally hairless and tended, through the use of depilatory practices, to maintain a glabrous body and face. Nevertheless, pre-Hispanic manuscripts depict several deities with beards. This article focuses on these bearded divinities, highlighting the links between beards, power, origins and ancestrality.
The goal of this article is to test the "hard core" theory, purposed by Alfredo Lopez Austin, about mesoamerican cultural continuity, by the contrast between funerary practices developed in central Mexico on two different periods: the Preclassic (2000 BC-200 AC) and the late Postclassic (1200-1521 AC).
This article focuses on the study of the intendants of Louisiana and West Florida. This is a study whose primary objective is to highlight the common characteristics of the careers followed by these men but also their singularities. This work also aims to reveal the clientele and family networks of these men, both at imperial and local levels.
Literary duets express one of the most positive connections in the field. This study of Argentine novels spans the period from 2012 to 2022. The exploratory-descriptive phase considers five duets, and the critical reading addresses thematic and generic aspects. Under the shelter of their atmosphere, a vast phantasmatic repertoire emerges through transformation, contributing new elements in terms of themes to the work.
Lopez Austin has demonstrated that in the Mesoamerican world complementary forms express movement, and has highlighted the torzal (malinalli) as a powerful symbol of dynamism. The examination of several pre-Hispanic almanacs (Vatican Codex B, Fejervdry-Mayer and Laud) demonstrates the use of other plastic figures based on complementarity to achieve the same objective: helices and spirals with inverse rotation and xonecuilli.
The palimpsest resulting from Alicia Migdal's poetic construction in her novel El mar desde la orilla is made up of personal memories that she places mainly in the city of Montevideo, and of reminiscences from a diversity of artists' works. I will explore reasons for the multiplication of perspectives that the story adopts to articulate the painful theme that afflicts her and distances her from the present.
In a futuristic universe, the "sonic territories" of Cohen's fictional Buenos Aires, characters from the underprivileged suburbs question the fit between the aged lyrics of tango and their current social reality. "Merigfiel" and "melonche", these rewrites of cumbia villera, are also spreading to the upper classes. Through this music, Impureza explores the representation of reality in contemporary Argentine literature.
Focusing on the delay in the investigation of human rights (HR) violations by the dictatorship in the first democratic governments, we aim to describe the stages since it began in 2005, highlighting its effects on public debate, justice and the educational system. In the last two decades knowledge of HR violations during the dictatorship has increased significantly; however, resistance persists in institutional and social spaces.
During the period of the civil-military dictatorship, the Montevideo Police Headquarters sought to expel sex-gender dissidence from public space and to moralize society by defending the traditional cis-heteropatriarchal family. Based on the analysis of the files of homosexuals, lesbians and transvestites of the National Directorate of Technical Police of the Montevideo Police Headquarters, this article seeks to analyze the selectivity of police repression, to determine the changes in the intensity of this repression during the authoritarian period and to complexity the testimonial accounts that are known to date.
For more than 150 years, Uruguayan identity was marked by the absence of Indigenous populations, distinguishing it from other South American countries. The extermination of Indigenous peoples was attributed to the Salsipuedes genocide of 1831. This work examines historical data, but primarily genetic evidence, to demonstrate that the extermination was not complete. 34% of the population has Charrua maternal ancestry, while the biparental contribution reaches 14%. Genetic information is discussed in the context of history, demography, and especially national identity, with an emphasis on the invisibilization of Indigenous peoples.
The aim of this article is to study the representation of Uruguayan activist networks in El mundo nuevo (2021), published by Gabriela Schroeder Barredo and Ignacio Ampudia, questioning the genre of testimonial novel theorized by Miguel Barnet. This text offers the opportunity to analyze the relations between historiography and literature as creation's tools of a fictionalized representation of recent past as part of a personal, intimate and memorial process.
This work seeks to contribute to the construction of historical consciousness of the last military dictatorship through a threefold approach. First, by examining how theater helps shape alternative forms of memory. Second, by highlighting the dictatorship's unique impact on specific subaltern groups, particularly the Afro-Montevidean community. And third, by centering this community's own perspectives, as expressed through its narratives and artistic traditions, including certain genres of carnival theater -a form of popular theater. Finally, this study reflects on the significance of these artistic expressions taking place within the popular public sphere.
In this article we propose to analyze from a historiographical and comparative perspective the chronicles on the destruction of Tenochtitlan of 1521 and the sack of Rome of 1527, emphasizing the work of the humanist Juan Gines de Sepulveda (1490-1573). The Cordovan was present in the Vatican during the sacking of the imperial troops and wrote revealing texts about the conquest of Mexico. As we will see, his defense of Castilian reputation was always accompanied by a search for historical truth. We will analyse his treatises, his chronicles and his letters to understand the dilemma that marked his work.
Based on notions such as "post-memory" (LaCapra, Hirsch) or "subjective turn" (Sarlo), and on the observation of a progressive depoliticization and questioning by "the children", of the militancy of the seventies, my analysis proposal focus on exploring wherein lies the novelty of the languages, aesthetics, themes and rhetorical procedures that the twenty-first century has found to tell the story of the recent past of violence and exile in the Southern Cone. Always beyond the univocal testimony or the reliable chronicle, both omnipresent in the last decades of the 20th century, today there is a re-politicization of the body and a dignification of the intimate sphere, of the affections and pain of each life story. I will center the analysis on the documentary film Tus padres volverdn (2015), by Pablo Martinez Pessi. In this recently initiated 21st century, the film, polyphonically or chorally, in a distinctive and legitimately depoliticized way, tells that journey of "the children" in 1983, that brought forth the opening in the last period of the Uruguayan civic-military dictatorship (1973-1985), but that also had consequences in the personal sphere.
This article explores samples of research on the developments in Uruguay over the past twenty-five years regarding the recognition of its historical ethnic and racial multiculturalism. Specifically, it examines how public policies aimed at recognition and redistribution have been implemented to benefit Afro-descendant and Indigenous populations. While these advances represent significant progress, they remain incomplete and require broader application. These achievements are the result of persistent efforts by organized groups advocating for the acknowledgment of Uruguay's multicultural heritage and the significant contributions of Afro-descendants and Indigenous peoples to the nation's cultural fabric.
In the rich oral narrative tradition of the Ikoots (or Huave), the story of a miraculously conceived child is very widespread. With his superhuman powers, he created a substantial part of the features of the lagoon territory from which they obtain their sustenance and, due to the ingratitude of his countrymen, he emigrated and lavished on other places the prosperity due to his gifts. The article analyzes some versions of this narrative in light of Alfredo López Austin’s theories about the mythical exploits of the “anecumene time” and the adaptations that indigenous peoples make to the enduring models drawn from the “hard core” of their repertoire.
