En este trabajo me interesa destacar de qué manera, apoyándose en un amplio marco teórico y en el concepto de heterogeneidad cultural, José Antonio Mazzotti desarrolla aquellos niveles de la obra del Inca Garcilaso que corresponden a la tradición discursiva andina, principalmente de carácter oral, y a la pervivencia de ciertos símbolos de la corte cuzqueña, hasta ahora menos estudiados que la presencia de la historiografía clásica y renacentista. Al reconocer el diálogo de Garcilaso con esa doble tradición, Mazzotti asumió un acercamiento menos convencional a las obras del escritor cuzqueño, en particular a los Comentarios reales, que ha logrado expandir el campo interpretativo de sus obras y abrir nuevas vías para su lectura.
The purpose of this work is to analyze a set of stories from Creaciones (1881) by Eduarda Mansilla in which elements of the Gothic literary tradition appear linked to the uses and figurations of the affective and sentimental and to gender-generic constructions. The Gothic and its imaginary are associated with an emotional excess and/or an experience of transgression embodied by characters whose sentimental overflow may in some cases be redirected and, in others, will reveal their non-correspondence with a conception of “domestic love” based on a functional affectivity to the matrimonial institution.
"This essay explores, through epigraphic intertextualities and the concepts of “Hyperreality,” “Simulacrum,” and “Simulation” as developed by French philosopher Jean Baudrillard, the ways in which José Antonio Mazzotti recreates (reconstructs) the notion of “city”—a concept underlying Charles Baudelaire’s Les Fleurs du mal (1857)—and reconfigures the urban experience within the framework of the postmodernity in his poetry collection Las flores del Mall (2009). From this critical perspective, the poetic voice reflects upon history and interrogates American national memory from an ambiguous locus of enunciation (situated both within and outside hegemonic discourse), articulated through urban markers (monuments, public spaces, institutions, and geographic demarcations). In this manner, the essay examines the urban reconstruction proposed in Las flores del Mall, the dialogical tone of the poetic voice, and the historicist dimension of collective memory, conceived as a mercantile legacy shaped by historical processes of consumption and cultural appropriation."
In this paper we propose to investigate the ascendancy of the horror novel in the new literary proposals of the current fantastic, particularly in writers such as Mariana Enríquez, Liliana Colanzi, Giovanna Rivero, Solange Rodríguez Pappe and Gabriela Arciniegas among others. From the theoretical tools on gender, and in the crossing with other modern genres such as the Crime Story, the article aims to examine the representation of the tension between body expression and governmentality in late capitalism. For this reason, the approach focuses on the cross between critical reading of literary structures and critique of governmentality. Our aim, therefore, is to find out the capacity of literary forms to join the challenges of the social sciences in the representation of the contradictions of contemporaneity.
"Orígenes Lessa (1903-1986), elected member of the Brazilian Academy of Letters in 1981, was a highly awarded writer. One of his novels, O Feijão e o Sonho, was adapted for television and shown between June and October 1976 on Rede Globo. Lessa wrote stories that identify with science fiction and fantasy stories and novels that move between the fantasy genre and the fantasy modality. Despite this, the author and his work have been forgotten for years and there is no movement to rescue them. The short story “A gargalhada”, that is the objet of this essay, can be read both as science fiction and, more appropriately, as fantastic, especially if approached from a modal perspective."
"From the denomination of “narratives on the threshold” it was sought to respond to what are the elements of the textuality that account for the figurations of horror. On the other hand, starting from the affirmation that uses and deviations of the police genre are read in the contemporary Argentine narrative, it was necessary to specify how the figurations of horror participate. The reading map was drawn from the Argentine narrative published in recent years and is constituted by the novels Polígono Buenos Aires (2013) by Marcos Herrera, Berazachussets (2013) and Medianera (2011) by Leandro Avalos Blacha, La tension del umbral (2015) and Desarmadero (2022), by Eugenia Almeida."
"This paper aims at a critical reading of Gastão Cruls’ unpublished short story, “O seio de Rosaura [The Breast of Rosaura].” Written between 1910 and 1917, therefore before his first publications, it narrates the story of a young man suffering from tertian fever, who is haunted by the image of the combination of the body of his beloved Rosaura with the body of an old man deformed by aggressive cancer, and anticipates the main characteristics of Cruls’ later fiction: (i) grotesque themes that defy understanding; (ii) disillusionment with science, which explores the concerns about the limits and the risks inherent to knowledge; (iii) the horrors associated with our irremediable biological condition, in particular, our libido, whose phobic potential was explored by many great works at the turn of the century: Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde (1886); Arthur Machen’s The Great God Pan (1894); Bram Stoker’s Dracula (1897), just to mention a few ones. "
"Federico Falco’s (Córdoba, Argentina, 1977) narrative project cannot be considered as fantastic, although it sometimes uses the resources of the fantastic, especially in relation to the place-landscape-subject coordinates. The wasted borders that his stories suggest move in an intergenre that transgress the limits of the possible without stridency. I think of the unusual in this narrative not as a macro-genre but as a fluid collaboration between non-mimetic genres that generates the effect of an “augmented reality” that dares realistic representation. I will work on some stories from La hora de los monos (2010), 222 patitos (2004), and Un cementerio perfecto (2016)."
As Giovanna Rivero points out (“Raro, hermoso, lúdico. Eso es un mundo”), Solange Rodríguez Pappe’s latest collection of short stories, De un mundo raro, functions as a “Latin American western” where “the subject” “blurs on the horizon”, productively ‘rarefies’, giving way to the “liberating epiphany of another life that dispenses with the norms of civilisation”, i.e. favouring the projection of a chaotic “New World” (originating from the end of the world as we know it): a mutant, heterogeneous, hybrid world of fierce inter-speciesist alliances, whose evident posthumanist affiliation emerges as the ideal continuation of the Latin American cultural discourse of emancipation from absolute categories and ideals of purity. This article sets out to explore, from the perspective of weird fiction, the possibilities of the current manifestation of localism, accounting for the literary return of the poetic and politically resistant image of Latin America as a significant margin of the world-system and an emblematic place of identity experimentation.
This work recovers a minimal but essential personal anthology by José Antonio Mazzotti, still unpublished, to explore the art of some of the most important features of his general poetics: those that trace an aesthetic continuity and give particular substance to the baroque style that critics have identified in his poetry
n the Hispanic American narrative of the 21st century, there is an inclination for the exhibition of a sense of consternation and bewilderment through literary resources that refer to the fantastic or dystopian narrative of the last century, but from an original perspective, very much rooted in the present. The aim of this study is to verify, through textual analysis and the study of affects, how these feelings converge in the novel Mugre rosa (2021) by Fernanda Trías and how the writer represents and interprets the shadow zones of the present.
This essay examines José Antonio Mazzotti’s poetry by approaching exile not as a biographical incident, but as a poetic, political, and epistemological condition. Based on the analysis of five of his poetry collections, the study explores how displacement, linguistic hybridity, and ancestral memory shape a transnational poetics of resistance. Drawing from the frameworks of the migrant subject (Cornejo Polar), the “line of flight” (Milán), the “third space” (Bhabha), the “mestiza language” (Anzaldúa), and Edward Said’s concept of exile as a critical vantage point, the essay argues that Mazzotti’s work turns dislocation into a generative site where cultural, ecological, and linguistic forces intersect to question hegemonic narratives and envision new modes of belonging.
