The Argentine Generation of 1837 proposed a foundational program in pursuit of a national, socialist and progressive literature, which constituted an original literary theory. Although they are based on the multifaceted ideology of European Romanticism, they achieve a peculiar synthesis, which responds to the interpretation they make of the historical-political moment that Argentina is experiencing. This theoretical proposal is then concretized in texts that respond to various generic modalities. The most innovative is the prospectively historical novel, created to remember the terror of the government of the "tyrant Rosas" by Jos & eacute; M & aacute;rmol with Amalia (1851-1852) and Juana Paula Manso with Misterios del Plata (1852). Fifteen novels of different lengths repeat this model until 1863; a set that we call the Cycle of Tyranny. The purpose of this article is to demonstrate, from the perspective of Historical Poetics and the Theory of Polysystems, that the distinctive rule or repertorema of this form is not so much the denunciation against Rosas, as the prevention against new tyrants and that, consequently, this generic modality concretizes the foundational literary program; in particular, in terms of shaping a more democratic future for the New Nation. We will take Manso's novel as an example.
This paper analyses two stage rereadings of El matadero (1838/9) by Esteban Echeverria to explore how political violence and the narrative perspective of the nineteenthcentury text are reconfigured in their transfer to dramatic devices. From an intermedial approach, the critical procedures of the opera El matadero. Un comentario (2009), by Emilio Garcia Wehbi and Marcelo Delgado, and the play Olv & iacute;date del matadero (2021), by Claudio Martinez Bel and Pablo Finamore, are studied. Both the stage works and Echeverr & iacute;a's nouvelle are approached as "cross-works", either because of their formal characteristics or because of the combination of imaginaries and narrative techniques from different sources. The article contributes to the reflection on the reworking of the canon of foundational Argentine literature in the contemporary theatre circuit.
This work recovers the first considerations made in the Argentine intellectual sphere during the 19th century regarding the concept of Romanticism produced in Germany, focusing particularly on the movement's principal figure: Friedrich Schlegel. To reconstruct these analyses, we will examine the publications of the journal La Moda, attributed to Juan Bautista Alberdi, one of the most important intellectual figures in Argentine national thought. We argue that the Romantic idea possesses a force that neither Hispanophilia nor the supposed medieval conservatism contained in the Fr & uuml;hromantik could prevent, hindering the reception of aesthetic criteria that enabled the development of autonomous and inimitable forms of Argentine national thought.
The historical novel of Mario Vargas Llosa Harsh times (2019) addresses the coup of 1954 in Guatemala that overthrew the elected president Jacobo & Aacute;rbenz. By justifying the president's political project and his decision to resign, the author creates a narrative defense of a still controversial politician in Guatemalan history. The article aims to detect the argumentation which Vargas Llosa uses to defend & Aacute;rbenz and find its provenance in order to explain how it is possible for a declared liberal and anti-leftist author to make an interpretation of History which judges positively the actions of a president vilified by the Guatemalan right and applauded by the left. The execution of this goal uses G & eacute;rard Genette's theories of transtextuality, which show the relationship that links the novelistic defense with & Aacute;rbenz's resignation speech. The article verifies that the defense does not contradict the author's political positions, as it reproduces the argumentation of & Aacute;rbenz's resignation speech while adding an anti-communist perspective. Consequently, the article sheds light on the novelistic treatment of a politician so important to Guatemalan history that his actions continue to provoke controversy within the country.
This essay discusses how nature and the natural landscape assume a central role in two paradigmatic novels of Latin American Romanticism, Sab (1841) by Gertrudis G & oacute;mez de Avellaneda and Maria (1867) by Jorge Isaacs. Both novels (which have been frequently discussed in relation to issues of gender, slavery, and the notion of national community [D. Sommer]) are examples of the regional, transnational, and global implications of Latin American Romanticism, even as they embody the relationship between nature and nation (in Cuba and Colombia, respectively). Both novels employ various notions of pastoral or Edenic nature, implicitly or explicitly distinguished from European models and represented as "insular" models of nationhood, which in turn are beset by the incursion of "civilizing" processes. Building on the pioneering work of Lesley Wylie (2020), I will argue that the tension between nature, civilization, and "plantation" shapes a Latin American version of Romanticism.
This paper analyses the spaces of representation of ruin that are manifested in Sergio Chejfec's La experiencia dram & aacute;tica (2012) and Teor & iacute;a del ascensor (2017). These texts participate in an interest in the documentary that intersects with experimentations and generic hybridisations in the writer's late work, and are of interest to us above all insofar as they propose drifts from fiction towards the essay. In them, a certain imaginary of ruins, present in the writer's early work, continues to be predominant, but more closely linked to the presentation of real rather than symbolic ruins; we understand that this passage towards the material is inseparable from the essayistic drift. The highly symbolised ruins of earlier productions, such as El aire (1992), El llamado de la especie (1997) and Boca de lobo (2000)-novels that compose a sort of social cryptogram in which history and real ruins are referred to in a deliberately oblique manner-are here real, material and, specifically, industrial.
The following work presents a reading proposal of the stories "The Dirty Kid" from the collection Things We Lost in the Fire by Mariana Enriquez (1973) and "The Eye Silva" by Roberto Bola & ntilde;o (1953-2003), included in the book Killer's Prostitutes. The focus is on the corporeal figure of the child as a site of spoken, mute, and significant writing, based on the ideas of Camille Dumouli & eacute; in Les trois & eacute;critures du corps: L'& eacute;criture parl & eacute;e, l'& eacute;criture muette, l'& eacute;criture parlante. In light of this, a reconfiguration of the subject as both a being and a boundary it represents is generated, according to the guidelines of Christian Pardo-Gamboa and Tatiana Calder & oacute;n Le Joliff. The Dirty Kid is offered to sorcerers and drug traffickers, who end up consuming his body before the gaze of another silent observer. Meanwhile, The Eye Silva apparently rescues the children who would be presented as offerings, objects, of blood for a deity-which eventually consumes him in the process. Considering these characteristics, as well as developments and symbolizations, both texts can be framed as representations of what is proposed in Gore Capitalism (2010) by Sayak Valencia: the child subject embodies the final product venerated by anthropophagic snuff.
Based on studies of the Black Atlantic (e.g. Dwyer 2021, Haschemi Yekani 2021), this article investigates the European universalist myth of 'sentiment' in the 18th century and how it was used to cement strong asymmetrical dependencies in Latin America. It starts from the hypothesis that the promotion of virtuous behaviour can justify exploitation at different levels during the so-called "second conquest" (Pratt 1992). In studies on Latin America, however, research tends to positivise references to French literature in the "foundational fictions" of the Americas (Sommer 1993), dismissing the continuing asymmetry they imply (Peters 2018). This contribution therefore highlights the importance of asymmetry as it relates to transnational history and the political uses of sentimentality. Its aim is to understand how sentimental narratives of European origin are adapted in Gertrudis G & oacute;mez de Avellaneda's work Dos mujeres (1842), how they consolidate the asymmetry between men and women and/or European and non-European subjects, and how-in this particular case-sentimental praxeologies are used to redefine gender roles and social policy within the newly created national communities in Latin America.
This article explores the possibilities of interpretation and the resonances that can emerge from the connection of a philosophical conception under the effect of literature. The connection is established through C & eacute;sar Aira's utilization of Nietzschean notions, particularly the transmutation of all values, in his essay on 'Innovation.' In this context, we revisit Nietzsche's autobiography in light of Aira's poetics of the new, examining how one becomes what one is within the framework of the artistic procedure.
This article examines the poetic experiments of Carmelo Arden Quin at the crossroads of visual poetry, artist's books and performance, in dialogue with Julien Blaine. Through the concepts of the mobile poem and madigramme, it explores manipulable and three-dimensional pieces that displace the traditional forms of book and poem toward liminal zones between the literary and the visual. It focuses on the analysis of Hop-Hop, ONOUOUN, and the performative burning of a poem documented photographically, published in experimental magazines of the 1960s. The central hypothesis is that these works produce a material, symbolic, and critical expansion of literature, positioning themselves within the expanded field of contemporary art. This approach frames the poem as a visual archive, a participatory device, and a critical constellation, reconfiguring the literary field from a Latin American and transnational standpoint.
When it comes to analyzing the aspectual and modal characteristics of narrative enunciation in visual media, the concepts used are often derivative from classical narratology, mainly Gerard Genette's. Even pioneers in the analysis of the film mode, such as Andr & eacute; Gaudreault and Fran & ccedil;ois Jost, try to adapt concepts such as monstration or focalization, taking into account the peculiarities of the image when used as a raw material for narration. The comics form presents further complications when we consider that it not based on an analogical process as photography or film are. Visual representation is mediated by the human hand, and the subjective characteristics of its stroke influence the signification process. This text is an attempt to define the possibilities that this medium offers when it comes to establishing different types of focalization and subjectivities in the graphic narrative mode.
This article explores the evolution of the concept "Transmedia Narrative" in both narratological and literary studies. Using this term, the article examines the journey that the concept, popularized by Henry Jenkins in 2003, has taken over recent decades, as well as the impact that the literary field has had on it. Based on a historiographical analysis, this article aims to reflect on Transmedia Literature as a distinct and necessary category for current studies. By highlighting the importance of preserving the specificity of the literary within a fragmented narrative ecosystem, the article traces the history of Transmedia Storytelling with the aim of outlining a series of guidelines for approaching transmedia works in which writing is the main focus.
The archive is more than an instrumental tool used for doing research. In the last decade of the twentieth century, it had a significative impact on studies related to memory, historical revision, and human rights, His conceptual development has been extended to other disciplines that use it, not only as a theoretical reflection but as a theorization of the work itself. In this essay, I examine the conceptual and descriptive elements that built a writing archive (Goldchluk Guerrero) studying the link it has with the personal archive of Fina Warschaver (1910-1989). With the analysis of the documents found among her papers,- her diaries, manuscripts, and newspaper-related to the genesis of writing, I explore the link between her archive and her last published book, Hombre tiempo. Secuencia de Am & oacute;s (1973). Hybridity, excess, and heresy, as the archives attributes, are elements that Warschaver uses to discuss the form of the work in Art. Her polemic between realism and experimental Avant-garde finds a new sense in the book-archive, a form that does not search for finality or conclusion, on the contrary, it looks for opening, multiplication, and potentiality.
Drawing on the cleaning, organization, inventory, and cataloguing of a section of the library of the Rio de Janeiro-born poet, publisher, and typographer Cleber Teixeira-who lived for many years in Florian & oacute;polis and referred to this section as Hispanic Literature-this study examines a series of marks found therein: traces of reading, more or less visible, and linked, to varying degrees, either to the catalogue of his artisanal publishing house Noa Noa or to his own poetic production. Viewed in relation to his work as the foundation of a praxis, this discovery opens a path for exploring conceptualizations of literature, poetry, publishing, and translation, as well as the boundaries between them.
This article offers a posthumanist reading of Popol Vud & uacute;. Book 1: N & oacute;made in Chile by Morales Monterrios, proposing that the poem functions not as lyrical expression but as a postorganic system governed by bacterial logic. The hypothesis argues that the text does not represent microbes-it behaves like one: proliferating, mutating, and adapting through linguistic, visual, and material processes. Drawing on theories by Haraway, Margulis, Braidotti, Barad, and Wolfe, the analysis explores how repetition with minimal variation, decomposition of lyrical voice, and the inclusion of living bacteria in the book's visual compositions generate a symbiotic poetic structure. The result is a decentralized, rhizomatic epistemology in which language and life co-evolve. The poem challenges modern notions of authorship and subjectivity, presenting instead a field of co-affectation. The reader becomes a co-writer: an active participant in the poem's semiotic metabolism. Far from traditional lyricism, Popol Vud & uacute; offers a poetic politics of contamination and interdependence. Writing emerges not as representation, but as living process. In this framework, the poem becomes a symbolic organism: precarious, ecological, and alive.
Reseña bibliográfica del volumen de Cristina Beatriz Fernández y Mónica Elsa Scarano (comps.), Claves modernistas 1. Mar del plata, Martin, 67 pp.
This work aims, on the one hand, to offer a state of the art on the studies that, to date, have addressed border issues in relation to the literatures of Argentina. It will specifically enter into dialogue with the contributions of David Vi & ntilde;as, Ana Maria Camblong, Maria Rosa Lojo, Alvaro Fern & aacute;ndez Bravo, Fernando Oper & eacute;, Carmen Santander along with Carmen Guadalupe Melo and Carla Andruskexicz, Marisa Moyano, Claudia Torre, Silvia Mellado, Nilda Redondo, and Alejandra Nallim. From them, we are interested in investigating the perspectives that constituted a relevant theoretical-critical corpus that crosses border studies and literary studies. With this, we aim to map how, from different locations, situated theoretical reflections are produced that configure principles of heterogeneity and complexity in the metropolitan and homogeneous matrix that shapes national literature. In this sense, we maintain that the categorical network that can be constructed from the contributions of the aforementioned researchers around the notion of border directly impacts the possibilities of thinking in a plural way about our object, which we call the literatures of Argentina (in the plural).
Franz Kafka (1883-1924) is one of the most influential authors in universal literature. Cultivating an unmistakable style, Kafka's work as a whole--composed, for the most part, of incomplete or posthumously published books-explores the feeling of absurdity that punctuates the ontological ambiguity of the human being, divided between the individual dimension and the universal scope, between the tragic and the comic, between the absence of meaning and the realm of rationality and logic. From the nakedness of his prose comes an unsettling strangeness that gives his narratives an implacable lucidity. Subscribing to the validity of the different theoretical angles that have been used to read Kafka's work, the present study aims, however, to deepen a line of research that only recently has been touched upon with the required profundity. Anchoring myself in conceptual approaches with a post-anthropocentric approach (Deleuze e Guattari, 2003; Derrida, 2006; Geier, 2016; Harel, 2020), I will examine a set of Zoopoetics mechanisms that Kafka sets in motion in Die Verwandlung, alluding to other of his stories about animals (the so-called Tiergeschichten), seeking to understand how a posthumanist prism proves capable of illuminating some of the meanings that Kafka's texts reveal, promoting, in a broadly nuanced way, a process of decentering of the human--a strategic vector for the posthumanist forma mentis.
Regionalism would seem to be an aesthetic corresponding to a stage of nationalist conformation for Latin American territories. However, we seek to think about the way in which this literary expression has changed over the centuries. Taking up the position of & Aacute;ngel Rama and Antonio C & aacute;ndido, we will address the possibility of regionalism in the work of the Uruguayan author Marosa di Giorgio. For this task we will territorialise her writing in the city of Salto, Uruguay, but conceiving the territory of writing as a virtual one in which the continental American experience is traced. To analyse this territory we will turn to her poetry, focusing on Historial de las violetas, and interviews. This space will be read from its neobarroque and neobarrose inscription-taking as its centre the theory of Severo Sarduy and N & eacute;stor Perlongher-and from a posthumanist point of view-especially from the Gaia Thesis-to analize how the natural territory is shaped and the relationships between different forms of life-such as animal, vegetable and spiritual life in union with humans.
