El artículo se centra en una parte de la creación de la autora española Elia Barceló que apenas ha recibido atención crítica: su narrativa fantástica y de terror. A partir del análisis de la representación y sentidos que adquiere, en varias de sus obras, la figura del Diablo —motivo y personaje recurrente y muy popular en la ficción perteneciente a los géneros citados— se llega a una serie de conclusiones en torno a la manera que tiene la escritora de enfocar estas formas ficcionales. Las piezas elegidas son la novela larga El contrincante (2004), los relatos “La obsesión de la alimaña” (2009) y “El negocio de tu vida” (2014) y el microrrelato “Anunciación” (1996).
Este artículo analiza la forma en que la revista literaria Alpha (1906) articuló un discurso transformador tras la guerra de los Mil Días en Colombia, mediante los textos de Saturnino Restrepo y Francisco de Paula Rendón. A través del método de la sociología de la literatura de Sapiro, se examina cómo ambos autores representaron una sociedad afectada por la holgazanería, el alcoholismo y la inapetencia intelectual. El artículo se organiza en tres partes: el contexto de los discursos sociales predominantes; la conformación editorial y filiación discursiva de Alpha; y el análisis literario de los textos seleccionados. La principal contribución es mostrar cómo Alpha fue un vehículo para la formación social desde lo literario. Se concluye que la revista no solo reflejó un proyecto de modernización cultural, sino que propuso una ética del trabajo y del pensamiento que buscaba incidir en la formación de un “nuevo hombre” colombiano.
El presente artículo traza las transformaciones que Mariana Enríquez hace al gótico clásico, particularmente a la figura del fantasma y su función como vehículo para representar la culpa, en dos relatos de su repertorio: “Chicos que vuelven” (2010) y “Mis muertos tristes” (2024). Un análisis minucioso del espacio que habitan los fantasmas, su naturaleza y su relación con la culpa, acompañado de comparaciones con una autora del gótico clásico, Shirley Jackson, y un autor del gótico latinoamericano, Carlos Fuentes, revela que los fantasmas de Enríquez son visibles, tangibles y certeros: existen, definitivamente, en los relatos. Consecuentemente, los fantasmas pasan de ser periféricos a ser centrales, de ser privados a ser públicos, y de ser individuales a ser sociales. En este mismo orden de ideas, la culpa que los fantasmas representan se mueve en la misma dirección, así como el castigo que esta reclama.
El nombre propio social-legal y el nombre de autor/a tienen más similitudes que diferencias: anclan la atribución de la propiedad (física o intelectual), se constituyen como deber-derecho y son instituyentes, totalizantes y estabilizadores (Bourdieu). El nombre autoral ha jugado un rol significativo en los dispositivos del “espacio biográfico” (Arfuch) y en las autoficciones de las últimas décadas por su “fuerza magnética” (Lejeune) y sus ecos de juridicidad. Lejos de considerar la autoficción una práctica “no comprometida” o “no seria” (Darrieussecq), afirmamos que el contrabandeo diegético de los nombres autorales no es inocuo: ¿por qué ponerlo en juego, si no es para entrar en la corriente potencial de sugerencias secretas o explícitas en torno al sí mismo, a sus adhesiones, a sus implicaciones con algo distinto de sí? Postulamos, entonces, una serie de “compromisos” intratextuales del nombre autoral: un compromiso existencial, un compromiso de subversión ontológico y un compromiso social (o político) (Scarano).
Este artículo analiza las teorías de la novela de György Lukács y Mijaíl Bajtín estableciendo un diálogo entre ambos con la obra de Jacques Rancière. Abordando la relación de sus propuestas con las problemáticas estético-filosóficas del Romanticismo alemán, se argumenta que estos tres teóricos comparten un mismo espacio de pensamiento. Este se caracterizaría por una praxis lectora que aspira a construir una hermenéutica crítica de la Modernidad atendiendo a las particularidades estéticas de la tradición novelística. A partir del análisis de los conceptos fundamentales que estos pensadores acuñan para interpretar novelas, se argumenta que sus ensayos, a través de una tradición compartida, cuestionan la construcción de colectividades políticas en el mundo contemporáneo. Así, se concluye reivindicando una lectura de la teoría de la novela del siglo XX que pone en valor su carácter de discurso crítico y situado frente a los retos de un momento histórico convulso.
El propósito del artículo es mostrar cuáles serían los aportes de Françoise Perus a la crítica literaria latinoamericana. Se parte del contexto de los años setenta y ochenta, donde hubo importantes debates sobre la crítica literaria y cultural latinoamericanas, y se ubica el lugar de Perus en ellos. Se definen sus aportes teóricos a partir de nociones como poética, forma artística y dialogismo sociocultural. Se ubica su concepción de la literatura como una práctica inscrita en la cultura que tiene un papel fundamental en la formación sensible y reflexiva de subjetividades y en la reelaboración de nuestra experiencia del mundo. Finalmente, se concluye que su perspectiva histórica de las poéticas perfila la posibilidad de pensar en la construcción de una tradición de formas en la literatura latinoamericana.
This paper examines the thematic and stylistic parallels between Mohsin Hamid's Exit West and Shahad Al Rawi's The Baghdad Clock. Both novels engage with the profound impacts of war and forced migration, yet through distinct narrative lenses. Exit West utilizes magical realism, following Saeed and Nadia as they escape their collapsing city through magical doors, to explore the global and psychological dimensions of displacement. The Baghdad Clock, set during the First Gulf War and the subsequent sanctions era in Baghdad, offers an intimate, localized portrait of a young girl's life, focusing on themes of childhood, memory, and communal resilience. Using an interdisciplinary framework that combines trauma theory, migration studies, and narrative medicine, this study investigates how both novels depict the processing of traumatic experiences. The analysis highlights the innovative combination of these theoretical approaches to reveal the psychological and cultural dimensions of trauma as represented in both a globalized and a specifically Iraqi context.
The purpose of the article is to show what would be the contributions of Fran & ccedil;oise Perus to Latin American literary criticism. It starts from the context of the seventies and eighties, where there were important debates on Latin American literary and cultural criticism where Perus's place between them is located. Its theoretical contributions are defined based on notions as poetics, artistic form, and sociocultural dialogism. His conception of literature is located as a practice in culture that has a fundamental role in the sensitive and reflective formation of subjectivities and in the reworking of our experience of the world. Finally, it is concluded that his historical perspective of poetics outlines the possibility of thinking about the construction of a tradition of forms in Latin American literature.
The social-legal proper name and the author's name have more similarities than differences: they anchor the attribution of property (physical or intellectual), they are constituted as duty-right and are instituting, totalizing, and stabilizing (Bourdieu). The author's name has played a significant role in the devices of the "biographical space" (Arfuch), and the autofictions of recent decades, due to its "magnetic force" (Lejeune) and its echoes of legality. Far from considering autofiction a "non-committed" or "non-serious" practice (Darrieussecq), we postulate that the diegetic smuggling of authorial names is not innocuous: why put it into play, if it is not to enter the potential current of secret or explicit suggestions about the self, its adhesions, its implications with something other than itself? We postulate, then, a series of intratextual "commitments" of the authorial name: an existential commitment, a commitment to ontological subversion, and a social (or political) commitment (Scarano).
The following article traces the transformations that Mariana Enriquez makes to the classical Gothic, particularly to the figure of the ghost and its function as a vehicle to represent guilt, in two stories from her repertoire: "Chicos que vuelven" (2010) and "Mis muertos tristes" (2024). A thorough analysis of the space inhabited by ghosts, their nature, and their relationship with guilt, accompanied by comparisons with an author of the classical Gothic, Shirley Jackson, and an author of the Latin-American gothic, Carlos Fuentes, reveals that Enriquez's ghosts are visible, tangible, and unerring: they definitely exist in the stories. Consequently, the ghosts go from being peripheral to central, from being private to public, and from being individual to social. In this same order, the guilt that the ghosts represent moves in the same direction, as does the punishment that it demands.
This article analyses the theories of the novel of Gyorgy Lukacs and Mikhail Bakhtin, establishing a dialogue between them and the work of Jacques Ranciere. By addressing the relationship between their proposals and the aesthetic-philosophical problematics of German Romanticism, it argues that these three theorists share the same space of thought. This would be characterized by a reading praxis that aspires to construct a critical hermeneutics of Modernity by attending to the aesthetic particularities of the novelistic tradition. From the analysis of the fundamental concepts that these thinkers coin to interpret novels, it is argued that their essays, through a shared tradition, question the construction of political collectivities in the contemporary world. Thus, it concludes by claiming a reading of the theory of the twentieth-century novel that emphasizes its character as a critical discourse situated in the face of the challenges of a convulse historical moment.
The article focuses on a part of the creation of the Spanish author Elia Barcelo that has barely received critical attention: her fantastic and horror fiction. Starting from the analysis of the representation and meanings that the Devil's figure -a recurring and very popular motif and character in fiction belonging to the mentioned genres- gets in several of her works, it reaches a series of conclusions regarding the way in which the writer approaches these fictional forms. The pieces chosen are the novel El contrincante (2004), the short stories "La obsesion de la alimana" (2009), and "El negocio de tu vida" (2014), and the microfiction "Anunciacion" (1996).
This article analyzes how guilt shapes the narrative structure and key motifs of El obsceno p & aacute;jaro de la noche by Jos & eacute; Donoso. It examines the dynamics of substitution, displacement, and accumulation of guilt, where subordinate characters take on the burdens of nobles within the framework of feudal relationships. The study focuses on motifs such as the imbunche and the packages kept by the old women, connected to confinement, and the appropriation of discarded elements. The hypothesis suggests that both motifs are closely linked to guilt, and analyzing how they are constructed throughout the novel sheds light on their connection to the insoluble social and economic contradictions of a society, which emerge in the novel as problems of its form. The article argues that guilt functions not only as a central theme but also as a principle that structures the novel.
This article deals with representations in Czech literature on the expulsion of ethnic Germans from the Czech Sudetenland at the end of World War ii. 20(th) century literature depicts the german people as being totally responsible for Nazi crimes in Czechoslovakia (collective guilt), which tries to justify the deportation of nearly three million people on the basis of their origin. However, in our century, the novels The Expulsion of Gerta Schnich by Kate & rcaron;ina Tu & ccaron;kov & aacute; and Hitlers' Money by Radka Denemarkov & aacute; offer a different representation of the events, showing the criminal actions of the Czech people and government against the germans. We analyze these novels, which strongly question the concept of collective guilt, based on the concepts of forgiveness and justice as studied by Jacques Derrida in the late 90s.
The poetry of Octavio Paz uses the night as a space for reflection and confession, where he explores existential and social dilemmas, and connects vital circumstances with his own history. In several of his poems up to "Nocturno de San Ildefonso", night symbolizes anguish and a "night of the 20(th) century", linked to the injustices of power. The poetic voice revisits an idealistic youth advancing towards a critical maturity, assuming the guilt of passively participating in the horrors of the past. Paz's poetic confession implies the recognition of ideological errors and the need to respond to unfulfilled promises, in addition to denouncing repression and totalitarianism, such as the student massacre of 1968 in Mexico. Poetry, turned into denunciation, transfigures the present, illuminating the truth and seeking justice.
Based on the stories "Daydreams of a Drunk Woman", "Love", and "Happy Birthday", published by Clarice Lispector in her book Family Ties (1960), in this article the authors explore the social and intimate dimension of guilt and shame. In these stories, shame and fear create a distance between the characters and their family environment. This distance from the idea of home, which should be a safe and welcoming space but suddenly becomes something strange -unfamiliar-, makes the characters feel guilt coated with confusing and contradictory emotions. Both feelings are analyzed, on the one hand, in their thematic aspect, they appear in the stories both explicitly and suggested and, on the other hand, as elements that configure the structure of the stories and allow us to elucidate some of the features of the author's short stories.
The aim of this article is to explore the logic of guilt and shame in three novels by Colombian female authors: En diciembre llegaban las brisas by Marvel Moreno, Delirio by Laura Restrepo and Las cuitas de Carlota by Helena Ara & uacute;jo. The implicit hypothesis of the essay is that narrative acts are neither innocent nor neutral, and that guilt and shame are the driving force behind a whole system of illusions and evasions that shape the epic world. Thus, guilt and shame are not assumed to be literary themes, but rather elements that are embedded in the narrative form. In the case of the three novels, in addition to the patriarchal system there is a crucial issue that allows us to unravel the logic of guilt: the question of social class, in the face of which the three narrators employ different strategies.
This article examines the poetry of Alejandra Pizarnik and Teresa Wilms Montt, and focuses on how guilt, shame, and fragmented identities shape their work and lives. Both authors resisted oppressive societal norms, grappling with internal and external struggles. Guilt arises from social rejection and familial impositions, while shame is evident in their fractured sense of self. Through their diaries and poems, they convey tensions between redemption, existential suffering, and a longing for love. Suicide becomes a recurring theme, which represents both an inevitable end and a link to death in their poetic vision. These authors transformed pain into creative energy, they crafted a dark poetic that intertwines the personal and the universal.
