Latin American literature

The intention of this article is to investigate the visual presence of animals in contemporary literary and cinematic productions, specifically in the films La ciénaga (2011) and La
mujer sin cabeza [The Headless Woman] (2008) by Lucrecia Martel, Verano [Summer] (2011) by Jose´ Luis Torres Leiva, Perro muerto [Dead Dog] (2011) by Camilo Becerra,
and in Carlos Busqued’s 2009 novel Bajo este sol tremendo [Under this Terrible Sun]. Despite the fact that authors like John Berger and Akira Lippit have claimed that the animal tends to disappear in modernity, authors like Pick and Jonathan Burt have rescued a persistent animal presence in literary and flim productions as a positive element. Burt emphasises the
visual agency of the animal not so much as subjectivity, but rather as an affective power facing the human observer, and Pick underlines the vulnerability of the animal on screen. In this
article I show the importance of the animal-human figuration, the look between species and the mobility/immobility duality as axes around which the visual presence of animals is articulated in these contemporary Latin American cultural productions.

http://www.tandfonline.com/doi/abs/10.1080/13569325.2014.1000285#.VXnv7NKG-Fc

This study focuses on the figure of the father in four Latin American novels: Vidas secas by Graciliano Ramos, Pedro Páramo by Juan Rulfo, Grande Sertão: Veredas by João Guimarães Rosa, and Paradiso by José Lezama Lima. In Western culture, the narrative of the search for a father ...

A vivid, dramatic example of cutting-edge Latin American noir/crime fiction, Daniel Quirós’ award-winning first novel plunges us into the dark side of Costa Rica's Pacific Coast, where Chepe, a retired guerrilla fighter, investigates the murder of a close friend. His investigation will force him to confront a revolutionary past that still haunts the present, as well as a series of labyrinthian clues connected to a bombing that took place on the Costa Rica-Nicaragua border in 1984. Verano rojo explores history’s effect on the present, but also blurs the line between truth and fiction, history and reality.

pp. 45-75.

This chapter builds off of Nuala Finnegan’s recent work on Rulfo’s influential 1955 novella Pedro Páramo, and Máirtín Ó Cadhain’s 1949 Irish-language classic Cré na Cille.  Both texts deploy the fragmented and decomposing speech of the dead in order to vocalize the trauma perpetrated upon impoverished rural communities in the aftermath of the early-20th century revolutions that shook Mexico and Ireland alike (the 1910 Revolution and 1916 Easter Rising respectively).  This chapter also pushes back against the larger critical tendency to presume these communities to be de facto failed states.  Turning instead to critic Yvette Jiménez-Báez, this chapter examines how the dead voices in both texts reformulate and revive their decimated communities via the Carnivalesque.

En este texto se destaca la presencia de Guadalupe Nettel en la narrativa mexicana como una voz que experimenta con los imaginarios geográficos de China, Japón y México. En este texto se destaca la presencia de Guadalupe Nettel en la narrativa mexicana como una voz que experimenta con los imaginarios geográficos de China, Japón y México.  Se posiciona la figura de Nettel como una escritora que consolida una estética producto del intercambio literario con Oriente y América Latina.

Este artículo se interesa por reconocer la irrupción de “lo social” y la miseria en La hora de la estrella de Clarice Lispector, considerando tal manifestación en tanto una aparición, una novedad en su narrativa. Pero, también, y quizás en particular, como una respuesta que interviene en las polémicas surgidas anteriormente y, por qué no, como el cierre de un debate desplazado a la novela; ésta fue, en efecto, la última obra de la autora publicada en vida y puede considerarse como una revisión personal y retrospectiva de toda su producción.

"Guavas for Dummies, American Jíbaras, & Postnational Autonomy: When I Was Puerto Rican in the Hemispheric Turn" (2019) re-engages this text after I taught it in Puerto Rico four years. In this 2009 essay, Santiago’s memoir is said to bridge U.S. and Caribbean lit. WIWPR begins with a remembered Puerto Rico, and ends in the author’s adulthood in the USA. Studying Santiago’s text within a trajectory of immigrant narratives familiarizes the text to readers who are often processing their own entries into the US / its cultural orbit. This essay examines Santiago’s representation of jibaros, a subculture whose place in in Puerto Rico parallels the conflicted relationship many Jamaicans have with Rastafarians. Also, the theme of “Translating and Resisting Imperialism” is developed through a close reading of the chapter “The American Invasion of MacÚn.” Santiago’s treatment of gender roles in her family is also explored.

Who was Catalina de Erauso, the Lieutenant Nun? Swashbuckler, brawler, hard-headed businessperson, soldier, gallant, celebrity, transvestite, nun? How can one fail to be fascinated by her? A woman, yet a man; a soldier, yet a nun; Spanish, yet Basque. Catalina de Erauso embodied the contradictions and conflicts of the Early Modern Period, but she also transcended them in her own way. She became a stage on which we see how tensions between different identities played out in sixteenth-and seventeenth-century Spain, particularly the tensions between two sexual identities, male and female, and between the competing and multiple national "identities" already defined and being defined within that new thing that was "Spain." This book explores the different facets of Erauso's persona: her sexual identity and the factors that determined her choice of gender roles; and her Basque origin and its impact on her life and her self-image.

El artículo ensaya un análisis comparativo entre la novela de Gabriel García Márquez, Crónica de una muerte anunciada, y su versión cinematográfica. A través del análisis del argumento y hechos puntuales de la novela y su relectura en la película, dirigida por Francesco Rossi, el autor concluye que, debido a diversos factores, el filme resulta fallido e incompleto.

Catalina de Erauso was a Spanish nun—turned soldier—who lived in 17th century Spain. Dressed as a man for almost two decades, she travelled to the Colonies to test her luck in the army, where she made the grade of ensign. In 1624 she wrote her memoirs. Unfortunately, the original manuscript was lost and the text which has survived is a copy, probably penned by an amanuensis. In 1996, an English translation of her memoirs was published. In my paper I will argue that the translation of the Stepto’s translation reflects a cultural bias and shows little effort at researching the nun's deeds and words. I will also examine gender attitudes in the Renaissance, and later periods, and the role of the Church in curtailing women from attaining intellectual maturity. To back my claims, I use Catalina's original text and contrast it with subsequent editions. I hope to prove that the English translation veers more towards sensationalism than to a deep and abiding respect for the nun’s misfortunes.
Keywords: Gender; translating issues; transvestite; Basque; anachronisms

El  presente  análisis  muestra  la  riqueza  que  existe  en  esta  joven  rama  de  la  crítica  literaria en nuestro país. Por tal razón, este trabajo se apoya en la comparación narrativa del cuento de “Las babas del diablo” de Julio Cortázar y su adaptación cinematográfica Blow-up del    realizador    italiano    Michelangelo    Antonioni    para    ejemplificar    concretamente las virtudes de un análisis de esta naturaleza.
Ambos  textos  presentan  un  cierto  grado  de  complejidad  y  la  intención  es  ejemplificar  una  de  las  tantas  posibilidades  teóricas  que  puedan  responder  a  muchas  interrogantes que se han generado respecto a la validez de la obra de Antonioni respecto de  la  Cortázar,  ambas  grandes  exponentes  tanto  en  la  Historia  de  la  Literatura  Latinoamericana como del Cine Europeo contemporáneo.

Selección de los escritos de Luisa Capetillo, anarquista y feminista puertorriqueña (Arecibo 1878-San Juan 1922).  Edición y estudio introductorio por Julio Ramos. la introducción explora la relación entre la literatura radical de Capetillo y la cultura obrera de comienzos de siglo XX, con atención particular en su labor como lectora en las fábricas de cigarros en Puerto Rico, Nueva York y Tampa-Ybor City.
Selected writings by anarchist and feminist intellectual/activist, Luisa Capetillo (b. Arecibo, PR 1878-d. San Juan PR 1922).  Edition and critical introduction by Julio Ramos.  The introduction explores Capetillo´s anarcho-feminist thinking, her radical uses of literary writing, and her work as a aloud-reader in cigar factories in Puerto Rico, New York, and Tampa-Ybor City.

"Silente" es un poemario construido sobre las relaciones truncas del poeta consigo mismo, con la palabra, el amante, el hogar, el país y la familia. Como una paradoja, este texto muestra al escritor quitándose la mordaza en aras de articular, por fin, las experiencias que se le han atragantado con los años. En esta publicación con que celebra su medio siglo de vida, el autor desenrosca la lengua sin temor a mordérsela.

Resumen ciudad-laberinto (el DF, el Santiago de Chile, la Barcelona de su juven-tud) y la imagen terminal de la ciudad que se desintegra en el desierto. e inevitable dentro de la poética del autor, como metáfora del propio texto,-textual. Abstract-ty archetype (Mexico DF, Santiago de Chile, Barcelona-where the author the desert. The following article delves into this last archetype, identifying geography within the poetics of the author, as a metaphor for the text itself, extra-textual.

This paper argues that Leonardo Padura’s historical novel El hombre que amaba a los perros presents a continuation of sorts of the detective genre. In emphasing an inverted order of time and a witness’s investigation into the past of Trotski’s assassin, Padura construes a logic of defeat both for the witnesses and the actors of world history. The witness turned writer, the politician, and his assassin become victims of manipulative states, and the “new” historical novel, instead of capturing the aftermath of great historical events, is relegated to documenting the failure to adjust of the individual subject.

María Rosa Olivera-Williams shows how when one opens the golden cage of literature, in which poetry used to reign and was also a prisoner, we are able to recognize the true power of the genre, its vulnerability. Poetry as a vulnerable genre is nurtured by multiple discourses and touched by the advances and changes in technology, at the same time the power of its beauty opens the soul of its readers, making them vulnerable, more human.  Olivera-Williams uses this idea of Martha Nussbaum as a touchstone: “All students should learn at least one foreign language well. Seeing how another group of intelligent beings cut up the world differently, how all translation is imperfect interpretation, gives a young person an essential lesson in cultural humility” (Not for Profit: Why Democracy Needs the Humanities 90). When we free poetry from its literariness; when we do not privilege aesthetic factors over social and historical information “what a poem can do,” in the words of William Rowe, expands poetry’s power of understanding and its possibilities of communication.

Her chapter details how this approach has worked in two different contexts: a seminar on “Modernization and Modernity in the Río de la Plata: From Popular to High Cultural Responses,” and another on “Gabriela Mistral and her world.” She convincingly argues that learning the cultures of the lyric through the lens of cultural studies invites us to embrace cultural humility and open ourselves to others. Nussbaum’s idea of cultural humility gets enriched in these seminars with Judith Butler’s concept of vulnerability as an opening to the needs and claims of others. For example, in the seminar on modernization and modernity in the Río de la Plata, students grasp and understand Uruguayan modernist poet Delmira Agustini’s sexual and erotic lyric language through a dialogue with tango. Tango as the language of the popular culture of the harbor slums/conventillos of the Rio de la Plata countries—Argentina and Uruguay—, which in few years spread its popularity to the entire society and the outside world, enables students to understand how mobility of peoples, ideas, and mores fueled the imagination of Agustini as well as the imagination of the other writers of her generation. Similarly, in the case of the poetics of Chilean Nobel laureate Gabriela Mistral, the women’s movements for their political rights in the first decades of the twentieth century and later on the long silence in the Southern Cone regarding women after they obtained the right to vote not only inspired Mistral to create different images and voices for the modern woman, but moved her to form a community of women writers. Olivera-Williams concludes that teaching Latin American poetry as a vulnerable genre not only has aroused the interest of her students, but makes possible to understand how poetry nurtures itself from all the cultures and semiotic systems of a particular society.

Claridad tan obscura (2011) de Carlos Herrera alterna dos historias: la de un presente signado por una "Tragedia" del alcance planetario, que obliga a cinco personajes (entre ellos, el narrador protagonista) a recluirse en un refugio cerrado, y la que surge de la lectura de la vida del jesuita Antonio Ruiz de Montoya, fundador de las misiones del Guayrá en el siglo XVII. En este artículo, proponemos abordar la novela desde la perspectiva de la intertextualidad, procedimiento fundamental para aproximarnos a los sentidos que se desprenden de la relación entre el pasado colonial y la más absoluta contemporaneidad.

A partir del apelativo «ideología neoromántica», atribuido por el crítico Roberto González Echevarría al conjunto de rasgos con los que Alejo Carpentier reconfiguró la personalidad enunciativa de Cristóbal Colón en su última novela «El Arpa y la Sombra» (1978), el presente ensayo profundiza en el capítulo «La mano» y analiza la recreación de la voz del Almirante fraguada por el extraordinario prosista cubano. Dicha recreación yuxtapone «Diario de a Bordo» (1492) y «El libro de las Profecías» (1502–1504), mediante una sugerente estrategia de palimpsesto intertextual, poco atendida por los especialistas, en la que no escasean las adaptaciones y tergiversaciones que agudizan precisamente, entre otros, el componente «neoromántico» de la obra señalado por González Echevarría. En el «Diario de a Bordo» y en «El Libro de las Profecías» se cimienta, pues, la construcción de un registro ficcional neobarroco –es decir post-renacentista– con el que Alejo Carpentier, en «La mano», contribuye magistralmente a revalorar, desde la literatura, los claroscuros históricos, las mitologías fundacionales y el episodio de malograda canonización suscitados por la trashumancia, siempre polémica y colmada de discrepancias, del insondable Cristóbal Colón.

El presente trabajo procura una revalorización del teatro de César Vallejo y de su estética teatral (tal y como aparece El arte la revolución) a partir de situar correctamente su obra dentro de los parámetros de teatro político y soviético del momento. Vallejo, como Piscator, Meyerhold, Maiakowski, Mishon y otros autores de teatro revolucionario, presentan un proyecto ideológico y estético paralelo en el que la nueva estética proletaria supere a la burguesa. En esta estética es fundamental el uso de la nueva cinematografía, el documento, la “Biomecánica”, la coreografía armónica y una concepción escenográfico-espacial constructivista. A la par, este artículo adelanta que, desde el Instituto del Teatro de Madrid, nos encontramos en un proceso de realizar una edición de los textos teatrales en francés que incluya los tachones, enmiendas y correcciones. Esta edición podría beneficiarse de ser planteada a partir de los presupuestos de la crítica genética de modo que se deje a las claras el proceso de composición del autor y que permita una mejor fijación del arquetipo de unos textos de tan complicada transmisión.
Palabras clave: César Vallejo, Teatro soviético, proletariado, revolución, filología, ecdótica
Keywords: César Vallejo, Soviet Theater, Proletariät, Revolution, philology, textual studies

The author studies the Latin American writers’ visits to the USSR from 1954 till beginning of 1960s realized via the Foreign Commission of the Union of Soviet Writers. After Stalin’s death, the activity of all departments of the Commission expanded significantly; the lists of those invited from abroad now included writers who were absolutely loyal to the USSR as well as new and yet unknown names. As a result, the staff of the Foreign Commission had to face an unprecedented pluralism. Based on the Commission’s Spanish and Portuguese translators’ reports, stored in the Russian State Archive of Literature and Art, the study analyses the criteria based on which the stay of a guest was perceived as favorable or undesirable for continuing cooperation in order to improve the image of the USSR in foreign literary circles. The study also analyses somewhat of a loyalty marker, reflecting the guests’ perception of the results of the XX Congress of the CPSU and the state of Soviet-Chinese relations as sensitive topics important for the political self-determination of communist writers. The study of these new sources allows us to conclude that when choosing new foreign partners, the Foreign Commission often relied on the advice of its’ “faithful friends”, and the protégés of the latter did not always withstand the test of compatibility with the Soviet regime. At the same time, there was no specific criteria for the new friends’ selection. The translators, who were the first to report on the visit, were invited from outside, sometimes just for one particular job; they did not receive clear instructions from the Commission and were guided by their own ideas about the importance of the writer in their care and the expediency of cooperation with him. Later their opinion could not be taken into account; presumably, it was the journalistic and novelistic production of the invited writers published as a result of the visit to the USSR that was of greater importance to decide whether they were worth further attention. The study reviews Soviet Writers’ Union cooperation with P. Neruda, F. González-Urízar, N. Parra, V. Teitelboim, A. Cassigoli, F. Coloane (Chile), J. Amado, M. Rebelo, E. de Moraes, G. Figueiredo, H. Silveira (Brazil), I. Abirad, J.C. Pedemonte, M. Rosencof (Uruguay), N. Guillen, C. Leante, O. Hurtado, Samuel Feijoo (Cuba), E. Barrios Villa (Bolivia), C.A. Leon (Venezuela).

Статья посвящена визитам писателей из Латинской Америки в СССР c 1954 до начала 1960-х гг. по линии Иностранной комиссии Союза советских писателей (ИК ССП). После смерти Сталина работа всех отделов Комиссии значительно расширилась; списки приглашённых из-за границы отныне включали и безусловно лояльных СССР коллег, и новые, ещё неизвестные имена. В результате сотрудникам Иностранной комиссии пришлось столкнуться с невиданным плюрализмом. На основе отчётов испанских и португальских переводчиков ИК ССП, хранящихся в Российском государственном архиве литературы и искусства (РГАЛИ), рассматриваются критерии, по которым пребывание иностранного деятеля воспринималось как благоприятное или нежелательное для продолжения сотрудничества с ним с целью улучшить имидж СССР в заграничных литературных кругах. Отдельное внимание в статье уделяется своеобразным маркерам лояльности: оценкам гостями результатов XX съезда КПСС и состояния советскокитайских отношений как чувствительных тем, важных для политического самоопределения писателей-коммунистов. Изучение источников позволяет сделать вывод, что при выборе новых заграничных партнеров ИК часто полагалась на советы уже состоявшихся «друзей», а протеже последних не всегда выдерживали проверку на совместимость с советским режимом. Конкретных критериев оценки не было. Переводчики привлекались со стороны, чётких инструкций от Комиссии не получали и руководствовались собственными представлениями о важности своего подопечного и целесообразности сотрудничества с ним. Впоследствии мнение переводчиков могло и не учитываться; предположительно, большее значение имели опубликованные по результатам визита в СССР публицистические и художественные произведения приглашённых писателей.

Available on JSTOR:
https://www.jstor.org/stable/10.5325/complitstudies.56.3.0487

ProjectMuse:
https://muse.jhu.edu/article/735021

This article illustrates through a data analysis of “the archive” and of what Jordan A. Y. Smith has recently defined as translationscapes, the way in which “the planetary world-as-world” emerged in Romania through translation only as late as 1948. Since translations of literature, as defined by the polysystem theory, are “a most active system within a polysytem,” one can assume that local production in certain cultures is strongly dependent on imports.

https://www.jstor.org/stable/10.5325/complitstudies.56.3.0487

On October 1, 1920, the city of Santiago, Chile, came to a halt as tens of thousands stopped work and their daily activities to join the funeral procession of José Domingo Gómez Rojas, a 24 year old university student and acclaimed poet. Nicknamed "the firecracker poet" for his incendiary poems, such as "The Cry of the Renegade" Gómez Rojas was a member of the University of Chile's student federation (the FECh) which had come under repeated attack for its critiques of Chile's political system and ruling parties. Government officials accused the FECh's leaders of being advocates for the destruction of the social order, subversives who had the temerity to question national policy making, and insolent youths who did not know their place. Arrested for alleged sedition as part of a five-month-long "prosecution of subversives," Gómez Rojas joined other students and workers in Santiago's prison system. He never left. After two months in police custody, he died in Santiago's asylum, quickly to be reborn as a political martyr for students and workers alike.

This microhistory recovers the context within which Gómez Rojas's arrest, imprisonment, and death unfolded and the experiences of men he counted as friends, comrades, colleagues, mentors, and pupils. Fifty years before the much-heralded student movements of 1968, Raymond Craib shows, university students and workers were active political collaborators and radicalized political subjects. In interwar Chile, members of Chile's sizeable working class marched side-by-side with students from the FECh. At the same time, increasingly radicalized university students, as well as former students, workers, and worker-intellectuals, gathered together to talk, read, and find common cause. Members of what Craib calls a "capacious Left" they shared a wide-ranging interest in works of sociology and political theory, a penchant for poetry, and an eclectic embrace of anarchist, socialist, and communist principles and practices. They also shared the experience of repression, an experience that ultimately cost Gómez Rojas his life and marked an entire generation of political organizers and agitators, including future president Salvador Allende and poet Pablo Neruda.

Roberto Bolaño’s 2666, in what has been called the twenty-first century Latin American novel (Hoyos 2015), is often studied by its representation of “spectacular” violence. This essay, however, proposes an ecocritical and environmental justice approach using Rob Nixon’s concept of “slow violence.” Through a literary analysis of the novel, I argue that literature allows for a deeper analysis of the systems, such as capitalism and globalization, that often fragment and obscure realities. Literature, thus, counteracts this tendency by materializing the stories of the poor and making visible the harms of the environment. Situated in the fictional border town of Santa Teresa, the literary representation of Ciudad Juarez, 2666 displays the tensions lived at the border with the effects of legal and illegal production as it pertains to the maquiladoras, drug trafficking, snuff movies, and the murders of hundreds of women.

This essay explores how the Argentine writer Julio Cortázar engages with a reader and reads himself through a surrealist tradition that includes Rimbaud, Jarry, Artaud and René Crevel in his experimental novel Rayuela (Hopscotch). The novel is an elegy to Cortázar’s omnivorous reading and an attempt to change himself, to de-educate his sensibility in a form of self analysis, coping with guilt or bad faith.

En el trascurso de mi investigación al escribir El Economista Americano en México, encontré un cuento titulado "El barbero de New-York", que llevaba las iniciales "J. M." Además de coincidir estas iniciales con el nombre del escritor cubano, este cuento se publicó junto con otro artículo suyo, que tampoco apareció con su firma en el periódico El Siglo Diez y Nueve de México. Me refiero al titulado "Un poeta de 80 años", donde Martí habla de John Greenleaf Whittier (1807-1892). La crónica sobre Whittier ya había aparecido en la revista La Juventud Literaria en febrero, (1888, p. 70),  y allí tampoco llevaba su nombre, lo que no debe extrañarnos ya que los periódicos del siglo XIX ponían muy poco cuidado en identificar las crónicas cuando las tomaban de otros periódicos, llegando a reproducirlas parcialmente, y con el añadido del nombre del periódico donde había aparecido por primera vez. No obstante, la crónica titulada "Un poeta de 80 años", aparece recogida en las Obras completas de Martí; no así este cuento que se publicó en el diario mexicano y también en el diario argentino La Prensa en abril de 1888, (p. 4) que publicó también el artículo de Martí titulado "Un descompuesto ataque" sacado de El Economista Americano. La coincidencia en el tiempo en que aparecen ambas crónicas, el estilo y que el cuento llevara las inicias J. M, nos hacen pensar que es del cubano.