Contenido: This article analyzes the present panorama of Caribbean curatorial practices. Through this analysis, it pursues three major objectives: first, it aims to develop a historical revision of the main curatorial models centering the regional exhibitional dynamics. Secondly, the main critical approaches to those curatorial practices will be examined. Finally, it will outline some perspectives intending to draw a new critical paradigm, as well as an alternative understanding of Caribbean curatorial practice.

Contenido: This article examines the unique relationship between life and work concocted in the biography that the Colombian José María Vargas Vila writes about Rubén Darío in 1917, from the hypothesis that it interrogates the links between biography and autobiography through a series of key issues for modern Spanish American literature: the figure of the artist, the bohemian and the problem of autonomy. It also reflects on the value of the rhetoric of tribute in emerging Latin American literary field, the late nineteenth century. 

Contenido: If in The Black Messengers the thematic rebellion manifests itself, especially before a world abandoned by God, and if in Trilce the categorical rebellion predominates against the statute of language and the symbolic universe, Human Poems and Spain, Take This Chalice from Me make up the perfect synthesis of social and human criticism with the boldest formal transgressions. The poetic project of César Vallejo, which begins to take shape from his first verses, contains –in addition to Quechua terminology and imaginary– records of orality and numerous identity elements typical of the Inca worldview in whose ancestry he took pride. The communal conceptions of the Inca Ayllu are found in his syncretic Christianity in The Black Messengers, and then manifest in Trilce, in frank opposition to the modern city’s hostility and contractual or mercantilist relations. This work aims to identify and study this persistent cultural identity from different entrances to his poetic work.

Contenido: Although Peru’s internal conflict (1980-2000) concluded some two decades ago, cultural and ideological sequels remain, as can be observed in different samples of literary discourse by victims and agents involved in the war. In this article, we study in Persona (2017), by Peruvian writer José Carlos Agüero, the discursive configuration of Andean space as it concerns violence. The author is son of “senderistas” killed by Peruvian Army, historian, poet, and a Human Rights activist. In his texts, spatial strokes indicate not only the places where his parents lived, fought and died, but also the place where his identity is built through writing. The dimensions of memory (Todorov, 2000; LaCapra, 2001; Jelin, 2002) are reviewed in order to problematize the space in which victims’ subjectivity is constructed during the post-conflict.

Contenido: La obra ficcional de Antonio Di Benedetto moviliza una reflexión en torno al concepto de exilio, tema casi constante en su literatura, capaz de haber dispuesto y definido una cierta sintaxis muy marcada por elipsis, un novedoso montaje del significante, una retórica cuyos efectos algunos de sus críticos llaman extrañamiento y “deshumanización”, a lo que yo agrego desertificación de la escritura hasta una obsesiva búsqueda del silencio. El artículo propone leer los escritos del exilio del autor con el apoyo teórico que aporta el concepto de otobiografía de Jacques Derrida y seguir los aportes críticos de Josefina Ludmer para leer Sombras, nada más... como una transición entre la literatura densa, la literatura como proyecto estético y como obra (con sus marcas de autor, de estilo, de reflexión específica sobre el mundo y sobre la propia literatura —autorreflexión y autorreferencialidad—, el narrador representado como el escritor de aquello que leemos etc.) y ciertos aspectos y recursos de otra modalidad como las llamadas “literaturas posautónomas”.

Contenido: El tópico de la marginalidad acompañó la recepción de Zama (1956) a partir del prólogo escrito por Juan José Saer para una edición de 1973, y fue retomado nuevamente por la crítica de la película de Lucrecia Martel (2017). Para Beatriz Sarlo (2015), Saer habla de sí mismo en ese prólogo y no de Di Benedetto: su marginalización es una actitud subjetiva. En dos pequeños libros que sus autores presentan explícitamente como contiguos al rodaje, Selva Almada y Rafael Spregelburd distinguen a su vez subjetivaciones imperceptibles, que no están en el foco de las cámaras, sino en zonas marginales de la película de Martel. Estas luchas se plantean la existencia de manera muy diferente a la espera o al fracaso de los autores o de Don Diego de Zama. Son las situaciones dolorosas de figurantes que no son actores y tienen que prestar sus cuerpos (Almada, 2017) y de la conciencia de un personaje tragicómico que no sabe ni que es secundario —y desaparecerá prácticamente en el montaje definitivo— ni que necesita un cuerpo para sobrevivir (Spregelburd, 2018).

Contenido: Un conjunto de diarios de navegación a las costas de California en los siglos XVI y XVII permite establecer las diferencias discursivas de caminantes y navegantes. Desde el espacio reducido del barco, un satélite que permite la observación sin contacto, el navegante describe los recortes costeros. El barco es un refugio. Es protección y resistencia. Quien camina, en cambio, se expone y sus representaciones permiten observar ciertos desplazamientos en la subjetividad del viajero. 

Contenido: The article analyzes the full text of the Argentina. History of the Discovery and Conquest of the Rio de la Plata, written by the mestizo Ruy Díaz de Guzman to 1612. The analysis of examining the political scene of early settlement in the River Plate region and, in particular, the conflict is carried facing local authorities, elected in America without direct intervention of the king and the metropolitan authorities, elected by the king and the Council of the Indies. From this overview, they considered a series of discursive strategies developed by the author to highlight the productivity and effectiveness of the political project of his grandfather, Domingo Martínez de Irala, while local authority, but lawfully constituted under the laws emanated Crown. The article also discusses transcription performing Ruy Díaz in his famous Royal Decree of 12 September 1537, which empowered the people of Asuncion to choose governor by voting, after the death of Pedro de Mendoza.

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Contenido: El nervio óptico of María Gainza displays a series of procedures in which the gaze and its materiality —the fragment torn from the body to which the title of the text alludes— organize a narrative flow intertwining the history of art, the biography of artists and the autobiography from the author herself. Unlike what happens in other texts that recount the lives of artists, the eleven fragments that are linked in Gainza's novel start from the chance encounter of the narrator with works by painters of different origins, an encounter that activates a scriptural mechanism in which the mandatory aesthetic is relegated to the background compared to the exercise of the viewer's visual perception.

Contenido: One of the least understood practices to appear in the Mexico’s Revista Moderna is artwriting. Through this hybrid genre, that appeared in all of the issues of the magazine and took on and endless array of forms (prose poems, notes, reviews, short stories, essays, etc.), the modernistas addressed their encounter with modern art and with the new visual culture that was arriving in the country at the turn of the century. Borrowing the term artwriting from the north American philosopher David Carrier —who coined the phrase to refer to creative non-fictional and fictional work written by poets and novelists about their encounter with art—in this paper I will review the historical, cultural and intellectual context that spawned the use of this genre. My aim is to show the important role artwriting played in the Revista Moderna’s efforts to transform academic discourse about the visual arts.

Contenido: La irrupción de Baldomero Fernández Moreno en la escena literaria fue decisiva. El gesto de designar el mundo bajo la ilusión retórica de la literalidad, previendo un efecto de sencillez, revitalizó el discurso poético de manera paradójica. La poesía de Fernández Moreno despertó una suerte de perplejidad sobre lo más inmediato. El registro de vocablos de uso frecuente empezó a resurgir en un contexto estético que hasta no hacía tanto tiempo había sido ajeno a la impronta coloquial. En los poemas de Fernández Moreno la observación registra los objetos cercanos mediante verbos que refieren el acto óptico. No solo se observa; también se tiene conciencia del acontecimiento visual. Fernández Moreno propuso mirar los objetos no en su condición simbólica ni en términos alegóricos sino en su mera condición material. Propuso un renovado evento de percepción regulado por la elisión del yo en favor del objeto. En ocasiones, la percepción se convierte en una teatralización visual, una performance perceptiva a través del acto de mirar. Una relectura de su obra promueve una resignificación de su lugar en la poesía argentina.

Contenido: In 1876, an unusual book was printed in the official presses of the government palace of the Mexican state of Nuevo León, which would provide the basis for the formation of a regional identity: it was the first two parts of the textual corpus that would make up the Memorias by fray Servando Teresa de Mier. Its editor was the physician, humanist and historian José Eleuterio González. With this book, González resurrected the writing of fray Servando, which had fallen into oblivion since his death in 1827 (except for some fragments published at the dawn of the 1860s, by the writer Manuel Payno), and would place him as a model of public and political conduct. González’s editorial work involved tracing the sources and textual archeology, as well as shaping the textual corpus to give coherence to the autobiographical account. In this essay, I will describe, from a multiple perspective, the process of making this edition: as part of the literary and cultural history of the Mexican 19th century, as well as from the articulation of a regional identity discourse that, in many aspects, contrasted the national model.

Contenido: The disputatio held in Valladolid (1550-1551) between Fray Bartolomé de Las Casas and Juan Ginés de Sepúlveda is one of the most significant moments of the debate in the New World. At that time, both contestants obeyed disputatio’s conventions, the medieval confrontation practice based primarily on the citation of authority. Shortly after, Las Casas published Brevísima relación de la destruición de las Indias, where prevails a new authority based on the method of inquiry, which takes into account the written and oral testimonies to reconstruct the truth of the past events. Las Casas implements a rhetoric of confrontation based on mundus inversus, retaliation, resemantization, demonization and anonymity of the adversary to make visible to his readers the narrated facts. This paper analyzes this transition –from disputatio to inquiry – in the authorization of the arguments as well as the contentious discoursive tropes that organize this text. The Brevísima is a extreme attempt of restoration of truth to make palpable the discursive distortion carried out by the Conquest.