Contenido: The article analyzes current productions that study the 90s Argentine generation of poets, some of them produced by the members of the mentioned poetic group: the last publication of the magazine La Trompa de Falopo, published in 2020 after the death of Ricardo “Circo ”Cerqueiro; Mario Varela’s documentary La vida que te agencies (2018); and two other texts from recent years: Hierba sobre el mundo castigado by the Colectivo poético involuntario (2017) and La poesía en estado de pregunta, interviews done by the poet Osvaldo Aguirre (2014). Some questions that could organize this text are: Is there perhaps a slippage between the idea of generation and the idea of community? Is there a common debt that can be condensed as an aesthetic or a policy? Why the persistence ofthese poets to represent themselves once again? Finally, why does that past insist on returning reconverted? Does a new magazine replace a body so that there is nothing left to solve?

Contenido: During the decades close to the Centenario, when the urge to build a creole modernity becomes almost hegemonic, while tango begins to be perceived as a sign of the Argentine identity outdoors, the musical nationalism stubbornly resists it. This paper explores the intricate networks on which the selection of the musical material is produced in the academic and nationalist-styled music of Alberto Williams, as it inquires about the uses and cutbacks of folklore. At the same time, this paper attempts to trace the reasons why tango seems excluded from the operation of stylization, while comparing positions that the official story does not reflect. The paradoxical inclusion of Americanist elements (and the contemporary rejection of local elements) eloquently shows the inner workings of the process by which identity is built based only on a European otherness.Moreover, the meanings built by the various and counterpointed discourses between literature and music in the Generation of the 80s and the legitimacy and assembly operations in play seem to leave an indelible mark on the socio-political function of this confluence.Finally, the rural-urban dichotomy present in the options that decisively bet on the gaucho’s tone of regret in the rancho abandonado, might be able to find in milonga a place of convergence that peacefully resolves the classic contradiction.

Contenido: Throughout time, altarpieces have suffered transformations which were recorded, in part, by the Arguedian ethnographic writing: thus, from mobile boxes related to religious motifs, travels, and cattle driving, altarpieces mutated into commercial and popular art objects, by incorporating the ritual and the daily life of the Andean communities during the modernization of the nation. Then, they turned into coffin boxes, and music boxes which portrayed the horror and the political violence in the recent Perú (Ulfe, 2011). In particular, I will focus on Chungui. Violencia y trazos de memoria (2005), by Edilberto Jiménez: there, this Peruvian altarpiece artist and anthropologist re-updates the canonical forms of the altarpiece and the ethnographic testimony by combining letter and image, voice and body to narrate the unspeakable in the armed conflict. The procedural and conceptual transformations, while reminiscent of the work of Guamán Poma, refer to an Andean space which is clearly symbolic. In this sense, I propose to think of this case as a residual, migrant and performative testimony.

Contenido: Tras la revolución editorial que se cumple en Europa en el campo de las publicaciones ilustradas en la tercera década del siglo XIX, también la novela hispanoamericana explora desde sus comienzos las posibilidades semántico-expresivas de la ilustración, según los medios técnicos y los saberes disponibles en cada uno de los contextos regionales en los que se experimenta. Se analiza, aquí, el caso de la narrativa ilustrada argentina que, desde 1870 y por dos décadas, da cuenta de la anexión violenta de los territorios indígenas a la geografía nacional. En particular, se analizarán los casos de Una excursión a los indios ranqueles, de Lucio V. Mansilla, en sus ediciones de 1870 y 1890, y de Viaje al país de los Araucanos (1881) y Relmu, la reina de los pinares (1893), de Estanislao S. Zeballos. 

Contenido: This article proposes reedition as a key to the comprehension for the permanence of 18th sensibility aesthetic, while french feuilleton became the new hegemonic style in Mexican press. Les veillées du château (Tales of the castle…) by Madame de Genlis was first published in 1784, and because of its style and fame of the author as an educator, rapidly the novel turned into a bestseller, therefore it was translated to English and Spanish. The article proposes this novel reeditions of the Spanish translation in Mexico were possible. because it was appropriated by the modern political project in Mexico, where women were expected to become espouses and educators. On the other hand, the romantic style penetrated Mexican audiences through two main newspapers: El Siglo Diez y Nueve and El Monitor Republicano. Sue, Balzac, Hugo and overall Dumas were translated and read, therefore turned models for the new aesthetic, where crime and immoral passions were exhibited. The permanence of the novel by Madame de Genlis shows parallel printing and reading practices: pedagogical, private, as part of rising moral citizenship at home; for entertainment, and as part of a wide contemporary audience. Both different aspects of modernity in Mexican 19th printing and reading practices.

Contenido: This article explores betrayal and the traitor in short stories by Jorge Luis Borges. It begins with a conceptual overview of the act of betrayal, attempting to understand why treachery is so stigmatized and why it seems to lend itself so readily to literary representation. The article conducts an analysis of "Tres versiones de Judas" and proceeds to utilize the different interpretations of the biblical traitor as a frame to analyze other appearances of this theme in Borges.

Contenido: The paper studies the literary and cultural magazine called Boletín Titikaka, published in Puno, Peru between 1926 and 1930, led by Gamaliel Churata. The tinkuy is a category of Quechuamara culture (Quechua and Aymara worldview). Our hypothesis is that the tinkuy works as a matrix of thought in the group of intellectuals who built this symbolic space. Bulletin armed responds to the tension that arises in the meetings, disputes, debates and controversy generated by the publication and whose epistemological basis is explained in our article by the operation of this category of the Andean worldview. 

Contenido: El protagonista de Zama (1956) evoluciona “para atrás”: a lo largo de la progresión de la narrativa pasa de la fama a la relegación, de la relegación a la miseria, de la miseria al rebajamiento, del rebajamiento a la mutilación. Esa regresión, que se cuenta entre los principales procedimientos alegóricos de la novela, se constata también en sus ámbitos taxonómico y onomástico, pero tal vez su corolario más expresivo sea la sobrevivencia de la encomienda en el Paraguay de finales del siglo XVIII. Este trabajo rastrea la regresión antes mencionada y la lee como análoga de la dependencia latinoamericana, concentrando su atención en la relación del protagonista con tres figuras que, de manera evidente, encarnan aspectos y contradicciones del propio Zama: Ventura Prieto, Manuel Fernández y Vicuña Porto. En los apartados posteriores se asocia esa regresión con el “arrobamiento” americano del protagonista y, finalmente, con el contexto de dependencia contemporáneo a la novela.

Contenido: .

Contenido: In this excerpt of Mariano Siskind’s Deseos cosmopolitas. Modernidad global y literatura mundial en América Latina, the author analyzes the ways in which Darío cleverly manipulates the distance separating an imagined place of enunciation of his own, and the cultural location of the French signifier within the global networks of modernist signification. Instead of returning to the tired trope of Darío’s Francophilia, this text attempts to rethink Darío’s relation to all things French as a strategy of cultural modernization consisting in a double decentering of French culture and Latin American literature, in order to reinvent them dislocated, strange to themselves and out of place. 

Contenido: Dentro de un conjunto de papeles referidos a Antonio Di Benedetto aparecen las fotocopias de tres cartas enviadas al crítico porteño Luis Emilio Soto en la década de 1950 a fin de pedirle un prólogo para su libro Declinación y Ángel (1958). El volumen, editado por la Biblioteca Pública General San Martín de Mendoza, concreta sus ensayos de literatura experimental y aparece en el contexto de una intensa vida cultural provinciana. La búsqueda de los antecedentes de la relación del autor con el crítico lleva a hallazgos en las páginas del diario Los Andes y en un viejo número de la revista Versión, que también editaba la biblioteca. En ese tiempo y a través de esas relaciones y publicaciones se vislumbra el inicio de la larga relación con Jorge Luis Borges, que da origen a la invitación a Di Benedetto para hablar sobre literatura fantástica en 1958 en la Biblioteca Nacional de Buenos Aires. Finalmente, la pesquisa conduce a un cuento casi olvidado en la revista Versión que Di Benedetto rescatará, con correcciones, en Cuentos del exilio (1983). En anexos, se recuperan las cartas y el cuento.

Contenido: This article deals with the novel La Guerra de Tres Años by Emilio Rabasa, who was not only an outstanding novelist but also a public servant and a jurist who participated in the preparation of legal documents in Mexico about constitutional order. La Guerra de Tres Años corresponds to the legal discourse of the liberals and was published for the first time in the newspaper El Universal in 1891 under the direction of Rafael Reyes Spíndola, a character closely linked to the Porfirio Díaz regime. The purpose of the article is to contrast the original discursive space of the novel (typical of a liberal newspaper engaged in the ideological struggles of the late Porfiriato) with the space corresponding to the second edition produced in 1931 by the editorial Cvltura, whose foreword was in charge of Victoriano Salado Álvarez. This second edition has become the reference textual testimony for Mexican literary historiography. The editorial consecration of this testimony, however, has overlooked the operations of meaning that are implied in the incorporation of the work of a nineteenth-century liberal writer in full swing of the populist turn of the Mexican Revolution, transforming the most precious convictions of liberalism towards the 30s. The focus of our study lies in this last aspect.