Contenido: “The Seventh Circle” collection, the crime novel series created by Jorge Luis Borges and Adolfo Bioy Casares in 1945, played a fundamental role in spreading crime narrative throughout Argentina and Latin America. This work seeks to define the model of the genre that the collection promoted in its first stage (1945-1956), examining all published works of the time and in dialogue with the materials produced by Borges and Bioy in the years they were in charge of the collection. We will try to show that this collection helped to define an idea of genre, based on features such as an antirealistic tone, a classic style, and the rigorous structure of its plot.

Contenido: This article analyses some of the texts that the Argentinean writer Emma de la Barra wrote during her first trip to Italy, where the author lived between 1906 and 1911. Particularly, those centered on the visit that De la Barra and her husband, the also writer and journalist Julio Llanos, payed to the famous Edmundo De Amicis, the author of Cuore (1886), a best-seller that was broadly translated into several languages. The article aims to examine the authorial fictions (Premat, 2008) that emerge from those travel texts and to trace the social bonds that allowed De la Barra to adjust her authorial profile and outline herself as an international writer.

Contenido: Este trabajo analiza el film de Carlos Hugo Christensen Si muero antes de despertar (1952) a partir de la disputa de dos modalidades: la modalidad policial y la del noir. La primera de ellas se vincula con la ley, el orden y las instituciones (familia, escuela, iglesia), mientras que la segunda lo hace en relación con los deseos sexuales prohibidos y la criminalidad. De manera complementaria, se analiza la configuración de diversas masculinidades, que subyacen a dichas modalidades, así como también las zonas de la ciudad y su división geográfica y moral: de un lado, el barrio “cordial”, que incluye la casa paterna y la escuela; del otro, el baldío, el lugar del deseo sexual perverso.

Contenido: ¿Qué tipo de sujetos produce una sociedad cuando está librada exclusivamente a las fuerzas del mercado, cuando lo político se subordina a la actividad económica? ¿Seres privatizados, indiferentes, aislados y solitarios como Andrés, el protagonista de Sin rumbo, la novela de Eugenio Cambaceres? En un mundo donde la relación entre los individuos es la competencia, Sin rumbo no deja de confundir una supuesta naturaleza común al hombre y al animal con lo que una sociedad, bajo las condiciones económicas concretas del capitalismo salvaje, hace de sujetos como Andrés: seres privatizados, vulnerables e inestables que compiten entre sí en un espacio económico que para la cultura sigue siendo un desierto donde solo sobreviven los más aptos. 

Contenido: While many scholarly works address mid-sixteenth-century dialogues, Juan Arce de Otálora’s (c. 1515/1520-1562) dialogue Los Coloquios de Palatino y Pinciano, firstly edited in 1995, has been largely overlooked. Otálora’s is a comprehensive and open-minded dialogue, which provides a global vision and, thanks to the heterogeneity of its contents, allows a myriad of possibilities for critical focus. Themes such as dream representation, sleeping, vigil, or reveries, as well as other correlated thematic issues, become a nuanced rich starting point that provides multiple interpretations. Springing from the central thesis, oneiric material holds a part of the interlocutions, culminates in certain sessions, translates Arce’s knowledge on the subject, and shows the curiosity of the men from the Renaissance on the mysteries of human subjectivity, characteristic of a genre with a pedagogical scope like the dialogue.

Contenido: While the contrastive connector pero ‘but’ usually occupies the initial position of the sentence it introduces, some Spanish dialects allow to locate this element at the very end of a sentence. This paper introduces a number of properties of the instance of final pero exhibited in the Spanish dialect spoken in the Argentinian city of Bahia Blanca, i.e., the so-called pero Bahiense. It is argued that this type of pero cannot be reduced to other cases of non-initial pero attested in Spanish. It is shown that pero Bahiense is a discourse particle that exhibits properties in common with standard initial pero. Despite some similarities, both elements differ with respect to (i) the type of constituents with which they may co-appear, (ii) their discourse value, and (iii) their prosody. The article also discusses the role of language contact in the emergence of final pero across Spanish varieties.

Contenido: El vínculo de Guzmán con su padre organiza un protocolo de lectura sabiamente reconocido por los más eminentes alemanistas. El protagonista se ve expuesto, en su origen, al potencial determinismo de ciertas lacras paternas de modo tal que el sentido último de su periplo existencial debería permitir la lectura de una triple conversión: a la sana economía, a la ortodoxia religiosa y, por último, a la fina política. Este trabajo recupera una cuarta censura respecto de la cual no se ha hecho una indagación sistémica: su notorio y disruptivo afeminamiento. Y postula la hipótesis de que el vínculo de este recuerdo con la mención del monstruo de Ravena (I, 1, 1) en el pórtico de su memoria individual lega las claves de sentido para entender el enigma erótico de la identidad del protagonista.

Contenido: Analizaremos en El ángel desnudo (Carlos Hugo Christensen, 1946), El crimen de Oribe (Leopoldo Torres Ríos y Leopoldo Torre Nilsson, 1950), La bestia debe morir (Román Viñoly Barreto, 1952) y La encrucijada (Leopoldo Torres Ríos, 1952) una serie de elementos que problematizan la paternidad a través de argumentos afines al cine negro. Si bien la familia es una noción prevalente en los argumentos de las películas realizadas desde antes del inicio de la etapa industrial del cine argentino, nuestra intención es inspeccionar sus reconfiguraciones en un género de carácter crítico-social como lo es el cine negro, a la vez que reconocemos su connotación particular con respecto a la desintegración de las familias y las identidades masculinas y femeninas. Tendremos en cuenta la manera en la que en los films influyen, por un lado, el debate contemporáneo acerca de la crisis de la familia nuclear tradicional, en el centro de la escena por la pugna entre el Estado y la Iglesia Católica en cuanto a los roles de los padres y las madres, y, por otro, la promoción de derechos de los hijos ilegítimos que el Estado llevaba adelante.

Contenido: Últimos días de la víctima es una novela escrita por José Pablo Feinmann en 1979. En general, la novela ha sido leída por la crítica en clave política (Gandolfo, 1986; Lafforgue y Rivera, 1997; Calabrese, 2000; Jacovski, 2011). En este trabajo, nos proponemos aportar otra arista a esa lectura, vinculándola con las relaciones de jerarquía y masculinidad entre los personajes. Al mismo tiempo, intentaremos problematizar la construcción de la masculinidad en el personaje de Mendizábal, ya que se encuentra constantemente tensionada tanto por la relación obsesiva que entabla con su objetivo, Külpe, como por la mirada de su rival, Peña.

Contenido: El diálogo entre tiempo y espacio en Algunas obras de Herrera es recreación de un rasgo característico de las Rime sparse de Petrarca y los cancioneros petrarquistas construidos en su imitación. Como en sus fuentes poéticas, Herrera construye una dimensión temporal del argumento amoroso jugando con la proximidad física de los poemas en el texto impreso, aludiendo así a su duración. Simultáneamente, su orden o dispositio constituye un intento de conferir una dimensión espacial al tiempo.AbstractThe dialogue time-space in Algunas obras as recreation of a main feature of Petrarch’s Rime sparse and later canzonieri. Like his sources, Herrera builds a temporal dimension of this conception of love playing, with the disposition of poems in his collection, alluding thus to the duration of love, while at the same time he confering a spatial dimension to time.

Contenido: We propose here a double access to the question about the future of philology: on the one hand, a state of the art regarding the inquiry on philology as a discipline and a practice in the current debates of the theory, and some initial sketches on the possibilities opened by a crisis so many times seen as terminal. On the other hand, some working hypotheses are offered for the history of philology in Latin America in the 19th century, attempting to make visible its problematic and precarious location between language, literature and politics. As it is tried and deduced, the future of philology is only possible on the basis of a destruction of that form of time that defined its objects and procedures in its very heyday, and a necessary dissolution of the boundaries between subject and object, theory and corpus, which allows the practices associated with that name to face the demands of new contexts and material conditions of production, transmission and management of culture and its policies – that is, once again, learning to read. 

Contenido: The cat, that ambivalent animal, does not appear much in Don Quixote. However, it plays a fundamental role in two episodes of this work: that of Miulina (I, 18) and that of the incident with the cats (II, 46) linked to the role of Altisidora. In our work, the linguistic games related to the names of the two women are analyzed, as well as the references to traditions and socio-cultural practices related to the world of cats, in order to understand the various peculiarities of the two passages, as well as their ludic-erotic tone, which allows us to grasp the characteristics of Cervantine creation.

Contenido: At the end of the XVIth century and during the beginning of the XVIIth, the enthusiasm of French lectors about the esthetic innovations of the Spanish narrative prose stimulated a ground-breaking importation of texts. Among them, the Guzmán de Alfarache, by Mateo Alemán, best-seller of the years 1599-1604, took over the European literary space. The architects of that library success were the author himself, printers, booksellers, from Madrid, from the other capital cities of the Spanish Monarchy, and Paris. Translators, real passeurs of culture, magnified that importation of Spanish literature in France. Through the line of an editorial investigation intending to uncover the mysteries of the two first translations of the Guzmán de Alfarache in French,this article studies the international diffusion of a successful text, and the activities of agents who promote the circulation of the book as a cultural and literary material, and a commercial object.

Contenido: In this work we focus on two texts that we read as part of the same series: that constituted by public interventions around languages in Spanish-speaking intellectuals at the end of the 19th century. Our interest focuses on one of the early short stories of Ramón del Valle-Inclán, “Babel”, published in Galicia in 1888, and other writings on linguistic questions of the most important author of modernism in Hispanic America, Rubén Darío, published in 1894, simultaneously in the two capitals of the Río de la Plata. Drawing on historical glotopolitics, we examine the way in which a conception of language is configured in terms of heterogeneity of voices, materials, and mobility, a conception that we think of as associated with figures such as those of the foreigner, in the case of Valle-Inclán, and of the minority and the migrant, in Rubén Darío. We suggest that they postulate a critical vision of language that disputes monoglosic and normativist conceptions, within the framework of the consolidation of national academies of the language and the incipient institutionalization of philological studies in the Hispanic world.

Contenido: From a variational pragmatics perspective (Schneider and Barron, 2008), this paper compares the use of nominal forms of address (NFA) among young women from Quito, Ecuador, and Andalusia, Spain, on Facebook. It examines similarities and differences in the NFA categories and modification mechanisms employed, the speech acts in which they occur, the position they occupy within an utterance, and the functions they appear to serve in the digital interactions examined. The study thus adds to the existing body of work on NFA in digital contexts (Cautín-Epifani y Gladić, 2019) as well as regional pragmatic variation in Spanish (Schneider and Placencia, 2017; Placencia, 2020a). The results show both shared uses and some regional particularities. Regarding the former, the influence of the digital medium, for example, can be observed in the two groups through the prosodic resources employed (e.g., vowel prolongation). With respect to differences, although the same NFA categories are employed in the two corpora examined, there is variation in the incidence of some of these categories and some of the modification mechanisms used. As for their function, in general, NFAs seem to be used in both corpora as expressions of affiliation and reinforcement of social relations although they can fulfil other functions too.

Contenido: This paper studies the vectorial nature of the Old Spanish locative adverbs aquende/allende (‘more over here’/’beyond’) and examines their syntactic behavior in order to shed some light on the controversial etymology of both units. The different sections of the article present (i) a revision of the etymological problems discussed in the literature, (ii) the syntactic characterization of vectorial constructions, to which pattern these adverbs conform, (iii) the analysis of their different variants, and (iv) a proposed explanation of the structure and origin of their vectorial properties, not shared by their internal components. We assume that these come from the fact that both adverbs internally include the two elements that characterize a vector: a source and an unbounded goal, as opposed to the rest of locative adverbs in Spanish.

Contenido: El trabajo se propone leer la actualidad de la arqueología filosófica en relación con la pregunta por el presente y el futuro de la filología, en el contexto del actual debate por el método en los estudios literarios y, específicamente, de la inquietud por el destino de la teoría. Para adquirir nueva vigencia, la arqueología filosófica se reforma (hace la arqueología de sí misma) y en ese recorrido incorpora variables y nombres propios que inicialmente no formaban parte de su repertorio: el más significativo es Walter Benjamin. Por esa vía, la arqueología se vuelve, más que nunca, filológica y, a su vez, modifica su perspectiva sobre lo originario para sostener ahora una doble mirada (ruina y persistencia del origen). El trabajo, por ello, revisa la definición de origen [Ursprung] en Benjamin y el modo en que esa definición es incorporada en la arqueología contemporánea (fundamentalmente Giorgio Agamben y Georges Didi- Huberman) para proponer, finalmente, algunas consideraciones sobre el efecto de esa conjunción entre arqueología y filología y sobre el modo en que esa filología futura participa del presente como perspectiva “secuestrada”. 

Contenido: Contravening the myth of the rogue studied by Claudio Guillén, the Asturian narrator Rafael Reig reasserts his literary project by paying tribute to popular genres, and particularly to the picaresque, through his novel Para morir iguales (2018). In this work, the protagonist’s journey conforms to several essential elements of the classical genre of the Siglos de Oro, whereas others are denied and rewritten in a paradoxical movement typical of postmodernity. Standing out among such rewritings is the narrative motif of the impossible return to childhood, understood as the hero’s only way to redemption. This results in a picaresque narrative that has as its starting point the final stage of Francoism, a childhood of hardships in the Holy Family, and orphanhood due to the death and imprisonment of the main character’s parents following a guerilla operation. The memories of this early youth, however, seem to be a beacon of hope enlightening the darkest periods of contemporary Spain. We are facing a new kind of rogue, one who seeks to return to his childhood of misery, considering it to be the only true stage of his life, his only possible world (as well as a utopian world), in Lubomír Doležel’s terms.