Contenido: Los Diarios de Emilio Renzi pueden ser abordados desde más de un eje y leídos en diálogo con el resto de la obra de Ricardo Piglia. Uno de estos ejes, que aparece en el primero de los volúmenes publicados –la formación de un lector que se va convirtiendo en escritor–, se articula con los modelos de lectura que su autor propone en El último lector, entre ellos el Che Guevara. 

Contenido: In tango, phrasing (fraseo) is a prominent interpretive trait. My aim is to give a definition through the explanations that have been published by musicians, musicologists and vocalists. I begin by bringing the definitions of phrase, phrasing and tempo rubato. Then I explain the origin of fraseo in tango song as coming from the spoken cadence in porteño speech, and the use of this trait in the instrumental tango as well. I propose listening to a tango being performed in different times, from 1928 to nowadays, to perceive the difference of intensity in the applied fraseo. Finally I point out the modification in phrasing in contemporary tango, or even the lack of it, and evaluate the significance of its presence in historic and current tango perfomances. 

Contenido: Este trabajo se propone interrogar la dimensión política del mecanismo metonímico en Nadie nada nunca (1980) de Juan José Saer, partiendo de un episodio de la novela que hasta ahora había pasado desapercibido para la crítica: el abrazo con la bestia. A partir de un rastreo de la historiografía crítica sobre la novela –que en treinta años pasó de una lectura en clave metafórica a una lectura en clave metonímica del tópico de la violencia–, se interrogan las relaciones entre política y literatura que suponen estas diferentes interpretaciones. A continuación, se formula la hipótesis según la cual el “clima de inminencia” (Rodríguez, 2010) que impregna toda la novela, pasa por la materialización de las intensidades, las cuales se manifiestan en la zona a través de una serie de experimentos metonímicos como la refracción, la perspectiva y el contagio. Huyendo de las identidades fijas, desdibujando las fronteras e invirtiendo las perspectivas, la metonimia redistribuye el “reparto de lo sensible” (Rancière, 2000). 

Contenido: The woman reader is a long-standing topic of the Western culture, which is inserted in the debates about women’s education and about the role they are socially called upon to play. Through an abridged corpus of correspondences of early and mid 19th century, and a select repertoire of paintings from different periods and regions, this paper particularly explores the profile of woman reader of letters: their practices and representations in the past, in an attempt to trace a panorama of the intersections between political passion and love passion in Argentina.

Contenido: Podríamos decir que la escritura de Alejandra Pizarnik, como la de Franz Kafka, también se encuentra desterritorializada en el sentido que plantean Deleuze y Guattari. Hija de inmigrantes judíos, Pizarnik entabla con el español una relación conflictiva en la que se ve problematizada, además, la relación con la cultura nacional. Escribir sin poseer una lengua, volverse extranjera en su idioma, acaso constituya la estrategia pizarnikiana para legitimarse. La escritura de Kafka es quizá la referencia literaria mencionada con mayor contundencia en las anotaciones de los últimos años de la década del sesenta; es el modelo a seguir en la búsqueda de un estilo que Pizarnik llama “prosa normal”. Examinar los Diarios de Pizarnik a la luz de las problematizaciones implicadas en la escritura de Kafka, ilumina zonas de análisis como la fusión entre vivir y escribir, la “condición verídica” de los textos que traspasa lo autobiográfico (Nora Catelli), y la extranjería en el sentido sociológico de George Simmel. 

Contenido: En este trabajo abordaré los dos modos en los que la “mala vida” ha ingresado en la literatura argentina a comienzos del siglo pasado. Por una parte, existen estudios científicos (o pseudocientíficos) acerca de este tema, cuyo arquetipo podría ser La mala vida en Buenos Aires (1908) de Eusebio Gómez, que contienen muchísimos prejuicios raciales, sociales y sexuales. Por otra, hay un conjunto heterogéneo de textos literarios marginalizados, producidos en los primeros 15 años del siglo XX, que dan cuenta del modus vivendi en los bajos fondos de Buenos Aires, como la novela La muerte del Pibe Oscar de Luis C. Villamayor (publicada parcialmente en 1913 y completa en 1926), el “Novísimo diccionario lunfardo” (1913-1915) del diario Crítica, los folletos de la Biblioteca Criolla, las milongas picarescas, los poemas prostibularios y algunas letras del tango primitivo. Es necesario relacionar este corpus, disperso y muy poco conocido, con el primer conjunto de textos para obtener un panorama más preciso sobre el tema. 

Contenido: In this article we´ll analize the characters´ body and social experience in Marcelo Cohen´s long stories forming part of El fin de lo mismo and Los acuáticos, and in his nouvelle Impureza. His literature, privileging passages and borders, builds a geography of borderlines, abysses and excesses -the wastes of a savage capitalism. By a minute delimitation of space, he manages to condense a picture in which it is drawn not only the devices for the control of the bodies but also areas of utopia and resistance.

Contenido: This article reviews the presence of Rubén Darío in the poetic work of Eduardo Chirinos, to demonstrate with his example his role as “padre y maestro mágico” along the poets of the last generations in the field of Hispanic lyric. At the same time, it will allow us to reflect on questions of moral depth, which introduce us to the way of reading and reviewing contemporary classics. 

Contenido: In his book The Conquest of the Useless, related to the filming of Fitzcarraldo, Werner Herzog records the details of his experience in a several years working in a wide area of the Peruvian Amazon. It is not, as he himself declares, the diary of a film but a text marked by a rare poetic intensity –a vision– and hallucination. My research explores the relations of the “steamer’s imagination” with the mythologies of the Shipibo Indians in the banks of the Ucayali: the mythical demonic visions of the súpay-lancha or the steamboat of Fitzcarrald. This phantasmagorical genealogy culminates with the revision of a myth of the Piro Indians –the history of Sangama– that articulates the vision of the mythological steamer with what might be called the performance or the mise-en-scène of a shamanic hallucinatory audition. 

Contenido: Although migration has been a constant feature in the Caribbean region, historically a crossroads in the Americas, Cuban migration has some traits of its own.  In the aftermath of the 1959 socialist revolution thousands of Cubans left for exile hoping to return shortly thereafter, but it wasn’t until 1979 that they regained the right to visit their native country on a short-term basis.  Return narratives have proliferated ever since, authored by those who visit.  This essay complements their views by focusing on Cuban cinema, music, and literature to scrutinize the representation of return migrants in their country of origin.  Given that the Cuban exodus took place in various waves, it is possible to distinguish diverse types of reception, with most falling short of achieving a balanced portrayal.  The essay attempts to also explain the reasons behind the failed representation. 

Contenido: El presente trabajo analiza las diversas publicaciones de la crónica de Ulrico Schmidl, realizadas durante los siglos XVI y XVII en Alemania en el marco de colecciones de relatos de viaje, como la de Jean Theodor De Bry y la de Levinus Hulsius. El objetivo es abordar lógicas de publicación y políticas de edición, vinculadas con el público lector del período, y cuestiones narrativas ligadas a la autoría, como forma de comprender la importancia y el atractivo del relato de Schmidl, única crónica sobre la conquista del Río de la Plata que vio la luz ocho veces entre 1567 y 1625. 

Contenido: .

Contenido: This article is proposed as an analysis of Lluvia de piedra (2011) written by the Bolivian author Rodrigo Urquiola Flores (1986) novel in which the city of La Paz appears as a privileged space in tension with Antofagasta. The analysis will be made from two vectors to highlight: first, the relationship that this text supports with the Bolivian literary tradition and, secondly, the relevance that the treatment of space assumes in it. The revision of the Bolivian literary tradition will allow us to observe the extent to which Urquiola Flores’s narrative is stressed with her, the recurrences to which she appeals and the updating of the social imaginary that crosses Bolivian literature. In this same sense, the imprint of space will be analyzed as a notion that is presented productive when analyzing the contemporary Bolivian narrative of La Paz. Likewise, this analysis will allow revising the concept of nation based on the configuration that Urquiola makes of space in his novel. This work will appeal to theoretical frameworks linked to the notion of territory ( Calomarde, Ighina) and criticism works that focus on the analysis of the Bolivian literary tradition (Antezana, Wiethüchter, González Almada).

Contenido: The relations between literature and medicine constitute one of the central themes in the literature of the late nineteenth century. In this paper I present the issue through two texts by Enrique Gómez Carrillo, published in Almas y cerebros: the story “Psicopatía” and the treatise “Notas sobre las enfermedades de la sensación desde el punto de vista de la literatura”. In the first part I describe the importance of psychiatry and the placement of literature in the field of disease. In the second and third parts, I compare Gómez Carrillo’s treatise with Psycopathia sexualis, a book by Richard von Krafft-Ebing on which the writer is based. In the last part, I draw some conclusions regarding the relationship between literature and the invention of psychoanalysis.

Contenido: The authorship of musical pieces identified as tango has been well established once they are defined as songs formed by lyrics to sing and a music sheet. Nevertheless, based on the concept of performance as pose and double representation (of the singer, and of the roles demanded by the interpretation of the song), the ultimate authorship moves to the singer since he takes over the song by means of his performance. This article analyzes “La mina del Ford”, humorous tango-milonga written and composed to be performed by a female voice: the version recorded by Carlos Gardel in 1924 turns into the male narration of a rupture. 

Contenido: For what purpose and for whom a diary is written? For a useless, desperate desire to catch the moment or the event before oblivion? Looking for future recognition? Is it a virtuous exercise, to train the hand in the long process of creation? In 1957, Piglia began to write his diaries; they compiled not only literary experiences but also those concerning friends, family, love, education and politics. So far, two volumes have been published, Años de formación and Los años felices. The initial question of these diaries concerns an identity in process -becoming a writer. The literary practice produces the subject who creates a name or better, two names which mirror each other, Piglia-Renzi. The first volume covers the period 1957-1967. It begins with the traumatic experience of inner exile –when the family must relocate from Adrogué to Mar del Plata because of author´s peronist father facing political persecution. Los años felices deals with years 1968-1975. Here, the figure of writer reaches maturity and establishes itself. The letter of the subject lays in the diary; this letter gives account of fundamental ghost/ spectres that are a literary translation of ways of living the drive. The diary acquires a foundational character as it appears as a condition of possibility for a future praxis. 

Contenido: En primer lugar, proponemos la siguiente hipótesis de lectura. La poética autorial dibenedettiana trabaja la forma narrativa desde los límites de lo mimético; propone explorar las posibilidades de una nueva mímesis a partir de una forma novelesca y narrativa relativamente abierta. Desde aquí diseña su singular laborar con el reparto de lo sensible; estética del relato que se sirve de una continua indagación de lo real desde lo siniestro, lo cual adquiere diferentes variaciones a lo largo de su corpus. Como hipótesis complementaria, subrayamos el diálogo con lo filosófico-conceptual y lo psicoanalítico como elementos generadores de ficción en esta obra, en particular por asumir desde aquí la relevancia de lo siniestro como perturbador ámbito omnipresente para todas, y con ellas ubjetividad. El silenciero y Los suicidas manifiestan aquello de modo ejemplar en numerosos cuentos. Asimismo, por dicha razón, para desplegar esa mímesis abierta pero estructurada que busca sobre todo manifestar en el lenguaje a los sujetos que interactúan en el mundo narrado, la escritura dibenedettiana se sirve de la parodia de diversos géneros para mantener esa forma relativamente abierta. En este sentido, aquí enfatizamos, por su novedoso giro respecto a lo mimético, el policial, lo fantástico e incluso la ficción especulativa o ciencia ficción, que suelen aportar claves no solamente para comprender la transformación de formas y lenguajes, sino también aquello perturbador que se cuenta, como ocurre con los intertextos de James Ballard (en una cita muy cercana a otra de Freud) o Ray Bradbury en dos relatos diferentes. Esto último constituye la tercera hipótesis complementaria que expande la presente interpretación.

Contenido: By drawing upon the chronology of the pieces composing Los raros as well as upon the paratexts of the book, this article proposes some of the main criteria tentatively used by Darío to organize the two editions prepared by him and released in 1896 and 1905. These criteria would combine Darío’s personal and hierarchic aesthetic preferences as well as the strong mark left by his readings of Nordau and Mauclair. The paratextual and architectural changes in the second edition and its best-seller character would also show an appeasement of the militant attitude of the first edition but also the recognition of the historical function and the literary cannon of elaborated in 1896. Finally, the article also defends that the organization of the book should be understood in the context of its literary predecessors, since they explain –among other traits– the open character of these lists as well as its usual content partition between the personality and the works of each author. 

Contenido: This paper proposes an analysis of a corpus of texts from Italian travelers in Argentina during the late nineteenth and early twentieth centuries. Compared with other European travelers texts (French, English), which shows an already developed sentiment of national community, the case of Italians is paradoxical: they belong to one of the youngest nations which, at the same time, is considered the richest in history and traditions among all other Europeans countries.