Contenido: Sheltered, seduced and perhaps even induced by the force of the myth that surrounds Idea Vilariño, critics have payed attention in studying the making of an authorial figure and focused lately on her intimate writing, personal diary and correspondence as much as her poems. This article seeks to address that other great construction of the uruguayan poet that was achieved through a very personal way of publishing her work. Seeks to explore the itinerary of her publications: study her successive titles, the unpublished poems in her archive, and consider her passion for anthologies and the motives and ideas behind that tenacious and deliberate architecture of meaning.

Contenido: El Cristo de la rue Jacob (1987) by Severo Sarduy contains a theory of cutting: first , writing as performance suturing a distance , which in the author’s poetic always refers to Cuba as “ forbidden origin” (González Echevarría 1999)-, and second, the question by the end is placed within the very life of the writing itself . In this sense, El Cristo... recovers, dialectically, some issues that emerged around the publication of Escrito sobre un cuerpo (1969), book of essays with which the project of a “skin archeology” draws a direct relationship. The language of exile and erotic writing, central themes throughout the author’s work, are crossed here by the fear of death and the question of the fate of literature itself. 

Contenido: Durante medio siglo, Marosa di Giorgio dio lugar a una concepción irreductible de la génesis espiritual de su poesía, en consonancia con una zona decisiva de las ideologías románticas. Su identificación con una experiencia de lo sublime –facultad del espíritu que para Kant supera la medida de los sentidos– impone la amenaza de toda simbolización, lo que explica el carácter “inenarrable” que proponen Los papeles salvajes. Pero si esta densidad de lo elevado está dada por un fondo abismal y ominoso, la categoría de lo sublime es desbordada por la de lo siniestro. 

Contenido: A memória tem sido uma das principais preocupações da crítica em relação às crônicas da conquista do México (e as crônicas das Índias, em geral). Seu campo de estudo inclui a tensão entre a experiência e o saber letrado, a autoridade da testemunha ocular, a disputa sobre o discurso historiográfico e a autoridade enunciativa. Neste contexto, a Verdadeira História de Bernal Díaz del Castillo tornou-se texto central na leitura das inflexões da memória, principalmente devido à insistência de um narrador que descreve-se como um grande memorialista. Neste artigo pretendo explicar as inflexões da memória, analisar como este apelo a memoria é feito do ponto de vista retórico, qual é o papel do esquecimento, qual é o papel da alegoria da Fama, e como os usos da memória fornecem essa melodia e sabor peculiar à história de Bernal Díaz del Castillo. 

Contenido: The last decades have seen a generalized reading of the poetry written by Delmira Agustini as reply to the work of Rubén Darío and in general, as an ironic overcoming of Modernist canon. The effort in highlighting Agustini’s feminist discourse has somehow concealed or even denied her equally strong communion with the basic principles of Modernism, while transforming in subversive reading what in fact was a complex, deep mastery shared with Darío, whom she called “mi Dios en el arte” [My God in Art]. This settled interpretation has cast into oblivion many of her central poems, while relegating Agustini to a mere erotic author despite the triad poetry-poem-poet greatly overcomes eroticism in her writings, and shows a remarkable depth. Agustini was aware of the misogynist art codification of the Modernist poets, including Darío, but she understood it as the reflection in the literary field of a hegemonic patriarchal ideology that she was already suffering in her public and private life and work. As a woman, Agustini not only had to face the conflicts and challenges aroused from that codification, but also the prejudices against women authors that modernists had, despite being totally renegades in other matters, refusing to admit her as a member of the literary circle. Agustini suffered the limitations imposed by the modernist sexist views and the social prejudices on her work capacity. However, this author never rejected the ideological and intellectual background of the literary movement and committed herself to the mission of Modernist poetry against the bourgeois, even standing alone against the role that the movement itself assigned to her. In this commitment Darío was a leading figure to the very end, a ‘martyr of the same martyrdom’, evoked in her poems as a symbolic father, brother or partner to harmonize with. Thus, this paper calls into question the alleged negative vision of Agustini on Darío’s work, providing an analysis of the hue left by this brother-master. Beyond the recurring mentions to Leda and the Swan, we aim to identify the sociological and poetical consequences of placing Agustini as a woman literary figure within Modernism. 

Contenido: This article offers a close reading of El director (2005), by Gustavo Ferreyra. The analysis focuses on the rhetorical devices of what Fabián Casas has called the author’s “hallucinatory realism”. El director narrates 40 years (1966-2006) in the life of a paranoid character, who sees women as bearers of a secret related to a vast conspiracy. The bulk of the analysis pertains to the relationships between this subject and History, which eludes the dichotomy between executioners and victims, as well as the operations of reminiscence in the novel, which break with the usual attribution of an emancipa-tory value to the labour of memory.

Contenido: This paper examines the tradition of the modernist masks, medallions, portraits and cabezas that Darío helped to consolidate and disseminate. It holds as well that these profiles and coined literary silhouettes of artists and writers constitute a system of “parallel economy”. Masks, portraits and medallions are presented as currency without a value on the market but as a symbolic exchange value amongst the “well read” in art and literature. The exchange strengthened the gift system that ruled the literary field, which then started to reconfigure in association to the anti-market value of pure art, and contributed to generate various networking processes between artists, writers and readers. Darío joins his work to the tradition initiated by Rémy de Gourmont as well as to the new diffusion practices of art and literature’s figures, in particular, to the new representatives of the french aesthetic that was spreading out in the porteño cultural ambience at the time. Darío translated these concerns through an artistic portrait which later became a book, Los raros. Style, therefore, became a transforming method that goes from the concrete, biographical information to the artists’ lives. Right from Darío’s first works it is noticeable the output of medallions, masks, biographical sketches and profiles. His first masks appeared in Azul’s second edition and his portraits of artists and writers were interspersed through the years to the non-fictional prose forms, such as articles, chronicles, essays and critical assessments until, during the last years, the “cabezas” appeared as texts dedicated to Latin American, Spanish and European authors. The masks and medallions circulated widely among modernist magazine and newspaper networks thus outlining a sociability and exchange system of symbolic goods that worked in parallel to any other circulating form of material goods.