Contenido: I’ve worked with the Naranjo en Flor chorus to analyse the tango phrasing of three singers: Jorge Linares, Floreal Ruiz and Roberto Goyeneche. I used specific software to measure in milliseconds the articulation of all the orchestral and vocal sounds, trying to understand the way they relate to each other. Considering that tango composers (like in many other vocal genres) try to synchronize the lyrics’ accents with the musical accents (or metrical structure), the listener expects that these accents would be coincident. But as I was able to notice in the analysis of these three examples, the singer’s phrasing doesn’t follow that logic. He slows it down or speeds it up, and in just a few cases he makes the phrasing sync with the orchestral accompaniment. Each one of these interpretations produces an expectation game with the audience, reinforcing the interpretation’s effect of spontaneity and uniqueness and it creates a sense of renewal in the meaning of the text, by intensification or even by contradiction.

Contenido: The Cuban narrative, with some exceptions, has been characterized by two main ways: one heroic and one ironic (Álvarez-Tabío, 2001). The present text starts from the previous idea to demonstrate new forms of configuration the Havana city from the poetics of the young Cuban narrator, Jorge Enrique Lage, who seems to imagine in many of his texts Havana as a “plan B, an ephemeral place” (Luiselli, 2010).

Contenido: This article explores both the tracts by Friedrich Nietzsche and the essays on his work published by Revista Moderna. This allows me to think the dialog between modernismo and positivism in Mexico, through the figure of the “philosopher-poet” that radically changes the way of expounding his thoughts from that of academic philosophy, and thus allows for the destabilization of the received ideas of the school of Gabino Barreda.

Contenido: This text analyzes two of the most important works of modern Peruvian literature from the viewpoint of the concept of death in the Andean world. We thus review Gamaliel Churata’s El pez de oro and Oscar Colchado Lucio’s Rosa Cuchillo with a focus on the particular conception of the cosmological space associated with the dead and its relationship with History, no longer understood as progress but rather as a recovery from a past in constant tension with the present. We will see how both texts seek a vindication of local knowledges and alternative forms of organization of a territory-specific collective subject.

Contenido: Usually more commented on than researched in, it is well-known that Carlos de Sigüenza y Góngora (1645-1700) wrote and published astrological forecasts that ¾oftentimes forgotten¾ he made during his thirty years of public career, almost with no interruptions, until the year of his death. And, although he achieved a certain notoriety through them, he did not cease to distrust this practice because, as he said, “sé muy bien cuál es el pie de que la astrología cojea y cuáles los fundamentos debilísimos sobre que levantaron su fábrica”. The lunariums, even so, offered him an income and, even more, a platform from which he was able to display his research, findings and hypotheses. Thus, together with the lunarium of 1681, the "Noticia chronologica" was published, a text more than once mentioned by critics that —until now— was lacking an accessible and reliable edition, which made its study difficult. Here we offer, as a result of the comparison of the only two versions known to date (one manuscript, the other printed), an edition of this singular text, together with a brief apostille.

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Contenido: It summarizes the construction of the Latin American reader in Catechisms and translations that have been made by an exiled spanish writer, José Joaquín de Mora, during his first stay in London (1824- 1826). This reader image has been built as an apprentice and a pair at the same time.

Contenido: Philology is founded in poetry because the actual ground for literary criticism must be found in the structure of poetry. Tzara used to say that Dada applies itself to everything, and yet it is nothing, it is the point where the yes and the no and all the opposites meet. Like everything in life, Dada is useless. In Brazilian literature Dada´s legacy is openly neglected because of its deliberate negation of art. Dada sought to destroy art since art itself was negative. No place in literary history for a poetry whose conception of art is absence, exclusion, and division.