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Revista Activa *
ISSN: 0329-3807 ISSN electrónico: 1851-4669
Semestral
Lengua y Literatura
Universidad Nacional de La Pampa
Argentina



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Redalyc 3.0 versión beta.
La versión estable de Redalyc 3.0 se libera en febrero de 2017. En la actualidad, se muestran los resultados de la marcación de artículos científicos mediante la herramienta gratuita Marcalyc, liberada en su primera versión el 1ro de septiembre de 2016 y que está pensada como un elemento central en la construcción y consolidación de un modelo de AA sustentable para Iberoamérica.
en: This document analyzes two historical novels belonging to the considerable corpus born out of the trauma of the last military dictatorship in Argentina. In On a Similar Night (2012), Leopoldo Brizuela presents a conflict between filial love and guilt while Tomas Eloy Martínez’s Purgatory (2011) recounts the story of an exiled woman’s efforts to locate her husband who was kidnapped 30 years earlier. The issues of missing loved ones (desaparecidos, in Spanish) and the unfinished mourning they represent are brought to the forefront in these works. The objective of this analysis is to study the narrative strategies employed by both authors faced with the task of narrating a history in which they are indirect or inadvertent protagonists. This is the basis from which I will examine how certain elements (the evocative power of language, dreams as a representational device, and fantasy as a means to bring back the missing) were used to reflect upon the power of writing when recording trauma as part of a personal and collective duty toward historical memory.>>>
en: From the perspectives of everyday aesthetics and hermeneutics, this paper analyzes Pequod (1995), a Vitor Ramil novel set in the Brazilian pampa and conceived around the unique features offered by the experience of cold weather. By analyzing the thoughts and actions of Pequod’s characters, our main goal is to point out how a vital relationship with weather leads to an existential stance, or philosophy of life, aimed at understanding the world.>>>
Horacio Pérez-Henao
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en: The work of Gabriel Celaya (San Sebastián, 1911-1991) consolidates a poetic trend, known as “social poetry”, against the four decades of dictatorship of General Franco after the Spanish civil war, allowing us to reconstruct a space of distinctive positions from his autopoetics in prose and metapoems. For Celaya, the poem must be dialogical and perlocutionary: it does things and speaks. To speak means to talk with others, to exchange ideas and values, to share. To do things with words means to take active action, to be part of the social space, to interfere against power restrictions, to replicate the impositions of the regime, even from such a small place that means nothing in real terms. This possibilism is better than remaining in silence or in a paralyzed muteness. Poetry and essay both help to rationalize the functions of art, the figurations of the poet and the nature of the poetic act, all vectors that converge in the modulation of a testimonial ethos for the lyrical genre, a discursive type basically hybrid and rarely applied to poetry. Our study will explore textual and contextual indexes that support Celaya’s authorial project and that enact a contract to approach texts in a specific way, thereby formulating a contra-canon of resistance to power, during the period that some critics maliciously called “the waste land” of the Spanish post-civil war.>>>
en: The point of view assumed by the narrator of the nouvelles comprising Eduardo Muslip’s Phoenix (2009) assumes variations that collectively could be called a “foreign vision”. Reading the narrator’s positioning in the context of the stranger, as understood by Georg Simmel, demonstrates features of storytelling affected by displacements and distances by familiarizing the distant and estranging the familiar. Understanding the vision of the narrator as a self-reflexive and attentive reveals features of the narrative subject as they relate to contemporary reconsiderations about the new scope of cosmopolitanism. Instead of a depoliticized and uncritical representation of international mobility and spaces of transit in the contemporary world, Muslip gives the various modes of displacement a social and political contextualization.>>>
Marcos Germán Seifert
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en: Diamela Eltit (1949-). Chilean writer, cofounder, along with Raúl Zurita of the Colectivo Acciones de Arte (CADA, Art Actions Collective), Eltit broke into the literary scene in the 1970s. She became more widely known in the 1980s with the launch of her book of essays, Una milla de cruces sobre el pavimento (1980, A mile of crosses on the pavement). She has published numerous novels, some significant early titles including Lumpérica (1983), Por la Patria (1986), El cuarto mundo (1988) and Los vigilantes (1994). Among her more recent titles are Jamás el fuego nunca (2007), Impuesto a la carne (2010) y Fuerzas especiales (2013). She has earned many awards and distinctions, such as the José Donoso Prize in 2010 and the Altazor Prize in 2014 for her latest novel, Fuerzas especiales. She is also Distinguished Global Professor of creative writing in Spanish at New York University (NYU). This interview was conducted on May 2, 2014 while the writer was visiting Argentina as part of the “Dialogue of Latin American Writers,” during the 40th International Book Fair in Buenos Aires. Before the meeting, Diamela Eltit kindly provided this interview over coffee at an old Palermo neighborhood hotel.>>>
Paola Susana Solorza
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Elisa Calabrese
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