Though central to contemporary debates over identity, politics, and culture, the concept of tradition often remains unexamined. In a series of readings that transgress cultural and disciplinary ...boundaries, Daniel Cottom subjects this concept to close scrutiny.
The first line comes from the tension between the criminal and power, and the second one from textual/verbatim word marks which match a rethoric of the image founded on visuality (luminance, shadow ...and visibility) and a critical discourse thematization of film as present in Droguett's novel. Es aquí donde sostengo que el criminal pasa de ser un sujeto fuera de la ley a uno aprehendido por la misma. Las relaciones entre el criminal y la autoridad están rotas, sin embargo, tal ruptura es vincular, en tanto el "haz de luz" que la autoridad posa sobre el criminal le permite, de algún modo, existir, por lo tanto, surgen las relaciones propuestas por Ludmer, los entendimientos desarrollados por Hobsbawm y los pactos erigidos desde Foucault, desde el momento en que es acorralado, siendo participe del castigo y pena final: la muerte. El espectáculo como parte constitutiva de la monstruosidad, comentado por Omar Calabrese en La era neobarroca, es donde el monstruo se erige desde el misterio y su manera de mostrarse (107), mientras que la "estetización de todo" (15), en especial la política en el espectáculo mismo es lo que aporta Jean Baudrillard, en La transparencia del mal. 8 Eloy es una novela que comienza con una imagen (imagen 1), con el rostro criminal literario que nace muerto.
What is the relationship between philosophical understandings of the infinite and their narrative expressions? This article explores the infinite in two aesthetic paradigms: the horror of the ...infinite in classical Greece, and Romanticism's glorification of the unlimited. It argues that these two approaches paved the way for a third, a "relational infinite" that emerged in the second half of the twentieth century. To illustrate this third paradigm, I draw on the works of Argentine author Jorge Luis Borges and on other fictions of the fantastic genre that make the boundless and endless a key element of the plot.
This essay reads Samuel Johnson's Rasselas (1759) against the background of negative or apophatic theology and argues that it is unique among Johnson's works in expressing a sense of life as an ...enigma. The silent or hidden symbol of the story is the Giza Sphinx, one of the foundational symbols of such theology: the second-century Church Father Clement of Alexandria, whose works Johnson owned, associated the enigmas of the Hebrew Bible with the mystery of the Egyptian sphinxes. More widely, Rasselas contains absent objects and symbols, enigmatic silences and responses, hidden images and paradoxes, self-defeating dualisms and habits of style, apophatic philosophy ("philosophy can tell no more"), and an enigmatic conclusion ("nothing"). The apophatic quality is embodied in the text through what Jorge Luis Borges refers to as Rasselas's "agile music," the subtle, flexible management of narrative voices, which generates a distinctive kind of attention in the reader.
De manera específica, no dejan de sorprender notas como "De Pigafetta a Neruda", "Lección de José Santos González Vera", "El último diálogo con el maestro Ricardo Latcham", "Jorge Luis Borges en ...diálogo final con Pedro Henríquez Ureña", o el entusiasmo que permite replicar algunas líneas de "Nerudiana personal": ¿Cómo empieza esta relación? Pues en esta nota, traída como ejemplo, puede leerse el personalísimo significado que resulta en un primer contacto con la literatura de Pablo Neruda, como también lo puede ser la formación del joven poeta en contacto con la materialidad de su entorno, el conocimiento de la biblioteca, la escucha atenta de la voz que se desprende de los primeros libros que hacemos nuestros. En él reconocemos un puente extenso que nos vuelve a conectar con el periodo de mayor efervescencia intelectual y literaria en América Latina.
Starting with the liberal projects of modern nation-state formation, our territory had to be desertified to imagine, build and sustain this process. To challenge these policies and their narratives, ...it becomes necessary to rewrite new fictions. We begin by examining the figure of the taperas, legacy of the 19th century modernizing project, as a dynamic component of the landscape and, at the same time, as a critical device waiting to be questioned and exhumed as a surviving trace. In this way, the encounter among the poetic traces in the Quiñihual railway station, the vital traces that inhabit the LincoRln desert's Tapera del desierto and the map that emerges between them, interrupt and destabilize the story imposed in the territory of the province of Buenos Aires.
In this brief interview, the French historian Roger Chartier (Lyon, 1945) covers a series of concepts related to three of the major areas to which he has devoted most of his academic work over the ...last four decades. The first deals with the figure of the author and in it a conceptual arc is authenticated that goes from new technologies applied to literary production and changes in authorial models to a return to the classics. The second axis focuses on the book as a support for texts and is an attempt to cover the different materialities of said object (physical, electronic or audiobook books). The third axis, in this case a single broad question, reflects the relationships between the historiographical and literary sciences, how they intersect, and ways to approach the historicity of texts.
This article analyzes Silvina Pachelo’s illustrated edition of Esteban Echeverría’s El matadero with the aim of exposing how the Buenos Aires painter rewrites one of the foundational works of ...Argentine literature through a visual code. Taking as a starting point the concept of the illustrator as critic, proposed by Lorraine Janzen, I argue that the illustrations offer a space of visibility to the female subjects who, marginalized in Echeverría’s text, point to the endemic state of violence against women in Latin America and that, especially in the last ten years, has been exposed in literature through different aesthetic formalizations. The result is a tense but productive dialogue between word and image that updates, once again, a work that seems to be inexhaustible in its interpretation.
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