Abstract The objective of this article is to develop an analysis from the perspective of gender inequality in the story “Little Women”, by the Ecuadorian writer Solange Rodríguez Pappe, which is included in the literary work The Kindness of Strangers (2014). in the context of the Latin American narrative of the last two decades of the 21st century. The methodology to be used is textual analysis to show how the fantastic and supernatural element confronts each other between the little women and Joaquín. In relation to the analysis and results, it is concluded that in the narrative context the development of an exploratory-colonizing relationship of the male body is evident in a misogynistic and ambiguous locus in which female subversion is opposed to male domination.

Resumen El presente artículo se propone como objetivo desarrollar un análisis con perspectiva de la desigualdad de género en el cuento “Pequeñas mujercitas”, de la escritora ecuatoriana Solange Rodríguez Pappe, el cual se incluye en la obra literaria La bondad de los extraños (2014), en el contexto de la narrativa latinoamericana de las últimas dos décadas del siglo XXI. La metodología por emplear es el análisis textual, para evidenciar cómo el elemento fantástico y sobrenatural se enfrenta entre las pequeñas mujercitas y Joaquín. En relación con el análisis y los resultados, se concluye que en el contexto narrativo se evidencia el desenvolvimiento de una relación explorativa-colonizadora del cuerpo masculino en unlocus misógino y ambiguo en el que la subversión femenina se contrapone a la dominación masculina.

Resumo: Este artigo examina a repetição nos textos narrativos de Juan Carlos Onetti que se passam na cidade fictícia de Santa María. Abrangendo uma visão panorâmica mas detalhada de vários romances, a análise centra-se em como a repetição esvazia o sentido de três âncoras de identidade e garantias de sentido: a criação literária, o trabalho e a vida de casado. Ao remover qualquer significado linear ou progressivo, as repetições criam versões de escrita, profissões e matrimónio que revelam um vazio em vez de preenchê-lo. O universo de Santa María é redundante por natureza, mas esta redundância anula os mitos que procuram impedir o indivíduo de enfrentar a sua realidade

Abstract: This article examines repetition in the narrative texts of Juan Carlos Onetti that take place in the fictional city of Santa María. Adopting a panoramic but detailed view of several novels, the analysis focuses on how repetition empties the meaning of three anchors of identity and guarantors of meaning: literary creation, labor, and conjugal relationships. By removing any linear or progressive meaning, the repetitions create versions of writing, labor, and marriage that reveal a void rather than filling it. The universe of Santa María is redundant by nature, but that redundancy nullifies the myths that seek to prevent the individual from facing reality

Resumen: En este artículo se examina la repetición en los textos narrativos de Juan Carlos Onetti que se desarrollan en la ciudad ficticia de Santa María. Abarcando una visión panorámica pero detallista de varias novelas, el análisis se centra en cómo la repetición vacía el sentido de tres anclas de la identidad y garantías de significado: la creación literaria, el trabajo y la vida conyugal. Al retirarles cualquier sentido lineal o progresivo, las reiteraciones crean versiones de la escritura, el trabajo y el matrimonio que revelan un vacío en lugar de rellenarlo. El universo de Santa María es redundante por naturaleza, pero esa redundancia anula los mitos que pretenden evitar que el individuo se enfrente a la realidad.

Resumen Los análisis sobre crónica periodística se basan en concepciones ahistóricas y, de tan generales, inasibles, las cuales no siempre consideran factores como 1) la historización de los textos, 2) el contexto de sus autores y 3) las condiciones de producción (las coyunturas a las que deben responder sus temáticas en tanto trabajos periodísticos o las publicaciones en que se editan, entre otros). Por ello proponemos una metodología para estudiar la crónica como un producto cultural e histórico que se redefine al ser estudiado desde estos tres aspectos. Para profundizar en esta propuesta, tomamos como ejemplo tres crónicas de autoras mexicanas contemporáneas (Magali Tercero, Marcela Turati y Lydiette Carrión) y ponemos en práctica este modelo.

Abstract Journalistic chronicles’ analysis is often based on ahistorical and, so general, elusive conceptions, which do not always consider factors such as 1) the historicization of the texts, 2) the context of their authors and 3) the conditions of production (the conjunctures to which their themes must respond in terms of journalistic works or the publications in which they are published, among others). For this reason, we propose a methodology to study the chronicle as a cultural and historical product that is redefined when studied from these three aspects. To delve deeper into this proposal, we take as an example three chronicles by contemporary Mexican authors (Magali Tercero, Marcela Turati and Lydiette Carrión) and put this model into practice.

RESUMEN El presente artículo de reflexión estudia la configuración del sujeto femenino a través del discurso literario de las escritoras wayuu Vicenta Siosi Pino y Estercilia Simanca Pushaina a partir de los vínculos entre los recuerdos y los hechos, que constituyen la memoria cultural de su comunidad. Desde este punto de vista, se propone un análisis sobre la relevancia del pasado al momento de develar huellas de acontecimientos históricos que marcan precedentes dentro de la tradición oral de la etnia. En este sentido, el principal hallazgo radica en que, desde el contenido ficcional de sus testimonios narrados, se establece un vínculo entre la cultura, el testimonio vivo y los imaginarios relacionados con la figura de la mujer. Se revisa la relación de los textos con una dinámica de continuidad o ruptura con las implicaciones que posee ejercer este rol dentro de la colectividad, resultado del acontecer sociohistórico como metáfora del pasado y de las prácticas sociales establecidas por el pueblo wayuu.

RESUMO Este artigo de reflexão estuda a configuração do sujeito feminino por meio do discurso literário das escritoras wayuu Vicenta Siosi Pino e Estercilia Simanca Pushaina, a partir dos vínculos entre memórias e acontecimentos que constituem a memória cultural de sua comunidade. Desse ponto de vista, propõe-se uma análise da relevância do passado ao revelar vestígios de eventos históricos que estabelecem precedentes na tradição oral da etnia. Nesse sentido, a principal constatação reside no fato de que, a partir do conteúdo ficcional de seus depoimentos narrados, estabelece-se um vínculo entre cultura, testemunho vivo e imaginários relacionados à figura da mulher. Revisa-se a relação dos textos com uma dinâmica de continuidade ou ruptura com as implicações que podem exercer esse papel dentro da coletividade, resultado de eventos sócio-históricos como metáfora do passado e das práticas sociais estabelecidas pelo povo Wayuu.

ABSTRACT This article examines the configuration of the female subject in the literary discourse of Wayuu writers Vicenta Siosi Pino and Estercilia Simanca Pushaina, exploring the connections between memories and events that shape the cultural memory of their community. From this point of view, an analysis is proposed on the relevance of the past when revealing traces of historical events that set a precedent within the oral tradition of the ethnic group. In this regard, the main finding is that, through the fictional content of their narrated testimonies, a link is established between culture, the contemporary world, and the world-view of women as a proposal for continuity or rupture with the implications of fulfilling this role within the community. This role emerges as a result of socio-historical evolution, serving as a metaphor for the past and for the social practices established by the Wayuu people.

RESUMEN Este artículo analiza la pieza literaria Marsolaire, publicada en 1941 por la escritora barranquillera Amira de la Rosa, a partir de la propuesta filosófico-literaria de Gilles Deleuze y Félix Guattari. El texto se divide en tres partes, la primera profundiza en el concepto de novela corta, sus elementos y su clasificación tipológica; la segunda, realiza una síntesis de la obra resaltando las características que permiten diferenciarla de la narrativa cuentística; en la tercera se propone una lectura cartográfica de Marsolaire, así como su filiación a uno de los mapas de novela corta esbozados desde la teoría mencionada. El artículo concluye que la obra puede ser catalogada como una novela corta y no como un cuento.

RESUMO Este artigo analisa a obra literária Marsolaire, publicada em 1941 pela escritora barranquillera Amira de la Rosa, a partir da proposta filosófico-literária de Gilles Deleuze e Félix Guattari. O texto está dividido em três partes, o primeiro aprofunda o conceito de romance curto, seus elementos e sua classificação tipológica; a segunda, realiza uma síntese da obra ressaltando as características que permitem diferenciá-la da narrativa do conto e; e a terceira propõe-se uma leitura cartográfica de Marsolaire, bem como sua filiação a um dos mapas do romance curto esboçados desde a teoria mencionada. O artigo conclui que a obra pode ser classificada como um romance curto e não como um conto.

ABSTRACT This article analyzes the literary piece Marsolaire, published in 1941 by the Barranquilla writer Amira de la Rosa, based on the philosophical-literary proposal of Gilles Deleuze and Félix Guattari. The text is divided into three parts, the first delves into the concept of the short novel, its elements and its typological classification. The second, makes a synthesis of the work highlighting the characteristics that allow it to be differentiated from the short story narrative, and, finally, a cartographic reading of Marsolaire is proposed, as well as its affiliation to one of the short novel maps outlined from Deleuze-Guattarian theory. The article concludes that the work can be classified as a short novel and not as a story.

In hierdie artikel word queerlesing gebruik om die vroeë twintigste-eeuse Afrikaanse spookverhaal "Die bouval op Wilgerdal" deur CJ Langenhoven te ontleed. Die studie benader queerness as 'n ontwrigtende politiek wat samelewingsnorme uitdaag, veral in die konteks van literatuur. Queerlesing word gebruik as 'n metode wat verborge betekenisse in tekste onthul, veral dié wat in stryd is met normatiewe interpretasies. Queerlesing word met Gordoniaanse hauntologie, die unheimliche en affekteorie in verband gebring. Die artikel illustreer die affektiewe rol van die plaas in die Afrikaanse letterkunde en demonstreer hoe die plaasruimte historiese lae, identiteit en affek verteenwoordig. Daar word aangevoer dat Langenhoven se verhaal die konvensionele uitbeelding van die plaas ondermyn deur dit 'n unheimliche ruimte te maak, wat sodoende kritiek lewer op die sentraliteit van die plaas in prosesse van Afrikaneridentiteitsvorming. Aan die hand van die queerlesing van die verhaal word aangevoer dat die ware spokery van die Wilgerdalplaas die ontwrigting van die Van Graanfamiliebloedlyn en die verlies van hul verbintenis met die grond is. Sodoende destabiliseer die verhaal die konvensionele patrone van Afrikaanse literatuur oor plase. Uiteindelik ontbloot die verhaal die unheimliche aard van die plaasruimte oor die algemeen en die Afrikaner se onbestendige verhouding daarmee deur middel van die skakel tussen bonatuurlike bedreiging en die plaasruimte sowel as die verqueering van familiale waardes in die besonder. Die narratief spoor die Afrikanerleser aan om van aangesig tot aangesig te kom met die spoke wat Afrikanerhuise bewoon, en spreek moontlik tot die Afrikaner se vrese oor die voortbestaan van die Afrikanerfamilie en grondbesit, vrese wat tot vandag toe voortduur.

This article analyses an early twentieth-century Afrikaans ghost story, "Die bouval op Wilgerdal" by CJ Langenhoven (1972, originally published in 1924) by means of a queer reading and it places specific focus on the affective role of space in the story. It is a story within a story that is presented as a first-person retelling of a tale about the haunted, ruined farm of the Van Graan family. Affect theory and Gordonian hauntology are used as tools to underpin the queer reading of the story that, it is argued, contribute to its queering. The article approaches queerness as a radical politics that disrupts social norms and reaches beyond queerness as an umbrella term for the LGBTQIAP+ community. The article illustrates how queer reading is an approach to text analysis that focuses on hegemonic literary history to queer the literary canon and undermine the hegemony of (hetero)normativity. Queer reading specifically pays attention to the tension between the visible and the invisible in texts in order to bring out hidden meanings that run counter to normative readings of the text. Productive links between queer reading, Gordonian hauntology and the uncanny are illuminated by illustrating how the relationship between the visible and the invisible is explored. For Gordon, ghosts and haunting inform how systemic structures that are invisible or seemingly no longer there, make their impact felt. The analysis of haunting can therefore lead to a more complex understanding of the moving parts and generative structures of historically embedded social formations. A key part of Gordon's theory is how the uncanny is a haunting experience where the familiar, which has been suppressed, returns in the form of a disturbing phantom. Importantly, this article highlights the parallels between queerness and the uncanny. Because of the links between queer reading and affect as well as Gordon's emphasis on the affective, a discussion on affect theory is presented to direct attention to how emotions circulate between bodies, objects, and spaces in the text. The discussion of the text sheds light on the affective role of the farm in the Afrikaans literary tradition. The argument is made that the space of the farm does not figure as a mere backdrop against which Afrikaans stories play out, but that it can be considered a palimpsest through which the various layers of history, identity and affect can be read. To illustrate this, a brief overview of the context from which the farm novel emerged is given to highlight how it responded to widespread urbanisation by glorifying the rural values of the past. The article describes how ownership of the land, and the farmer's ties to the land through his labour and bloodline were regarded as key parts of Afrikaner identity by the Afrikaner nuclear family depicted in early twentieth-century Afrikaans farm narratives. It is suggested that one of the ways in which CJ Langenhoven's "Die bouval op Wilgerdal" queers the characteristic features of the farm in Afrikaans literature is by making the space of the story, the farm, an uncanny space. In this way, the story undermines and criticises the values that are often associated with the farm and questions its centrality in the formation of an Afrikaner identity. To elucidate this subversion and questioning the affective landscape of the narrator in "Die bouval op Wilgerdal" is analysed to show how CJ Langenhoven uses the setting to evoke an uncanny affective environment by drawing the narrator affectively into the anticipation of threat through the sights and sounds of the farm. The haunting of the farm is located in its setting, rather than from the outside suggesting that the story regards the threat that haunts the farm as internal and supernatural. This is particularly evident from how Langenhoven represents the haunting of the Wilgerdal farm in the ruined Afrikaner home and reveals that the true haunting is located in the ruin of the Van Graan family lineage and the subsequent loss of their bloodline's ties to the land. This is especially evident from how Langenhoven makes the Afrikaner house a haunted house and thus reveals that the ghostliness of Wilgerdal originates in the heart of the Afrikaner family. This disruption occurs due to Frans Rysselaar's occupation of Petrus 's body, leaving Petrus disembodied and searching for justice on the farm. The conventional patterns of Afrikaans literature about the farm, where the benevolent patriarch rules over the farm and ensures the succession of his bloodline, are therefore queered. Following from this, the article suggests that by depicting the threat to the farm as a supernatural threat linked closely to the setting of the story, the farm and the Afrikaner family home, Langenhoven's text may have been attempting to queer the familial values of Afrikaner society that were valorised in Afrikaans literature about farms at the time. Finally, it is argued that through this queering the text uncovers and/or reflects the uncanny nature ofthe farm and the Afrikaner's tenuous relationship with it. A queer reading of "Die bouval op Wilgerdal" implores the Afrikaner to live with and provide a hospitable memory for the ghosts that populate Afrikaner homes. The article concludes by suggesting that this story may have been speaking to that which haunted Langenhoven and Afrikaner society at the time and that these same fears around the survival of the Afrikaner family and the Afrikaner's ownership of the land still persist.

ABSTRACT This study conducts a synchronic analysis of the Book of Job with the aim of demonstrating the thesis of fourfold structures present within the narrative. The methodology employed integrates the canonical approach and narrative analysis, examining and organizing the text based on its syntactic and thematic indications. The focus is on identifying these fourfold structures within the literary blocks and chapters, as well as the fourfold rhetoric in pericopes and verses. The research, grounded in the analysis of the Masoretic Text (MT), investigates the ethical quadrilateral (1,1b), which characterizes Job as “blameless and upright, fearing God and shunning evil”, and in 23,8-9, which reveals Job’s search for Eloah in the four corners of the cosmos. The findings support a cosmological hermeneutic that integrates and illuminates the entire narrative of the Book of Job. indications chapters verses research MT, MT , (MT) 1,1b, 11b b 1,1b 1 1b (1,1b) blameless upright evil, evil evil” 23,89, 2389 23,8 9, 23 8 9 23,8-9 Jobs s cosmos (MT (1,1b 89 23,89 238 23, 2 23,8-

RESUMO Este estudo realiza uma análise sincrônica do livro de Jó, com o objetivo de demonstrar a tese das estruturas quadripartidas presentes na narrativa. A metodologia utilizada integra a abordagem canônica e a análise narrativa, examinando e estruturando o texto a partir de suas indicações sintáticas e temáticas. O foco está na identificação dessas estruturas quadripartidas nos blocos literários e capítulos, bem como na retórica quádrupla em perícopes e versículos. A pesquisa, fundamentada na análise do Texto Massorético (TM), investiga o quadrilátero ético (1,1b) que caracteriza Jó como “íntegro e reto, temente a Deus e que se afastava do mal”, e em 23,8-9, que revela a busca de Jó por Eloah nos quatro cantos do cosmos. Os resultados obtidos favorecem uma hermenêutica cosmológica que integra e ilumina o enredo completo do livro de Jó. narrativa temáticas capítulos versículos pesquisa TM, TM , (TM) 1,1b 11b b 1 1b (1,1b íntegro reto mal, mal mal” 23,89, 2389 23,8 9, 23 8 9 23,8-9 cosmos (TM 89 23,89 238 23, 2 23,8-

Resumen El presente trabajo tiene como objetivo analizar el pensamiento de Rafael Barrett en torno a dos de sus principales obras: Lo que son los yerbales (1910) y El dolor paraguayo (1911). En estos dos tomos, reunidos en el compendio titulado Obras completas, Barrett introduce la cuestión social y anticolonial en la literatura paraguaya, denunciando las atávicas injusticias que sufrían los trabajadores rurales en Paraguay y, por extensión, visibilizando problemáticas sociales arraigadas en la historia del continente. De su producción literaria, nos interesan dos cuestiones. En primer lugar, cómo Barrett, ya devenido en escritor comprometido y representante de una literatura menor, intenta disputarle un lugar a la narrativa dominante, centrada en la construcción de un relato nacionalista y modernizador, tras lo que fue el desastre de la Guerra de la Triple Alianza o Guerra Guasú (1864-1870). Por otro lado, se explorarán las tensiones subyacentes en torno a “quién puede decir a América”, reavivando la discusión acerca de si el pensamiento latinoamericano tiene (o debería tener) alguna especificidad respecto de las prácticas que se desarrollan en los centros metropolitanos, y si estas responden a “terrenos de disputa” entre los representantes de la vida intelectual latinoamericana.

Abstract This paper aims to analyze Rafael Barrett's thought two of his major works: “Lo que son los yerbales” (1910) and “El dolor paraguayo” (1911). In these volumes, compiled in the collection titled Complete Works, Barrett introduces social and anti-colonial issues into Paraguayan literature, denouncing the longstanding injustices suffered by rural workers in Paraguay and, by extension, highlighting social problems rooted in the continent’s history. This analysis focuses on two main aspects of his literary production. First, it examines how Barrett, as a committed writer representing a minor literature, attempts to challenge the dominant narrative centered on constructing a nationalist and modernizing story following the disaster of the Triple Alliance War or “Guerra Guasú” (1864-1870). Second, it explores the underlying tensions regarding “who can speak to America,” reviving the debate on whether Latin American thought has (or should have) any specificity compared to practices developed in metropolitan centers and whether these reflect “battlegrounds” among representatives of Latin American intellectual life.

Abstract The intensification of violence and the violation of human rights in migratory crises is currently a central theme in the experimentation of graphic narratives, which have given rise to the hybrid and critical genre represented by the graphic chronicle and the graphic novel of migration. The verbo-visual treatment is analyzed in the series of twelve graphic chronicles of migration “My life as an immigrant in Chile” (2018) of Sábado Magazine, in the newspaper El Mercurio, an agent of public discourse that has consolidated stereotypes and prejudices about the migrant population. Through qualitative content analysis of the image-text articulation, the verb-visual strategies of the graphic chronicle of journalistic and literary tone are examined. The elements that confer authenticity, reliability and veracity to the chronicle were established according to the use of testimony, portraits of the protagonists and contextual data. Likewise, literary elements were determined such as the staging of vulnerability, enhancement of the cultural fabric, multiple narrative voices and the recreation of resilient resistance, which together allude to the human rights perspective. The graphic chronicle intensifies the use of the testimonial voice and omits the author (witness), but the latter appears in the verb-visual articulation in biases and introduction of the ambiguity of migration experiences, and in the relationship with the “distant near”. The graphic chronicle of migration can be significantly modulated by the mediatized public discourse, weakening its critical reading of reality.

Resumen La intensificación de la violencia y la violación a los derechos humanos en las crisis migratorias es en la actualidad una temática central en la experimentación de las narrativas gráficas, las que han originado el género híbrido y crítico representado por la crónica gráfica y la novela gráfica de migración. Se analiza el tratamiento verbo-visual en la serie de doce crónicas gráficas de migración “Mi vida como inmigrante en Chile” (2018) de la Revista Sábado, inserta en el periódico El Mercurio, agente del discurso público que ha consolidado estereotipos y prejuicios sobre la población migrante. A través de análisis de contenido cualitativo de la articulación imagen-texto se examinan las estrategias verbo-visuales de la crónica gráfica de tono periodístico y literario. Los elementos que confieren autenticidad, fiabilidad y veracidad a la crónica se establecieron de acuerdo con el del testimonio, retratos de los protagonistas y datos de contexto. Asimismo, se determinaron los elementos literarios como la puesta en escena de la vulnerabilidad, realce de la trama cultural, de las voces narrativas múltiples y la recreación de la resistencia resiliente, que en conjunto aluden a la perspectiva de derechos humanos. La crónica gráfica intensifica el uso de la voz testimonial y omite la del autor (testigo), pero este último aparece en la articulación verbo-visual en sesgos e introducción de la ambigüedad de las experiencias de la migración, y en la relación con el “lejano próximo”. La crónica gráfica de migración puede ser modulada significativamente por el discurso público mediatizado debilitando su lectura crítica de la realidad.

Abstract: Prosody is a subject that has been very little dealt with in the studies on the teaching of Sanskrit, and is essential for understanding the phonetic, lexical, morphological and syntactic processes of that language. The basis of its study is described in one of the most important works for the ancient Indian tradition, the Nāṭyaśāstra, attributed to the wise Bharata (ca. 5th century B.C.E.). It is a play of theatrical theory where the postulates of Indian literary theory are established within the dramatic context. In fact, this work has been the genesis of later Indian theorists, because it provides an understanding of the literary and constructive processes of Sanskrit and Prakrit literature. I present here a translation into Spanish, along with an analysis and a brief introduction, of chapter XV of the Nāṭyaśāstra.

Resumen: La prosodia es un tema muy poco tratado en los estudios sobre la enseñanza del sánscrito, y es esencial para entender los procesos fonéticos, léxicos, morfológicos y sintácticos de esa lengua. Lo fundamental de su estudio se describe en una de las obras más importantes para la tradición de India antigua, el Nāṭyaśāstra, atribuida al sabio Bharata (ca. siglo V a.e.c.), una obra de teoría teatral donde se establecen los postulados de la teoría literaria india en el contexto dramático. En efecto, esta obra ha sido la génesis de teóricos indios posteriores, porque permite entender los procesos literarios y constructivos de la literatura sánscrita y prácrita. Presento aquí una traducción al español, junto con un análisis y una breve introducción, del capítulo XV del Nāṭyaśāstra.

Resumo Parte da poesia de Abigael Bohórquez (1936-1995) pode ser lida como poesia de testemunho homossexual. Especificamente, sua última coletânea de poemas, seu testamento poético, Poesida (1996), permite essa leitura, pois esse documento cruel, mas solidário, busca envergonhar o discurso heteronormativo, aquele que reagiu condenando as práticas homossexuais no auge da pandemia Hiv/Aids nas décadas de 1980 e 1990 do século XX. A Poesida será estudada a partir da poética da deturpação, como proposta de análise para a resistência dissidente à normalização discursiva que a coletânea de poemas oferece, tanto no confronto da tradição literária, quanto no espaço poético e na autobiografia referências. Bohórquez constrói um mural, um testemunho, uma série de canções e retratos para não esquecer, dignificar e resistir à vergonha com que tentaram classificar aqueles que morreram com o peso do estigma e da culpa.

Resumen Parte de la poesía de Abigael Bohórquez (1936-1995) puede leerse como poesía de testimonio homosexual. Específicamente, su último poemario y testamento poético, Poesida(1996), avala esa lectura, puesto que se trata de un documento cruel pero solidario que busca poner la vergüenza del lado del discurso heteronormativo, aquel que reaccionó condenando las prácticas homosexuales en el apogeo de la pandemia de VIH/sida entre los años ochenta y noventa del siglo XX. Se estudiará Poesida desde la propuesta de una “poética del tergiversar”, con el objetivo de analizar las resistencias disidentes que ofrece el poemario a la normalización discursiva tanto en la confrontación con la tradición literaria, como en el espacio poético y en las referencias autobiográficas. Bohórquez construye un mural, un testimonio, una serie de cantos y retratos para no olvidar, para dignificar y resistir la vergüenza con la que se trató de encasillar a quienes murieron con el peso del estigma y de la culpa.

Abstract Part of the poetry of Abigael Bohórquez (1936-1995) can be read as poetry of homosexual testimony. Specifically, his last collection of poems, his poetic testament, Poesida (1996), allows for this reading, since this cruel but supportive document seeks to put shame on the side of the heteronormative discourse, the one that reacted by condemning homosexual practices at the height of the Hiv/Aids pandemic in the 1980s & 1990s of the 20th century. Poesida will be studied from the poetics of misrepresentation, as a proposal for analysis for the dissident resistance to the discursive normalization that the collection of poems offers, both in the confrontation of the literary tradition, as well as in the poetic space and in the autobiographical references. Bohórquez builds a mural, a testimony, a series of songs and portraits so as not to forget, dignify and resist the shame with which they tried to classify those who died with the weight of stigma and guilt.

ABSTRACT In Ficciones barrocas, Carlos Gamerro develops the concept of “baroque fictions” (baroque fictions) to refer to fictional works in which one can perceive a playful strategy in which opposites encounter and displace each other. One of the baroque folds is constituted by the opposition between the original and the copy, and in more general terms, between the authentic and the apocryphal, both identified by Gamerro in the works of Miguel de Cervantes and Jorge Luis Borges. In this article I propose to extend this analysis, taking in addition the case of Argentinian author Washington Cucurto, another writer associated with the baroque. I argue that two different conceptions of literature and two equally different notions of the author are at play in these encounters between copy and original, authentic, and apocryphal and reality and fiction. While in Cervantes there is a notion of literature as private property and of the author as proprietor, Borges and Cucurto revindicate literature as plagiarism and a figure of the author as someone devoid of authority and originality, all of which invites us to think of an alternative organization of literary language as a common possession instead of a property.

RESUMEN En Ficciones barrocas, Carlos Gamerro acuña la expresión “ficciones barrocas” para referirse a narraciones en donde se percibe un juego de planos de la realidad en el que los opuestos se cruzan y desplazan mutuamente. Uno de esos planos está compuesto por la oposición copia/original --y en términos más generales, el encuentro entre lo auténtico y lo apócrifo-- que Gamerro identifica en las obras de Miguel de Cervantes y Jorge Luis Borges, entre otros. En este trabajo propongo profundizar en ese análisis, tomando, además, el caso de Washington Cucurto, otro autor fuertemente asociado con el barroco. Sostengo que en estos encuentros entre el original y la copia, entre lo auténtico y lo apócrifo, en Cervantes, Borges y Cucurto, lejos de mostrar una simple operación estética, se desprenden dos maneras de entender la literatura y el concepto de autor. Mientras en Cervantes está presente una noción de la literatura como propiedad privada y del autor como propietario, Borges y Cucurto reivindican la literatura como plagio --es decir, como usurpación de la propiedad-- y la figura de un autor desprovisto de autoridad y originalidad, lo que invita a pensar en otra forma de organizar el lenguaje literario como una posesión en común en lugar de una propiedad.

ABSTRACT The following text is a reflection based on the novel My Tender Matador published by Pedro Lemebel in 2001. The analysis puts the figure of the travesti -in this case, la Loca del frente- in dialogue with monstrosity and the baroque ethos. This theoretical crossing seeks to put into play a reading of the monstrous as an agent that de-monstrates (points out, indicates) a normative order as its reverse. The consequent reading hypothesis is that the novel’s protagonist is a literary strategy to denounce the patriarchal framework of both the dictatorship and the Chilean revolutionary left of the 80's.

RESUMEN El siguiente texto es una reflexión que se construye a partir de la novela Tengo miedo torero publicado por Pedro Lemebel en el año 2001. El análisis pone en diálogo lo travesti -encarnado en la protagonista, la Loca del frente-lo monstruoso y el ethos barroco. Este cruce teórico busca poner en juego una lectura de lo monstruoso como agente que de-monstra (señala, indica) un orden normativo como su reverso. La hipótesis de lectura consiguiente es que la protagonista de la novela es una estrategia literaria de denuncia del entramado patriarcal tanto de la dictadura como de la izquierda revolucionaria chilena de los 80.

ABSTRACT This article seeks to analyze the educational and literary proposal of La escuela y el cuento (1931) by Cipriano Anglés from three perspectives: the nature of the children’s story, the typology of the children’s story and the performance of the children’s story exhibition in the classroom. The objective of this research is to examine the central aspects of a manual that opens the reflection on children’s literature in Peru. The methodology used is qualitative under the documentary analysis approach; in addition, theory of children’s literature, rhetoric and theory on non-verbal communication will be considered. This study brings, as a result of the problem, the teaching of children’s stories in our country in the first decades of the twentieth century. Likewise, elements that are still valid in didactic - literary studies are addressed, such as the question of genres, literary typology, rhetoric, and non-verbal language.

RESUMEN El presente artículo busca analizar la propuesta educativa y literaria de La escuela y el cuento (1931) de Cipriano Anglés desde tres perspectivas: la naturaleza del cuento infantil, la tipología del cuento infantil y la performance de la exposición de cuentos infantiles en el aula. El objetivo de la investigación es analizar los aspectos centrales de un manual que abre la reflexión en torno a la literatura infantil en el Perú. La metodología empleada es cualitativa bajo el enfoque de análisis documental; además, se tendrá en cuenta la teoría sobre literatura infantil, la retórica y la teoría sobre comunicación no verbal. Dicho análisis trae como resultado de la problemática la enseñanza del cuento infantil en nuestro país en las primeras décadas del siglo XX. Aborda elementos que siguen vigentes en los estudios didáctico-literarios, tales como la cuestión de los géneros, la tipología literaria, la retórica y el lenguaje no verbal.

Resumen Los modelos de socialización de la niñez narrados en cuentos costarricenses del siglo XX posibilitan mostrar patrones culturales de socialización y su historicidad. La reflexión se orienta hacia la interrogante sobre cómo representa la narrativa costarricense nociones de niñez y modelos de socialización de la niñez en cuentos costarricenses de las primeras décadas del siglo XX. Con base en el análisis desde la Hermenéutica Profunda, se identificaron patrones de socialización, sobre todo de la niñez femenina, como recurso para intensificar el dramatismo de procesos sociales en boga durante la época que cubren. Los hallazgos se contrastan con premisas teóricas derivadas de estudios que tratan la historicidad de la niñez y los procesos socioculturales subyacentes. Los resultados develan una niñez ajena a procesos protagónicos en sus entornos de interacción sujeta a un control vertical ejercido por figuras de autoridad. Se tienden a sobrevalorar características deseables como la sumisión y la obediencia infantil y sobresale la carencia de la caracterización de un lugar social de la niñez con identidad propia. La noción de niñez es una metonimia que representa la calamidad y la decadencia, sin un auténtico cuestionamiento de su lugar sociofamiliar.

Abstract The models of childhood socialization narrated in Costa Rican tales of the 20th century make it possible to depict cultural patterns of socialization and their historicity. The reflection is oriented on the question of how the Costa Rican narrative represents notions of childhood and models of childhood socialization, in Costa Rican tales of the 20th century. The analysis from the in-depth Hermeneutics identified patterns of socialization, especially of female childhood, as a resource to intensify the drama of social processes in vogue during the time they cover. The findings are contrasted with theoretical premises derived from studies dealing with the historicity of childhood and the underlying sociocultural processes. The results reveal a childhood alien to leading processes in their interaction environments; subject to vertical control exercised by authority figures. Desirable characteristics such as child submission and obedience tend to be overestimated, and the lack of characterization of a social place in childhood with its own identity stands out. The notion of childhood is a metonymy that represents calamity and decadence, without a genuine questioning of its socio-familiar place.