Resumen El carácter metaficcional de la novela Bonsái (2006) del escritor chileno Alejandro Zambra ha sido ampliamente comentado por la crítica literaria; no así su autoficcionalidad. A través del estudio de la figura del narrador, los tipos de omisiones presentes en el texto y diversos elementos extraliterarios que conforman la poética del autor, este artículo comprueba cómo la narrativa elíptica y autoficcional de la novela representa un abandono de la tradición literaria realista y problematiza sobre las relaciones entre ficción y realidad. Ambos mecanismos narrativos de la obra —elisión y autoficción— le manifiestan constantemente al lector que se encuentra frente al producto de un proceso de escritura abierto, en el que participan tanto las (in)decisiones de su narrador como las interpretaciones de los lectores que completan los vacíos del texto.

Abstract The metafictional nature of the novel Bonsái (2006), by Chilean author Alejandro Zambra, has been extensively commented on by literary critics, in contrast to its autofictional aspects. By studying the figure of the narrator, the types of omissions present in the text, and diverse extraliterary elements that reveal the author’s poetic principles, this article demonstrates how the elliptical and autofictional narrative of the novel represents a departure from the realist literary tradition and questions the relationship between fiction and reality. Both of these literary devices —elision and autofiction— are constantly presented to the reader, who witnesses a process of open writing characterized by both the narrator’s (in)decisiveness and the reader’s interpretations that fill in the gaps in the text.

Resumen El trabajo estudia la copresencia del realismo literario y constitucional en la narrativa latinoamericana de la violencia, en este caso, Ciudad de Dios (1997) del autor brasileño Paulo Lins y Bicentenaire (2004) del haitiano Lyonel Trouillot. Tanto los textos realistas que tratan aristotélicamente a personajes marginados en un espacio-tiempo con marcas locales, como los textos ‘realistas’ que tratan rousseauianamente al gobernado sujeto a normas ciudadanas para ser aceptadas y practicadas, permiten una apreciación que pasa del género socioverbal convencionado a la significación bien literaria o bien política. Observando que la categoría de 'identidad política' y la experiencia de la exclusión social unen los realismos en los estudios literarios-culturales y en los estudios constitucionales, se pretende ‘leer’ como un ‘acto democrático’ las escrituras que ficcionalizan: la ausencia del estado brasileño frente a la violencia periférica, y la violencia represiva del Estado parapolicial haitiano durante manifestaciones de calle. Al comparar los realismos y situar los contextos constitucionales, se observa un lenguaje maestro ‘ilustrado’ y ‘moderno’ cuyo ejercicio (re)produce el imperativo ‘democrático’. caso 1997 (1997 2004 (2004 Trouillot espaciotiempo espacio tiempo locales ‘realistas practicadas política identidad literariosculturales literarios culturales constitucionales ‘leer leer acto democrático ficcionalizan periférica calle ‘ilustrado ilustrado ‘moderno moderno reproduce re produce ‘democrático. ‘democrático . ‘democrático’ 199 (199 200 (200 19 (19 20 (20 1 (1 2 (2 (

Abstract The article studies the co-presence of literary and constitutional realism in the Latin American narrative of violence, in this case, City of God (1997) by the Brazilian author Paulo Lins and Bicentenaire (2004) by the Haitian Lyonel Trouillot. Both realistic texts, in line with Aristotelian requisites, that treat marginalized characters in a space-time with local marks, and ‘realist’ texts, in line with Rousseauian requisites, that treat the governed subject to citizen norms to be accepted and practiced, allow an appreciation that goes beyond the convened socio-verbal genre to both literary and political meaning. Noting that the category of ‘political identity’ and the experience of social exclusion unite these realisms in literary-cultural studies and constitutional studies, it is intended to ‘read’ as a ‘democratic act’ the writings that fictionalize: the absence of the Brazilian state in the face of peripheral violence, and the repressive violence of the Haitian parapolice State during street protests. When comparing the realisms and situating the constitutional contexts, an ‘enlightenment’ and ‘modern’ master language is observed whose exercise (re)produces the ‘democratic’ imperative. copresence co presence case 1997 (1997 2004 (2004 Trouillot texts requisites spacetime space time marks ‘realist realist practiced socioverbal socio verbal meaning identity literarycultural cultural ‘read read democratic act fictionalize protests contexts ‘enlightenment enlightenment ‘modern modern reproduces re produces imperative 199 (199 200 (200 19 (19 20 (20 1 (1 2 (2 (

Resumo O trabalho estuda a copresença do realismo literário e constitucional na narrativa latino-americana da violência, no caso, Cidade de Deus (1997), do autor brasileiro Paulo Lins, e Bicentenaire (2004), do haitiano Lyonel Trouillot. Tanto os textos realistas que aristotelicamente tratam personagens marginalizados num espaço-tempo com marcas locais quanto os textos também “realistas” que rousseauianamente tratam os governados sujeitos às normas cidadãs a serem aceitas e praticadas permitem uma apreciação que passa do gênero socioverbal convencionado a uma significação quer literária, quer política. Notando que a categoria de “identidade política” e a experiência de exclusão social unem estes realismos nos estudos literário-culturais e nos estudos constitucionais, pretende-se “ler” como “ato democrático” as escritas que ficcionalizam: a ausência do Estado brasileiro diante da violência periférica e a violência repressiva do Estado parapolicial haitiano durante manifestações de rua. Ao comparar os realismos e situar os contextos constitucionais, observa-se uma linguagem-mestre “iluminista” e “moderna” cujo exercício (re)produz o imperativo “democrático”. latinoamericana latino americana caso 1997, 1997 , (1997) Lins 2004, 2004 (2004) Trouillot espaçotempo espaço tempo “realistas literária política identidade literárioculturais culturais constitucionais pretendese pretende se ler “ler ato democrático ficcionalizam rua observase observa linguagemmestre linguagem mestre iluminista “iluminista moderna “moderna reproduz re produz democrático. . “democrático” 199 (1997 200 (2004 “democrático 19 (199 20 (200 1 (19 2 (20 (1 (2 (

Resumen: Resumen: Zarela (Novela feminista) narra las vicisitudes de un grupo de mujeres que convergen en su situación de precariedad. Esto las lleva a desplegar estrategias, no siempre exitosas, de preservación o sobrevivencia. Si bien la novela dialoga con el marco estético-ideológico realista, con frecuencia descalificado por las tendencias experimentales en boga en el campo literario del periodo, la obra lo extraña y lo complejiza al imponerle marcas de género y resignificaciones mediante las que se exponen críticamente las situaciones de las mujeres en el microcosmos social recreado en el texto; se confronta la tradición literaria y cultural patriarcal y se propone un ideario feminista soterrado que defiende proyectos individualistas y contrapedagogías afectivas basadas en la racionalidad y la antisentimentalidad viables para mujeres no excepcionales.

Abstract: Zarela (A Feminist Novel) presents the upheavals of a group of women that converge in the precariousness of their lives. This leads them to deploy not always successful strategies of self-preservation and survival. Even though the text dialogues with a realist aesthetics and ideology (a framework frequently disqualified due to the experimental tendencies ruling in the literary field at the time), Zarela problematizes and rewrites realism by re-signifying it and imposing gender marks fundamental for, first, showcasing the critical circumstances of female subjects in the microcosm depicted in the novel; second, confronting the patriarchal literary and cultural tradition; and, third, proposing a subjugated feminist imaginary that vindicates individualist projects and affective counter-pedagogies based on rationality and anti-sentimentality for non-exceptional female subjects.

This article attempted to reclaim Patrick White's final novel, Memoirs of Many in One, from the margins of White scholarship. The novel was a significant omission from the first major study of White's oeuvre to appear in over 25 years, entitled Remembering Patrick White: Contemporary Critical Essays, edited by Elizabeth McMahon and Brigitta Olubas. Reviled by critics such as David Tacey as demonstrating White's systematic repudiation and trivialisation of his literary legacy, most palpably commemorated in the form of the 1973 Nobel Prize for Literature, the novel has been largely ignored by White scholars. Bridget Grogan's ground-breaking new monograph on White's work, Reading corporeality in Patrick White's fiction also did not include a study of Memoirs. But, this was most probably because the novel does not fit the theoretical focus of her study. As I hope to demonstrate, using postmodernist, Lacanian and film theory, the book may be reinterpreted as a conscious renunciation by its author of the realist tenets, which saw the author as a God-like, omniscient figure. By placing himself as just another character in his novel and fracturing his gendered and narratological (author)ity in the form of multiple, never fully inhabited selves, White revealed the ultimate fraudulence of any claim to authorial and narrative transcendence.

Abstract: Durante la Reconquista by Alberto Blest Gana can be read as a novel in which a secret and power are intertwined in a profoundly significant manner. This interrelationship is constituted in the narrative support, in which the development of historical events, amorous intrigues and social customs are all interwoven. In the unfolding of the novel we can find the inscription of the political and ethical concerns of the author.

Resumen: Durante la Reconquista de Alberto Blest Gana puede ser leída como una novela en donde el secreto y el poder se entrelazan de manera profundamente significativa. Esta interrelación se constituye en el soporte de la narración, en cuyo desarrollo se entretejen los acontecimientos históricos, las intrigas amorosas y la descripción de costumbres sociales. En el despliegue de la novela hallamos inscritas las preocupaciones políticas y éticas de su autor.

Abstract Is the debate over the existence of numbers unsolvable? Mario Gómez-Torrente presents a novel proposal to unclog the old discussion between the realist and the anti-realist about numbers. In this paper, the strategy is outlined, highlighting its results and showing how they determine the desiderata for a satisfactory theory of the reference of Arabic numerals, which should lead to a satisfactory explanation about numbers. It is argued here that the theory almost achieves its goals, yet it does not capture the relevant association between how a number can be split up and the morphological property of Arabic numerals to be positional. This property seems to play a substantial role in providing a complete theory of Arabic numerals and numbers.

ABSTRACT The article “The concept of a common religion in Isa Mughanna’s novels” speaks about creation of religions, reasons of splits within the religions, ideological factors which stand on the basis of the calamities that humanity faces, in addition to it, the ideology of distortion of religions in the novel “Ideal” by philosophical writer of Azerbaijan Isa Mughanna (Huseynov) was analyzed, Isa Mughanna’s creativity based on the idea “If the God is one, then the religion also should be the one” was researched, mystics and reality were compared. The founder of magic realism in Azerbaijan Isa Mughanna was known as a realist writer for 40 years but then he rejected from all his previous works with the insistence of a divine voice and in the second stage of his creativity his outlook to religion was shown in his novels “Ideal” and “GurUn”. In Isa Mughanna’s novels and stories since 1970s his new ideological concept -SafAgh science which was shown as a way of rescue from distortion of the world history and from forgetting the language presented to the humanity by the God was researched.

RESUMEN El artículo "El concepto de una religión común en las novelas de Isa Mughanna" habla sobre la creación de religiones, razones de escisión dentro de las religiones, factores ideológicos que se basan en las calamidades que enfrenta la humanidad, además de ella, la ideología de distorsión de las religiones en la novela "Ideal" de la escritora filosófica de Azerbaiyán Isa Mughanna (Huseynov) fue analizado, Isa Mughanna 's creatividad basada en la idea "Si el Dios es uno, entonces la religión también debe ser el uno" fue investigado, los místicos y la realidad fueron comparados. El fundador del realismo mágico en Azerbaiyán Isa Mughanna fue conocido como escritor realista durante 40 años, pero luego rechazó todas sus obras anteriores con la insistencia de una voz divina y en la segunda etapa de su creatividad su punto de vista hacia la religión se mostró en sus novelas "Ideal" y "GurUn". En las novelas e historias de Isa Mughanna desde 1970 se investigó su nuevo concepto ideológico -SafAgh ciencia que se mostró como una vía de rescate de la distorsión de la historia mundial y del olvido del lenguaje presentado a la humanidad por el Dios.

Abstract: The objective of this research is tracking how the affections appears into Chilean culture, taking as a point of departure a literary work installed in the traditional canon like La Hechizada. La Hechizada, as a canonical text, is a work child of her time in many aspects. The narration is based on a crush on youth, which causes more of a problem because the supposed lovers come from different castes. Taking into consideration the pedagogical purpose of realist novels, perhaps the author's perspective is very opposite to the social validation of affections, but it does not mean that the affections are the engine of the development of the actions in the story. The way in which love relationships are problematized from the male and female sexual roles of the early twentieth century are a starting point for the study of affections in Chilean literature. It is relevant to examine the literature as a privileged witness of social transformations, although this results in a challenge that crosses this article, but which is a larger task.

Resumen: El objetivo de esta investigación es rastrear cómo los afectos se cuelan en la cultura chilena, tomando como punto de partida una obra instalada en el canon tradicional como La Hechizada. La Hechizada, como texto canónico, es una obra hija de su tiempo en muchos aspectos. El relato se basa en un enamoramiento de juventud, que causa más de algún problema porque los supuestos amantes provienen de castas distintas. Tomando en cuenta el fin pedagógico de las novelas realistas, quizás la perspectiva del autor sea muy contraria a la validación social de los afectos, pero eso no quita que estos sean los que incentivan el desarrollo de las acciones de la historia. La forma en que problematizan las relaciones amorosas a partir de los roles sexuales masculinos y femeninos de principios del siglo XX son un punto de partida para el estudio de los afectos en la literatura chilena. Adquiere relevancia examinar la literatura como testigo privilegiado de las transformaciones sociales, aunque este desafío supone una tarea de mayor envergadura que las líneas del presente artículo.

Resumen: Este artículo mostrará los principales aportes de la biografía/autobiografía de Mijaíl Bajtín, quien concibió el estudio de una obra literaria en su «totalidad» y no fragmentariamente. Así, se demostrará que los cuentos ¡Carne de cañón! (c. 1916) de Marcelino Dávalos son en realidad una novela. Para ello, se conceptualizará el tipo de novela en donde el héroe es portavoz de un entorno social e ideológico, y se revelará que la obra denuncia la esclavitud en la «Siberia mexicana» -como fue conocida- a principios del siglo xx, el Territorio de Quintana Roo.

Abstract: This article shows the main contributions of the Mikhail Bajtin’s biography/autobiography, who conceived the study of a literary work in its «totality» and not in fragments. Thus, it will be demonstrated that Marcelino Dávalos’ tales ¡Carne de Cañón! (c. 1916) are in fact a novel. To this end, the type of novel in which the hero is the spokesman of a social and ideological environment are conceptualized and it will be revealed that the work denounces slavery in the «Mexican Siberia», as it was known, at the beginning of the twentieth century, the Territory of Quintana Roo.

Resumo Neste artigo aborda-se as primeiras leituras brasileiras e os usos públicos do romance abolicionista A Cabana do Pai Tomás [1852], da estadunidense Harriet Beecher Stowe. Considerando-se o anseio do romance realista oitocentista de desvelar o social, apresenta-se os procedimentos formais adotados assim como sua recepção por leitores do Brasil escravista. Para tanto, utiliza-se como fontes principais a imprensa e baseia-se nas reflexões de Michel de Certeau sobre a leitura. Houve três modalidades diferentes de leituras: refratárias, ambíguas e entusiásticas, cada qual correspondeu a um modo próprio dos leitores se posicionarem diante de a intensão realista do romance, nem sempre sendo aceito como uma representação verossímil da escravidão. Indica-se a importância do romance em incentivar um debate público acerca da legitimidade da escravidão, ainda que não tenha incentivado defesas de abolicionismo imediatista.

Abstract In this paper I study the first Brazilian readings and the public uses of the abolitionist novel Uncle Tom's Cabin (1852), from American novelist Harriet Beecher Stowe. Considering the 19th century realism's desire of unraveling the social world, I here present the formal procedures adopted, as well as its reception among readers in a slaver Brazil. For accomplishing it, I use 19th century press as my main source and take as theoretical guidelines the reflections of Michel de Certeau on reading. There were three distinct types of reading: refractory, ambiguous and enthusiastic, each one corresponding to a particular way in which readers positioned themselves in face of the realistic intentions of the novel, these not always being accepted as a veritable representation of slavery. I point to the importance of the novel in encouraging a public debate on the legitimacy of slavery, although it has not fostered the defense of immediate abolitionism.

Resumen Durante la Guerra Civil Española, Max Aub fue parte de ese colectivo republicano que huyó de la muerte exiliándose tras la llegada de Franco. En calidad de escritor, Aub utilizó todas sus energías para recopilar en una serie de seis novelas -El Laberinto Mágico- eventos relacionados con esos tres años previos a la dictadura. En medio de la crónica, sobresale un tema vital: los efectos de la guerra en la producción, recepción y preservación de la literatura. Los poetas y novelistas se ven, de repente, en medio de un fuego cruzado donde parece imposible no tomar partido. Al menos así lo expresa Aub en su Historia de la Novela Española Contemporánea, donde se desmarca de su maestro, Ortega y Gasset, abandona la línea de la deshumanización del arte, y enfoca su arte poética en una literatura realista que muestra al artista en medio de la guerra.

Abstract During the Spanish Civil War, Max Aub was part of that collective of Republicans that fled out the country escaping from death by going into exile after Franco”s arrival to the power. As a writer, Aub used all his energy to compile in a series of six novels El laberinto mágico [The Magic Labyrinth] as many events as possible that were connected to the three years prior to the beginning of the dictatorship. His goal was, mainly, to compile events, as a chronist. In these chronicles, a major theme stands out-the effects of war on the production, reception and preservation of literature. Poets and novelists find themselves, suddenly, in the middle of a crossfire where it seems impossible not to take sides. At least this is how Aub expresses it in Historia de la Novela Española Contemporánea [Contemporary Spanish Novel History], where he distances himself from his former mentor, Ortega y Gasset. Thus, abandoning the idea of the dehumanization of art and focuses his poetic art more on a realist literature that shows the artist in the middle of the war.

Abstract The work of Marta Sanz is unmistakably critical and dissident in intent, inscribing itself into a wider contemporary movement to restore literature’s role as political statement and social commentary. Rooted in immediate and tangible reality, her novels expose the flaws in the prevailing neo-liberal ideology and question the way in which this conditions collective consciousness and individual experience alike. Taking as its point of departure Marta Sanz’s conception of literature, both as regards its social function and in terms of its aesthetic sense, this article aims to explore those aspects of her work that situate it within a poetics of realism. To this end, the first section of this article, “The Novel is Political”, will examine the themes and conflicts that reveal the nature of the reality represented in her work. The second section, “The Form is Ideological”, will analyse the narrative use of language and its capacity for constructing meaning within the parameters of the realist aesthetic. These approaches together make it possible to establish a line of continuity between her novels, despite the evident formal differences between them.

Resumen La obra de Marta Sanz, de marcada intencionalidad crítica y disidente, se inscribe en un contexto general que recupera para la literatura la política y la reflexión social. Sus novelas, que arrancan de la realidad más inmediata y tangible, dejan al descubierto las trampas de la imperante ideología neoliberal y cuestionan el modo en que ésta condiciona la conciencia colectiva y la experiencia individual. Partiendo de la concepción que Marta Sanz tiene de la escritura, ya sea en cuanto a su función social como en lo que respecta a su sentido estético, este artículo tiene como objetivo explorar aquellos aspectos que permiten enmarcar su obra dentro de una poética realista. Para ello se indagará primero en la naturaleza de esa realidad representada a través de sus temas y sus conflictos, una cuestión que se desarrollará en la primera sección de este artículo, “La novela es política”. En el segundo apartado, “La forma es ideológica”, se analizará el uso del lenguaje narrativo y su capacidad para construir sentido dentro de los parámetros de la estética realista. De este modo será posible establecer una continuidad entre sus novelas a pesar de las evidentes diferencias formales que existen entre las mismas.

ABSTRACT In this paper I will present three arguments (based on the notions of constitution, metaphysical reality, and truth, respectively) with the aim of shedding some new light on the structure of Fine’s (2005, 2006) ‘McTaggartian’ arguments against the reality of tense. Along the way, I will also (i) draw a novel map of the main realist positions about tense, (ii) unearth a previously unnoticed but potentially interesting form of external relativism (which I will label ‘hyper-presentism’) and (iii) sketch a novel interpretation of Fine’s fragmentalism (which I contrast with Lipman’s 2015, 2016b, forthcoming).

This article traces both the centrality and fragility of the figure of the heterosexual white male to the moral and ideological core of the apartheid regime. Through a comparative reading of Zakes Mda's The Madonna of Excelsior (2002) and Gerald Kraak's Ice in the Lungs (2006), the article examines how apartheid's Immorality Act functioned as the legislative mechanism to produce and police heteronormative whiteness. The randomness and unpredictability of sexual desire in both historical novels expose the tenuousness of this idealised heteronormative whiteness that lay at the centre of the apartheid project. Situated within the moral panic and political turmoil of the 1970s, the novels identify sex as a powerful lens through which to read the history of apartheid. While Mda's satirical novel focuses on transgressive interracial sexual desire, Kraak's realist text explores same-sex desire and intimacy. My reading of the two novels engages with the political history of apartheid's sexual policing and insists on the inextricable entanglement of its heteronormative and racial supremacist provisions. The traditional ideological centrality of the vulnerable white woman is displaced in the novels by white men whose transgressive sexual desires for black women (in Mda's novel) and other white men (in Kraak's) refuse the certainty and naturalness of heteronormative whiteness.

Although the eminent Spanish novelist and anticlericalist Vicente Blasco Ibánez (1867-1928) received little scholarly attention outside his homeland for several decades, he gained significantly greater international notice in the latter half of the twentieth century. His novel of 1903, La Catedral, published in both the United Kingdom and the United States of America six years later as The Shadow of the Cathedral, is a scathing indictment of the conservative Roman Catholic religious establishment in Spain. Blasco Ibánez faulted its intolerant monopoly on national spiritual life for much of the country's cultural, political, and economic backwardness. Relying heavily on the subsequently discredited nineteenth-century belief that Andalusian Spain had been a model of religious toleration under Islamic hegemony for many generations following the Moorish invasion in the eight century and that this had fostered a golden era of cultural flourishing, he argued for the dismantling of Catholic privilege in favour of secularism, toleration, and pluralistic religious freedom to spur the country out of its stagnancy. This article explores both the construction and recent dismantling of the myth of religious harmony in Moorish Spain and how that perception of the Middle Ages is used rhetorically in The Shadow of the Cathedral.