Resumen En las últimas décadas, la obra de Michel Foucault ha transformado de manera decisiva la interrogante acerca del poder en el campo general de la filosofía y las ciencias sociales. En su remontarse a la historia de la modernidad capitalista, Foucault descubre que entre las modalidades del poder que han constituido -desde los siglos XVII-XVIII y hasta nuestros días- el cuadro general de las sociedades modernas, se encuentran las siguientes: el poder soberano, el poder disciplinario y el biopoder. Este artículo presenta un recorrido por algunos de los aportes centrales de la obra de Foucault en torno de esta tríada de conceptos y presenta, asimismo, una crítica de la recepción que hace Gilles Deleuze de la teorización de Foucault sobre las fuerzas generales de dominación que caracterizan las sociedades de la modernidad capitalista.

Abstract In recent decades, Michel Foucault’s work has decisively transformed the question of power in the general field of philosophy and the social sciences. Going back to the history of capitalist modernity, Foucault discovers that among the modalities of power that have constituted -since the 17th and 18th centuries and until our days- the general picture of modern societies, are the following: sovereign power, disciplinary power and biopower. This article presents a review of some of the central contributions of Foucault’s work around this triad of concepts and also presents a critique of the reception that Gilles Deleuze makes of Foucault’s theorization about the general forces of domination that characterize the societies of capitalist modernity.

Resumen El poemario Bestiarium, de la poeta cubana Dulce María Loynaz y quien lo mantuvo inédito por décadas, entrega una fauna que se apropia de lo que luego se vería como un discurso contestatario para retar al poder que subestima a la poeta. Si como estudiante fue suspendida por no aportar información adicional, por este medio, los animales elegidos van, con su presencia, a desafiar la autoridad y, a su vez, a acercarse a la intimidad de la voz lírica. No parece ser tan solamente un ejemplo de zoolatría por parte de Loynaz; la particularidad de la selección fáunica adosada al sentimiento inscrito advierte que hay un motivo ulterior que urge develar. La palabra la poeta, transmutada en verso, se afirma en su originalidad y desplaza el centro del poder a la periferia. Bestiarium se suscribe, entonces, bajo tres registros diferentes: su función social, su función didáctica y, no menos importante, su función poética.

Abstract The collection of poems Bestiarium, by the Cuban poet Dulce María Loynaz and who kept it unpublished for decades, delivers a fauna that appropriates what would later be seen as a contestatory discourse to challenge the power that underestimates the poet. If as a student she was suspended for not providing additional information, by this means, the chosen animals go, with their presence, to challenge authority and, at the same time, to approach the intimacy of the lyrical voice. It does not seem to be just an example of zoolatry on the part of Loynaz; the particularity of the faunal selection attached to the inscribed feeling warns that there is an ulterior motive that needs to be revealed. The poet’s word, transmuted into verse, affirms its originality and shifts the center of power to the periphery. Bestiarium would be subscribed, then, under three different registries: its social function, its didactic function and, not least important, its poetic function.

Gran parte de la historia del pensamiento medieval estuvo bajo la influencia del platonismo y las reelaboraciones que de las doctrinas de Platón hicieron los Padres latinos y griegos. La cosmovisión resultante de este pensamiento consideraba que cada manifestación del mundo sensible, en tanto participaba de la naturaleza de Dios, era la oportunidad de acceder a un saber trascendente. Entre estas manifestaciones, tuvieron un papel destacado los animales. Los saberes zoológicos heredados de la antigüedad clásica fueron resignificados y enriquecidos a través de una exégesis que transformó a las bestias en ejemplos que ilustraban aspectos de la doctrina cristiana o suministraban modelos de conducta moral. El Fisiólogo y sus derivados, los bestiarios medievales, son ejemplo de esta práctica interpretativa, que para estos textos se basó fundamentalmente en la alegoría. En este artículo, nos proponemos ver de qué manera y con qué objetivos se aplicó a los animales e indagaremos sobre la evolución del simbolismo animal en el marco de la decadencia del platonismo y el auge del aristotelismo en los últimos siglos de la Edad Media. Para esto, nos detendremos en el análisis de un breve corpus, compuesto por el castor, la comadreja, la ostra y la perla, y el elefante.

Most of the history of medieval thought was influenced by Platonism and the reworkings that the Latin and Greek Fathers made of Plato's doctrines. The worldview resulting from this thought considered that each manifestation of the sensible world, while participating in the nature of God, was the opportunity to access transcendent knowledge. Among these manifestations, animals played a prominent role. Zoological knowledge inherited from classical antiquity was given new meaning and enriched through an exegesis that transformed beasts into examples that illustrated aspects of Christian doctrine or provided models of moral conduct. The Physiologus and its derivatives, the medieval bestiaries are an example of this interpretive practice, which for these texts was based primarily on allegory. In this article, we propose to see how and with what objectives it was applied to animals and we will inquire about the evolution of animal symbolism in the framework of the decline of Platonism and the rise of Aristotelianism in the last centuries of the Middle Ages. For this, we will analyze a brief corpus, composed of the beaver, the weasel, the oyster and the pearl, and the elephant.

Nous proposons une nouvelle lecture du Chevalier au Lion de Chrétien de Troyes inspirée de la zoopoétique, courant herméneutique théorisé par Anne Simon dans la mouvance de l’animal turn des sciences humaines et sociales. Centré sur la rencontre du chevalier Yvain et d’un lion, ce roman thématise l’animalité humaine et donne une configuration narrative à la relation humain-animal. Nous soutenons que cette configuration relève moins des procédés métaphoriques typiques de la pensée symbolique que de la contiguïté (ou continuité) métonymique, laquelle favorise un imaginaire des liminalités, des passages et des échanges. Le Chevalier au Lion est un texte particulièrement propice à une approche zoopoétique pour autant que celle-ci cherche dans la littérature du passé des formes de figuration des animaux décalées par rapport à la tradition analogique de l’anthropomorphisme. Notre but est d’éclairer la modernité de l’humanisme de Chrétien de Troyes.

This paper proposes a new reading of Le Chevalier au Lion by Chrétien de Troyes inspired by the zoopoetics, a hermeneutical approach theorized by Anne Simon within the framework the animal turn in literary studies and human and social sciences. Centered on the meeting of the knight Yvain and a lion, this roman thematizes human animality and gives the human-animal relationship a narrative configuration. We argue that this configuration is a matter of metonymic contiguity (or continuity) rather than of metaphoric techniques typical of the symbolic thought, and that metonymic figuration favours a dynamic of liminalities, passages and exchanges. Le Chevalier au Lion is a text particularly fit for a zoopoetic approach as zoopoetics looks, in literary texts from the past, for ways of representing animals that challenge the analogic tradition of anthropomorphism. In short, the paper aims at shedding light on the modernity of Chrétien’s humanism.

O pavão é considerado um dos mais bonitos animais da natureza. Essa beleza, no que diz respeito ao imaginário, torna-se elemento-chave nas narrativas e nas artes que associam o pavão com as divindades hindus e budistas, com o orgulho e com a vaidade. Este artigo busca apresentar de que forma os simbolismos do pavão foram transmitidos e adaptados, desde a Índia Antiga até a Europa Medieval, onde a ave figurou na criatividade cristã como emblema da imortalidade de Cristo e dos pregadores da Igreja, acompanhando também narrativas hagiográficas e imagens bíblicas.

The peacock is considered one of the most beautiful animals in nature. This beauty, concerning the imaginary, becomes a key element in the narratives and arts that associate the peacock with the Hindu and Buddhist deities, but also with the pride and the vanity. This article tries to show how the symbolism of the peacock was transmitted and adapted from Ancient India to Medieval Europe, where the bird figured in the Christian creativity as an emblem of the immortality of Christ and the preachers of the Church, along with hagiographical narratives and biblical images.

Neste artigo, investigo a relação entre o texto e as imagens nos bestiários latinos medievais. Os bestiários medievais, derivados do antigo Physiologus, remontam a uma tradição de quase 1800 anos e geraram várias centenas de cópias em toda a Europa, incluindo um subconjunto menor de bestiários latinos. Resumindo a primeira análise abrangente de todo o corpus de bestiários latinos, este artigo examina os padrões de desvios ou exceções do cânone que rege as ilustrações de bestiários. Eu analiso os desvios para investigar a relação entre o trabalho do escriba e o do artista na produção de manuscritos bestiários, a fim de determinar em que medida os artistas medievais usavam ilustrações já existentes e, inversamente, quando e em que medida estavam dispostos, ou capazes, a desviarem-se do cânone. Neste último caso, procuro explorar as possíveis motivações do artista, bem como as razões para a escolha de motivos específicos.

In this paper, I investigate the relationship between the text and the images in medieval Latin bestiary manuscripts. Medieval bestiaries, which are derived from the ancient Physiologus, comprise a nearly 1800-year-old tradition and have spawned several hundreds of copies throughout Europe, including a smaller subset of Latin bestiaries. Summarizing the first ever comprehensive analysis of the entire corpus of Latin bestiaries, this paper examines the patterns of deviations, or exceptions from the rigorous canon governing bestiary illustrations. I use the deviations to investigate the relationship between the work of the scribe and that of the artist in the production of bestiary manuscripts in order to determine to what extent medieval artists used already existing illustrations, and, conversely, when and to what extent they were willing or able to deviate from the canon. In the latter case, I try to explore the artist’s possible motivations, as well as the reasons for choosing specific motifs.

O presente artigo faz parte de uma pesquisa de mestrado em andamento na Universidade de Brasília (UnB), e propõe-se a indicar evidências visuais de patrocínio em dois bestiários medievais ingleses da segunda família, Bodley Ashmole Ms. 1511 e Aberdeen Bestiary Ms. 24. A proposta de patrocínio se apoia na teoria de que ambos são bestiários de luxo e de que possivelmente foram feitos por ao menos um iluminador em comum, e são resultado da cópia de um manuscrito base desconhecido. Procura-se afirmar esta teoria a partir de uma análise material e imagética dos manuscritos, onde dá-se foco na iluminura do pássaro Pica, chamado em português de Pêga. Tendo como base as teorias da relação entre texto-imagem e hierarquia de imagens, abordadas por diversos autores, o estudo feito aqui traça um paralelo comparativo entre os dois bestiários supracitados com outros seis manuscritos e identifica que há uma diferença além da estilística nas iluminuras. Considera-se que esta discrepância imagética pode estar relacionada ao patrocínio dos manuscritos, ou do manuscrito cujo modelo os serviu como base, nos fornecendo assim um olhar diferente e aprofundado sobre a produção de manuscritos de luxo e bestiários de luxo, e sua relação com a sociedade, como o consumo literário.

The present article is part of an ongoing Master’s degree research in Universidade de Brasília (UnB), and proposes to indicate visual evidence of patronage in two British medieval bestiaries of the second family, Bodley Ashmole Ms. 1511 and Aberdeen Bestiary Ms. 24. The proposal of patronage is based on the theory that both are luxury bestiaries and which were possibly made by at least one illuminator in common, and are also the copies of an unknown manuscript. It is tried to affirm this theory from material and visual analysis of the manuscripts, where it is focused on the illumination of the bird Pica, called Pêga in Portuguese. Based on the theories of the relationship between text-image and hierarchy of images, addressed by several authors, the study here draws a comparative parallel between the two bestiaries mentioned above with six other manuscripts and identifies that there is a difference besides the stylistic in the illuminations. It is considered that this imaginary discrepancy may be related to the patronage of the manuscripts, or the manuscript which model served as the basis, thus providing us with a different and in-depth look at the production of luxury manuscripts and luxury bestiaries, and their relationship with society, such as literary consumption.

Este artigo é sobre animais divinos no Egito; dos comentários que mereciam de renomados autores greco-latinos; das razões do seu uso. Também lida com alguns animais divinos no cristianismo e a sobrevivência de certos motivos iconográficos egípcios na Idade Média.

This article is about divine animals in Egypt; of the comments they deserved from renowned Greco-Latin authors; of the reasons for its use. It also deals with some divine animals in Christianity and the survival of certain Egyptian iconographic motifs in the Middle Ages.

Resumo Ainda publicada apenas por editoras de pequeno porte, a poesia de Renato Suttana destaca-se pelo alto grau de elaboração formal e audácia reflexiva. Um dos principais veios de sua produção está em seus bestiários. Os bichos que comparecem em seus livros são delineados - segundo defendemos - a partir de uma visada fenomenológica, que os retira do transcurso temporal para melhor apreendê-los. O procedimento se torna ainda mais complexo com a fixação de bichos inteiramente imaginários: nesse caso, o questionamento sobre a possibilidade de representação do animal se torna um questionamento sobre a própria finalidade da poesia.

Abstract Restricted to the limited circle of small publishing houses, Renato Suttana’s poetry shows a high level of formal acuity and boldness of thought. One of its main features is the practice of poetic bestiaries. The beasts that appear in Sutanna’s books are situated - as we argue throughout the paper - by a phenomenological perspective that displaces them from the course of time in order to better apprehend them. This procedure achieves a higher level of complexity with the fixation on entirely imaginary beings: in this case, the question of the possibility to represent animals becomes a question about the purpose of poetry.

Resumen Hasta ahora restringida a la esfera de las pequeñas editoras, la poesía de Renato Suttana se destaca debido a su elevado grado de refinamiento formal y su audacia de pensamiento. Una de las principales vertientes de su producción son los bestiarios. Los animales son vistos en los libros de Suttana - según defendemos - con ojos de fenomenólogo que los aisla del transcurso temporal para mejor fijarlos. Eso modo de proceder se muestra aún más complexo en el caso de fijación de seres enteramente imaginarios: la pregunta por la posibilidad de representación de lo animal se confunde con la pregunta por la propia finalidad de la poesía.

Resumo Este artigo considera o modo como os animais são apresentados na escrita de Lygia Fagundes Telles, avaliando opções temáticas como a solidão, a crueldade ou o pessimismo. O estudo analisa a significativa função do bestiário em suas obras, nas quais a autora usa os animais falantes, fantásticos e simbólicos para oferecer-nos um retrato crítico de uma rica e complexa sociedade burguesa, povoada por uma grande variedade de personagens. Além disso, o estudo analisa a originalidade dos romances e contos de Telles, dando destaque à constante presença de animais literários como um mecanismo ficcional, como uma representação simbólica da sociedade e como uma via para questionar o valor das normas sociais, dos princípios éticos e da nossa própria invenção como seres civilizados, destacando o mundo antinatural que criámos para nós próprios.

Abstract This article considers how animals are presented in Lygia Fagundes Telles’s writing, evaluating thematic choices, such as loneliness, cruelty or pessimism. This study analyses the significant role of the bestiary in her works, where the author uses talking, fantastic and symbolic animals to offer a critical portrait of a rich and complex bourgeois society peopled by a great variety of characters. Moreover, this study analyses the originality of Telles’ novels and short stories, noting the constant presence of literary animals as a fictional device, as a symbolic representation of society and as a way of questioning the value of social norms, ethical values and human’s own invention as civilized beings, drawing attention to the unnatural world we have created for ourselves.

Resumen Este artículo examina la forma en la que los animales son presentados en la escritura de Lygia Fagundes Telles, evaluando opciones temáticas como la soledad, la crueldad o el pesimismo. Éste estudio analiza el significativo rol que el bestiario tiene en sus obras, en las cuales la autora usa animales parlantes, fantásticos y simbólicos para ofrecer un retrato crítico de la rica y compleja sociedad burguesa, poblada por una gran variedad de personajes. Además de ello, este estudio analiza la originalidad de las novelas y cuentos de Telles, destacando la constante presencia de los animales como un instrumento ficcional, como una representación simbólica de la sociedad y como un modo de cuestionar el valor de las normas sociales, de los principios éticos y nuestra propia invención como seres civilizados, subrayando el mundo antinatural que hemos creado para nosotros mismos.

Abstract: In Punta de plata. Bestiario,Juan José Arreola and Hector Xavier manage to forge with words and strokes, with lines and silences, two esthetic proposals in which writing and drawing coexist, intertwine, dialogue and illuminate themselves mutually. Both authors expose the animal world of which humans come from and make us feel owners of culturally constructed senses that differentiates us in as much as they liken us to them… Language, memory and art are the attribute that distinguish us, so it would seem the artists say with their senses in flight.

Resumen: En Punta de plata. Bestiario (2018), Juan José Arreola y Héctor Xavier logran forjar con palabras y con trazos, con líneas y silencios, dos propuestas estéticas en las que la escritura y el dibujo conviven, se entrelazan, dialogan y se iluminan mutuamente. Ambos creadores nos develan el mundo animal del que provenimos los humanos y nos hacen sentir poseedores de unos sentidos, construidos culturalmente, que nos diferencian de ellos tanto como nos igualan. Son el lenguaje, la memoria y el arte los atributos que nos distinguen, parecen decir los dos artistas con sus sentidos al vuelo.

ResumenEl objetivo del presente ensayo es examinar algunos relatos de la autora salvadoreña Claudia Hernández dentro de la categoría de la literatura de posguerra. La designación de bestiario en la narrativa surge de la asociación que se hace de la representación simbólica de animales a personajes que integran diversos grupos sociales si se correlacionan con la historia salvadoreña, especialmente el período de la guerra y la posguerra. La intencionalidad discursiva de representar personajes como bestias es la de evidenciar la violencia y la degradación que han caracterizado la condición existencial de algunos tipos de subjetividades en la historia de El Salvador.

AbstractThe main objective of this essay is to examine diverse short stories written by the Salvadorian author Claudia Hernández within the category of the postwar literature. The name of bestiary in the narration emerges from the association of the symbolic representation of animals to characters that integrate diverse social groups, if one correlates the history of El Salvador specifically during the war and the postwar period with the stories. The discursive intention of representing characters as beasts is to evidence the violence and degradation that have characterized the existential condition of some types of subjectivities in the history of this Central American country.

Abstract: The colonialpolychrome wooden quero vessels (called llimpisccaqueros) were a type of materiality that support ceremonial visual discourses of Andean contemporary elites (their main transmitters). Thus following the Spanish "visual conquest", thispre-Hispanic memory support system reacted quickly to visual impulses of European Cinquecento image (topintasca) paintings and hermeneutic. Due to local use of European stamps, engravings and illustrated books; the colonial polychrome wooden quero vessels captured some Classic European fabulous images of Renaissance reproduction for reconfiguring, with them, its Andean colonial imaginary. In this way we have "vasos de palo", as part of their new symbolic universe, that present Andean colonial signifiers of European appearance which are not formally ft to transatlantic icon vero but, rather, correspond to real local variations -"fictions" - that although differ from their European models saved, in turn, a clear Greco-Roman and Renaissance heritage. Inside this aesthetic scenery, the artisans of their "vasos de palo" used certain images of The Physiologist-Medieval Bestiary (sirens and centaurs for example) for drawing fabulous signifiers that could surround, allegorically, the symbolic vacuum left by the annihilation of the local huacas of the Colonial Andean elites, during the Spanish conquest.

Resumen: Los queros coloniales de madera policromados (llimpisccaqueros) fueron materialidades que soportaron discursos visuales ceremoniales de las élites andinas contemporáneas (sus principales emisores). Así, a raíz de la "conquista visual" española, este sistema de soporte de memoria de origen prehispánico reaccionó rápidamente ante los estímulos visuales de la pintura y hermenéutica de la imagen europea del Cinquecento (de la pintasca). Debido al uso local de estampas, grabados y libros ilustrados europeos, los queros coloniales de madera policromados capturaron algunas imágenes fabulosas europeas de origen clásico de reproducción renacentista para reconfigurar, con ellas, su imaginario andino colonial. De esta manera se tienen "vasos de palo" que, como parte de su nuevo universo simbólico, presentan significantes andinos coloniales de aspecto europeizante que no se ajustan formalmente al vero icono transatlántico, sino, más bien, corresponden a verdaderas variaciones locales -"ficciones"- que si bien se diferencian de sus modelos europeos guardan, a su vez, una clara herencia grecorromana y renacentista. Dentro de este escenario estético, los artesanos de estos "vasos de palo" utilizaron ciertas imágenes de El Fisiólogo-Bestiario Medieval (sirenas, centauros por ejemplo) para dibujar significantes fabulosos que pudieran copar, de manera alegórica, el vacío simbólico dejado por el aniquilamiento de las huacas locales de las élites andinas coloniales producto de la conquista española

Abstract This paper proposes tracking in Julián Martel’s 19th Century novel, La Bolsa, a system of beliefs, fears and prejudices which encompassed the notion of democracy in the time of Argentine State consolidation. With an inherited language of the European romantic and Renaissance tradition, Martel develops a sort of bestiary to define the bodies of otherness to those linked to the possibility of Democracy. We analyse in the account, the obscene connivance imposed by the Stock Market, with these new subjects reaching the public sphere, exposing the paradoxical rule of Capital: equality before merchandise that is maintained thanks to political inequality between people.

Resumen: El presente trabajo rastrea en la novela La Bolsa, de Julián Martel, el sistema de creencias, miedos y prejuicios que contenía la noción de democracia a fines del siglo XIX, en pleno proceso de consolidación del Estado argentino. Con un lenguaje heredado de la tradición europea romántica y renacentista, Martel arma una suerte de bestiario para definir los cuerpos de la otredad a los que vincula con la posibilidad democrática. En el relato se denota la obscena connivencia que impone la Bolsa con estos nuevos sujetos que llegan a la esfera pública, desnudando la paradójica regla del capital: una igualdad ante la mercancía que se mantiene gracias a la desigualdad entre las personas.

Abstract This article explores some of the most significant examples of republican caricature during the epoch of the French Intervention and the Second Empire. It places particular emphasis on the representation of the monsters and zoomorphic creatures that inhabited the collective imagination of political satirists in the middle of the 19th Century, analyzing the use of these images as crucial elements for propaganda, political struggle and the clash of differing visions of national development. The article also includes an iconographic review of the unique gallery of deformities that served as critical portraits of the political scene and society in general, while also providing a moral judgment on the nation’s convulsive situation.

Resumen Este artículo explora algunas de las más significativas expresiones de la caricatura republicana durante la época de la Intervención francesa y el Segundo Imperio. Pone particular atención a las representaciones de monstruos y criaturas zoomorfas que habitaban el imaginario de la sátira política de mediados del siglo XIX, analizando los usos de la imagen como elementos cruciales de la propaganda, la lucha política y la confrontación de proyectos de nación. Así, el artículo propone un recorrido iconográfico por una singular galería de deformidades que fungían como retratos bufos de la escena política y de la sociedad, a la vez que exponían un enjuiciamiento moral de la convulsa situación nacional.