Literary Theory and Criticism

En el presente trabajo abordo el tema de los conflictos identitarios que sufren las infancias exiliadas, los cuales se reflejan en la literatura de HIJXS a raíz de la última dictadura cívicomilitar en Argentina (1976-1983). Me centraré en la novela Perlas de araña (2023) de Valentina Winocur, escritora argentino-mexicana (argenmex), quien vivió su infancia y juventud en México. En esta novela, vemos las consecuencias que sufrieron las infancias años después de haber salido al exilio con sus padres o, como en este caso, con su abuela. Además, estudio la construcción de un doble o una "antípoda imaginaria" que la protagonista crea en su destierro, en donde, por un lado, imagina que hay otra niña igual a ella viviendo en Argentina, pero que nunca se exilió. Por otro lado, el recuerdo de su madre habita en una antípoda desconocida desde donde se mantiene como una presencia permanente y fantasmal. Finalmente, analizo el trabajo que la protagonista debe hacer para tejer la memoria de sus padres con recuerdos contados por sus mayores y crear un manto hecho de parches (patchwork) que arrope su exilio y le dé claridad respecto a su identidad.

William Gaddis's novels stand as monumental critiques of the postmodern condition in America, using radical formal experimentation to mirror the fragmentation of identity and social decay. This paper argues that through techniques such as unattributed dialogue, chaotic narrative structure, and a pervasive theme of forgery, Gaddis creates a "carnival of fragments"-a mimetic representation of a society where authentic meaning has been replaced by economic logic and simulacra. Drawing on the theoretical frameworks of Jean-François Lyotard, Fredric Jameson, and Mikhail Bakhtin, this analysis examines The Recognitions and J R to demonstrate how Gaddis's aesthetic embodies the collapse of grand narratives and the commodification of human experience. By comparing his methods to those of contemporaries like Thomas Pynchon and Don DeLillo, the paper also addresses critical remarks of misanthropy and inaccessibility, ultimately positioning Gaddis's difficulty as an ethical stance against a culture of passive consumption. His work is presented not as a nihilistic spectacle but as a profound moral indictment, insisting that the struggle to find coherence within his chaotic text is analogous to the struggle for authenticity in postmodern America.

Аннотация: Статья посвящена особенностям рецепции последнего поэтического сборника К.К. Вагинова «Звукоподобие» в 1960-1990-х гг. Не будучи завершенной при жизни автора, поэтическая книга долгие годы оставалась неизвестной широкому читателю и исследователю и распространялась в списках и копиях, сделанных вдовой писателя, А.И. Вагиновой, а также друзьями и знакомыми автора. Это создало ситуацию, когда основного текста сборника не существует, что подтверждает приведенный в статье список источников с краткой характеристикой. Открытие «Звукоподобия» в 1960-х гг. было значимо как для читателя, знакомившегося с творчеством позабытого поэта, так и для исследователей, которые использовали сборник для легитимации Вагинова в истории советской литературы. В статье разобраны два основных сценария такой легитимации. Первый, представление Вагинова как писателя, освободившегося от влияния модернизма и пришедшего к классической поэтике, разделяли современники и первые исследователи Вагинова, обращавшиеся к идеологически нейтральным культурным моделям. В то же время в неофициальной культуре бытовал противоположный способ рецепции Вагинова-как замолчанного писателя, неизвестный сборник которого встраивался в череду «возвращенных» текстов первой половины ХХ в. «Звукоподобие» лежало в основе читательской и исследовательской рецепции жизни и творчества Вагинова, что подтверждает анализ периодизаций творчества писателя. Ключевые слова: К.К. Вагинов, «Звукоподобие», текстология, неофициальная культура, история рецепции, литературный канон. Информация об авторе: Александра Сергеевна Пахомова-PhD, старший преподаватель, департамент филологии Санкт-Петербургской школы гуманитар

D ire c c ió n G e n e ra l Decano de la Facultad de Arquitectura y U rbanism o D ire c c ió n E je c u tiv a Secretaría de Investigación C o m ité O rg a n iz a d o r Herminia ALÍAS Andrea BENÍTEZ Anna LANCELLE Patricia MARIÑO C o o rd in a c ió n e d ito ria l y C o m p ila c ió n Secretaría de Investigación D is e ñ o y D ia g ra m a c ió n M arcelo BENÍTEZ C o rre c c ió n d e te x to María Cecilia VALENZUELA C o la b o ra c ió n

This book serves as both an introduction and a justification for the expansive nature of the humanities in the modern world. By examining sixty fields—ranging from Posthuman studies to Data Humanities, from Social Justice-Oriented Humanities to Urban Humanities—this collection showcases how interdisciplinary approaches enrich our understanding of human culture, identity, and knowledge. The new humanities do not merely supplement traditional studies; they redefine the very ways in which we engage with the past, present, and future.

The 57-page compact manual is an essential guide to the fundamentals of research in the humanities. Divided into 22 concise, accessible units, it introduces key concepts, methods, and practices that shape academic enquiry--from framing research questions to interpreting texts and citing sources. Ideals for students and early-career researchers, this short book serves as a clear, practical starting point for anyone staring their journey into humanities research.

100+ Turns: Contours of Literary and Cultural Theories explores 141 major intellectual shifts that have shaped the humanities and social sciences. Using a clear, comparative framework, it examines how each “turn” redefines theory, method, and meaning across disciplines. This book is not an end but an invitation. An invitation to situate one’s own research within these shifting trajectories, to ask critical questions about what we inherit and what we innovate, and to recognize that the arc of theory, like the world it studies, is in perpetual motion. Whether you are a student navigating this dense landscape, a teacher shaping curricula, or a researcher building new frameworks, this inventory of turns offers not a map with a single route, but a constellation of directions.

17 octobre : "Gisèle Sapiro, Pascale Casanova et la littérature monde" ■ 14 novembre : "Critique anglo-saxonne : retour aux classiques" ■ 12 décembre : "Critique littéraire et socialisme à la Belle Époque : les cas de Balzac et de Verhaeren" ■ 16 janvier : "Franco Moretti et le système-monde littéraire" ■ 6 février : "Édition et littérature : l'économie malgré tout" ■ 13 mars : "Peut-on utiliser le marxisme pour la littérature des siècles anciens ?" ■ 17 avril : "Des autrices au prisme du matérialisme critique" ■ 22 mai : "Lectures post-marxistes : Jacques Rancière, Pierre Macherey"
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Tre sono le motivazioni che hanno orientato la concezione di questo
convegno. La prima è di ordine contingente, e riguarda in senso ampio la fase culturale e il momento di riflessione scientifica che stiamo attraversando: una stagione particolarmente propizia alla valorizzazione dell’opera di Auerbach, un periodo segnato dal sorgere di nuovi impulsi alla riflessione sul suo metodo e sulla sua teoria2. Sebbene l’opera di Auerbach sia andata incontro nel tempo a una ricezione complessivamente costante, è possibile tuttavia riconoscere al suo interno fasi alterne, in cui l’interesse critico si è manifestato con maggiore o minore intensità. È infatti vero che molti studi di Auerbach sono divenuti presto, già nel corso del secondo Novecento, dei testi classici. In particolare la sua opera maggiore, Mimesis. Dargestellte Wirklichkeit in der abendländischen Literatur, apparsa per la prima volta nel 1946 a Berna e tradotta nei decenni successivi in tutte le principali lingue europee, è uno dei pochissimi libri di critica letteraria del Novecento a non aver mai realmente conosciuto l’oblio.

La escritora argentina Luisa Valenzuela es una de las voces mas reconocidas de la literatura hispanoamericana contemporanea. En sus obras se entretejen perspectivas feministas con la posmodernidad, ya que la autora trasfunde habilmente la teoria en la ficcion y desarrolla una lectura inteligente y exigente. En este trabajo analizamos su coleccion de cuentos Simetrias publicada en 1993. Antes del analisis de la obra, comentaremos los momentos claves de su vida tambien como las obras mas importantes dentro de su corpus literario. Simetrias es un texto que ofrece una gran variedad de enfoques del analisis literario, ya que Valenzuela juega con el feminismo y la posmodernidad. A su vez, juzga la injusticia social, a los falsos profetas y cuestiona la posicion de las heroinas de los cuentos de hadas. El poder, la dominacion masculina, la autoridad, la relacion entre madre e hija asi como la escritura y el lenguaje son solo algunos de los temas que figuran en esta coleccion. Ademas, Valen...

Starting from the rare instances in which Erich Auerbach mentions Ariosto in "Mimesis", particularly the notion that Orlando Furioso should be described in terms of “feats of arms” (Waffentaten) rather than “war” (Krieg), this article aims to develop an “Auerbachian” interpretation of three poems largely overlooked in the seminal work on the representation of reality in Western literature: "Inamoramento de Orlando" by Matteo Maria Boiardo, "Orlando Furioso" by Ludovico Ariosto, and "Gerusalemme Liberata" by Torquato Tasso. In addition to this integration of Mimesis, the essay offers a possible theoretical explanation for the absence of these poems with the insufficient consideration of the category of literary genre in favor of that of “epoch”, while maintaining Auerbach's approach of comparing stylistic choices as “fields of possibilities”.

is apprehended as objective, independent of personal states or conditions. A characteristicon of criticism is freedom from desire or intensive quality in the pleasure experienced through the object in order to have objectivity. This judgment expresses as a value a subjective element coming from the object. This value is not apprehended as subjective, but objective, independent of personal states or conditions as appealing reaction from the object. So critical judgments can be established between universality and individuality. Main ideas are the universality and objectivity of the aesthetic judgment, which are to be applied in individual cases. Universality means the elimination of the personal, individual, subjective attitudes or opinions of groups. Our work presented here includes documents of a wide span time both in a historical review and facing contemporary developments in criticism. References to contemporary dictionaries and other reference material is done in order to demonstrate the change of definitions for criticism in conversational language and specific fields, but also the continuity of the concept of criticism as different to other concepts. This book is interested in the factors, which show how criticism works. Focussing on the historical perspectives, it gives access to the conditions of criticism that depend upon historical situations. On the other hand this book introduces into the main areas of applied criticism showing their historical development and the main applications. In part about the European history this book is related to the origins of the history of criticism. This history will be exemplified in ancient times, medieval and Renaissance times, modern times and 20 th century up to present time by representative persons contributing to it. The part concerned with applications of criticism focuses on philological methods of criticism such as textual criticism, higher and lower criticism, historical criticism, form criticism and new criticism. Communication criticism goes back to the ancient rhetorical criticism and is different from reader-response criticism. We mentioned above that philosophical criticism has its roots in Socratic inquiry and finds its modern versions in critical theory and critical thinking. Next to the applied use of criticism in the tradition of the artes liberales we find applied criticism since modern times in fields such as psychological criticism, media criticism, art criticism, cultural criticism and social criticism. The cultural part of this book is related to criticism or para-critical phenomena of non-European societies such as the Arabic, the Jewish, the Indian, the African the Asian and the original American and Australian culture and their critical traditions. To come to a short conclusion: This book is concerned with the major developments of a human skill with a broad spectrum of applications asking for the general roots of criticism. As a survey it is composed as an introduction to make the reader realize the different fields of one cultural original idea, which in many ways finds ways into our life. Critical report kr-´n¡, aor. kr-^nai¸ (lesb. kri´nnai¸), ps. krithOE^nai¸, pf. ke´krika, ps. ke´krimai¸, va. krito´ means `to separate'. Deiverates are Slavic *kroj-´t-, *krƒjü, Baltic *krei~-(*krej-a-), Germanic *xri-dl, and Latin cernere ('to separate'). 12 The word critic derives from the Greek κριτικός. Greek krino means to distinguish, i.e. decide (mentally or judicially); by implication, to try, condemn, punish, avenge, conclude, condemn, damn, decree, determine, esteem, judge, go to sue at the law, ordain, call in question, sentence to, think. Krisis means decision by extension, a tribunal; by implication, justice (especially, divine law), accusation, condemnation, damnation, judgment. Kriterion means neuter of a presumed derivative of krites and means a rule of judging. Krites derived from from krino and stands for a judge.

Целта на овој труд е претставување, карактеристики и начини на користење на Корпусот на јазикот на македонските изучувачи по англиски и германски како странски јазици кој има за цел да собере најмалку 500.000 зборови на функционален јазик од македонските изучувачи на странски јазик (англиски и германски), во форма на писма, е-мејлови, вклучувајќи и барања на информации, барање помош, покана, одбивање, извинување, писма на изразување благодарност, прераскажување на настани, празници, искуства, опишување на места, згради, луѓе, пејсажи; аргументативни есеи; Прашалникот за пополнување на дискурс; играта по улоги и сл. Корпусот ќе ги покрие нивоата А1-С2 и ќе овозможи податоци според варијаблите: возраст, пол, мајчин јазик, образование, ниво на познавање на јазикот, години на изучување англиски/германски, изложеност на Ј2 (престој во земја каде англискиот и германскиот јазик се зборуваат, колку долго и сл.), дали личноста зборува друг странски јазик и колку добро. Јазичниот корпус се со...

Oвој труд има за цел да ја истакне важноста на имињата од странско потекло во книжевните текстови преку лингвистичка и културолошка анализа на истите елементи во преводи од македонската книжевност на италијански јазик. Анализата е извршена врз три прозни дела: расказот „Антологичарот“ од Драги Михајловски, романот „Тесно море“ од Борис Вишински и романот „Ѕиркачот“ од Александар Прокопиев и соодветните издадени преводи на италијански јазик и се однесува на употребата на антропонимите Ричард и Вилијам и нивното конотативно значење. Истовремено, текстот нуди и критички осврт кон преведувачките решенија и упатува на можните последици

T.S. Eliot’s The Waste Land  has received critical acclaim as an anthem of the postwar generation, helping to shape the reception of modernist culture (Gillies & Mahood 2007). Only few critics take a look at its transgeneric character but none has so far looked at how the poem’s narrations pervade modernist tendencies and ideologies of its time. In fact, dubbing it as a variegated or collage poem blatantly dismisses any attempt to include it in the nascent field of narrative poetry. However, on the grounds that it is a typically modernist alternative to continuous narrative and quasi-narrative sequences (McHale 2007) and as a number of its parts are narrated, this essay approaches it from a narratological perspective. The analysis aims to show that those narrations are consonant with and epitomize modernist tendencies and ideologies, including the cyclical view of life and cultural pessimism, the epistemological dominant, skepticism about what we know and how we know it, as well as ...

Mi è talvolta capitato di osservare un topolino robotizzato muoversi in un labirinto; ho assistito con curiosità ai suoi tentativi, ho esaminato le sue strategie per il superamento degli ostacoli e alla fine ho constatato con soddisfazione che aveva raggiunto l'obiettivo, ma, in nessun momento, ho provato emozioni. Ho l'impressione che l'eroe, considerato da un punto di vista puramente strutturale, assomigli un poco (o forse molto) a quel topolino robotizzato: svolge il proprio compito, ma non coinvolge chi lo osserva. Non è certo il caso di dilungarsi, in questa sede, su cosa significhi "eroe" per l'analisi strutturale; basterà ricordare che, per Propp, l'Eroe, al pari degli altri personaggi, è definito per le funzioni che svolge, e che, allo stesso modo, per Greimas il Soggetto si definisce per la sua relazione con gli altri attanti e per il suo ruolo nel Programma Narrativo. In una concezione e nell'altra, l'eroe non è che un meccanismo di quel congegno che chiamiamo narrazione e, in quanto meccanismo, egli (o esso) non è né bello, né brutto, né giusto, né sbagliato, e neppure, paradossalmente, né eroico, né vile: l'eroe, semplicemente, "funziona". Ed è in questo "funzionare" che l'eroe assomiglia al topolino robotizzato, il quale non è mosso da un desiderio, bensì da un programma. Ridotto a semplice meccanismo, ad Attante, l'eroe non emoziona e non coinvolge, non suscita né simpatia, né antipatia, non può essere sottoposto a giudizio estetico o a giudizio etico. In questa considerazione, si badi bene, non c'è alcuna critica all'approccio strutturale: esso nasce proprio per mostrare il funzionamento dei testi narrativi e, in quest'ottica, svolge egregiamente il suo compito. Quanto detto finora serve solo a sostenere che per affrontare il problema del roug hero, occorre andare oltre lo strutturalismo, senza però perderlo di vista; occorre prendere in considerazione quella dimensione etica che non è pertinente all'analisi strutturale, senza però cadere in una critica letteraria moralmente orientata. Se all'interno del congegno narrativo l'eroe è semplicemente qualcuno che corre (proprio come il topolino), nel complesso rapporto testo-lettore, e quindi testo-società, l'eroe diventa, prendendo a prestito un titolo di Grossman, qualcuno con cui correre, diventa qualcuno che il lettore si sceglie come compagno di strada e che, dunque, presenta caratteristiche morali, estetiche ed empatiche ben definite. Ed è a questo punto che l'eroe negativo comincia a "fare problema": com'è possibile scegliere per compagno di strada, sia pure in quel percorso fittizio che è il romanzo o il racconto, un individuo socialmente condannabile? La lettura appassionata, lo sappiamo, è immedesimazione, è trepidazione per la sorte dei protagonisti, èriprendendo un concetto greimasiano, e con qualche riserva che vedremo nelle conclusioni -, adesione al programma narrativo del Soggetto e speranza nel fallimento del programma narrativo dell'anti-Soggetto; ma aderire empaticamente al programma narrativo di un eroe negativo significa condividerne i principi morali?

¿Quién no ha oído decir alguna vez que el rostro es un mapa donde puede leerse la historia de una vida? El tiempo va dejando sus marcas, va escribiendo sobre nosotros el paso de los días. Así, el cuerpo también podría considerarse un territorio, una geografía, un espacio incierto en el que puede redibujarse el camino que ha seguido hasta llegar a esas manos que ahora lo recorren, esos ojos que ahora lo leen. Y digo que es un espacio incierto, porque no hace mucho que Michel Foucault, en el primer volumen de Historia de la sexualidad, que aparece en 1976, indica que la "historia de los cuerpos" no está escrita (2002: 184). De algún modo, viene a decir que la tradición filosófica de Occidente no se ha detenido a reflexionar sobre el fenómeno de la corporeidad, y ha preferido hablar sobre un alma, un espíritu, una conciencia imaginarias, más difíciles de localizar que el cuerpo presente que nos delata. De todas formas, cabe decir que esta tendencia, ya no sólo en filosofía, sino en otras disciplinas como la antropología, la sociología, la literatura, ha cambiado, porque actualmente se está intentando corporizar el pensamiento, pensar el cuerpo, trazar un mapa, en definitiva, que dé sentido a algunas de nuestras preguntas. En este punto se sitúa la artista mexicana Tatiana Parcero. En sus primeras colecciones de fotografía, que presenta bajo el título de "El Mapa de mi cuerpo", en 1991, y "Cartografía interior", en 1996, muestra una serie de imágenes, en las que aparecen fotografiadas en blanco y negro partes de su cuerpo, la palma de las manos, de los pies, el vientre, el pecho, su rostro, a las que superpone transparencias a color de diagramas de anatomía, de dibujos de códices precolombinos, de manuscritos antiguos, como queriendo poner en evidencia todo aquello que está inscrito y escrito en el mapa del cuerpo y que, normalmente, queda velado en una primera mirada. Ella redibuja sobre la superficie de su piel la historia de su pueblo. Y así configura su identidad y su memoria de una manera abierta, hacia el pasado y hacia el porvenir. Su última colección se titula "Re-invento", prueba de que podemos reescribir el mapa de nuestro cuerpo. Lo que me parece significativo es el cambio que hay de su primera colección a la segunda. Porque, a pesar de que puede establecerse una continuidad entre las fotografías, el título pasa de ser el mapa de mi cuerpo a cartografía interior. En

Amor fati è il titolo di una poesia di Antonia Pozzi, datata 13 maggio 1937. Una data che sta tra la fine dell'infelice rapporto con Remo Cantoni e l'aprirsi della luce, presto spenta, del rapporto con Dino Formaggio. Poesia perturbante, difficile da cogliere appieno. Per questo non sono solo io ad averla lasciata in disparte nei miei percorsi pozziani. Quando dal mio buio traboccherai di schianto in una cascata di sanguenavigherò con una rossa vela per orridi silenzi ai cratèri della luce promessa.

We owe a particular debt to the wonderful community of students, academics and members of the public in Cambridge who have supported the lecture series, 'Cambridge Vertical Readings in Dante's Comedy' (2012)(2013)(2014)(2015)(2016). We are also grateful to those who, following the series online, have contributed to this scholarly endeavour and experiment. The project has benefited from broad collaboration from the outset. Each public lecture was preceded by a video-conferenced workshop between the Universities of Cambridge, Leeds and Notre Dame on one of the three cantos in the vertical reading. There are many people who have helped us during the different stages of the project. We are deeply grateful to you all and we regret that, in these brief acknowledgements, we can only thank some of you by name. Apart from the contributors to this volume, we would like to thank

a tradición literaria moderna en Argentina se caracterizó desde sus principios por ser una literatura que desafiaba ciertas dicotomías académicas concernientes a escrituras nacionales al incorporar obras creadas y/o publicadas fuera de las fronteras geográficas y lingüísticas del país, tanto literatura de exilio como de migraciones y viajes. Esas múltiples cartografías narrativas representaban el espacio imaginado de la nación al describir su topografía local desde diferentes ángulos, circunscribiendo de este modo una argentinidad virtual. La Nación, tal como existe en la actualidad, es una construcción ficticia del estado, su proyección fantástica. El Estado elabora una idea de la Nación y la usa para sus metas. A menudo, hasta se confunde con ella. La nación cambia geográfica, histórica, demográfica y políticamente. Por lo tanto, definir la literatura con relación a la Nación no corresponde a ninguna realidad concreta sino, más bien, crea una serie de confusiones como la de transformar el concepto informativo y clasificatorio de literatura nacional en categoría normativa y modélica. El uso de categorías geopolíticas en los círculos académicos sólo enfatiza la distancia que separa a la crítica literaria del mucho más diversificado e íntimo entorno de la literatura. 1 Toda literatura es constituida por múltiples tradiciones que se modifican continuamente. Las escrituras aceptadas como tal bajo la rúbrica de "literatura argentina" resultan bastante inclasificables, algunas de las cuales han sido recuperadas por el poder estatal y la opinión pública, y transformadas en modelos decisivos como las obras de Domingo Faustino

Aesthetic literacy and well-being within the context of poetic outputs presuppose that there may be new ways of epistemic construction or knowledge-building facilitated by and compatible with various transcendental phenomena which are specific to poetic manifestations of artistic authenticity and an array of varieties of other trans-personal experiences. Within this context, poetry emerges as a meta epistemic means of experiencing wisdom, spiritual-aesthetic wellbeing, imagination and insight associated with supra-rationally defined transcendental knowledge layers based on metacognition and related with artistic or aesthetic literacy intrinsically defined by nonlinear cognitive experiences, idiosyncratically experienced subjective observations in stark contrast to the world of realities based on mere experimentation and evidence, the world of visions, a multitude of objective phenomena related with and attainable by positivist cognitive experiences, deterministic materialist paradig...

Nem sempre e facil deixarmo-nos seduzir pelo direito. Ele apresenta-se oculto, invisivel para os olhos, na sua dimensao mais pura, mais justa, e muitas vezes dele so captamos a topica sociologica, e seus sinais exteriores: quantas vezes de puro arbitrio e violencia. Contudo ele e objeto da justica, que e constante e perpetua sede de atribuir retamente o seu de cada um. Nao numa perspectiva titularista, mas mais aberta e mais sensivel a justica social, porque todos temos direitos pelo fato de sermos pessoas.

Jamás fue el Surrealismo un capricho estético, ni una colección esnobista de imágenes "oníricas" para el deleite burgués; y hasta el presente es, en la mirada revolucionaria y vigente de André Breton, un movimiento para revolucionar hasta las fibras más hondas de la conciencia humana, empujarla más allá de los límites de la racionalidad domesticada y confrontar de manera directa las ataduras ideológicas hegemónicas que sometían (y someten) nuestra imaginación al yugo de la utilidad burguesa. Se trata de dinamitar, desde dentro, la colonización de los sueños, devolverle a la mente su potencia revolucionaria, y a la sensibilidad su condición de arma en la lucha contra la esclavitud de lo cotidiano. El Surrealismo, visto así, es la irrupción de un "primero" y un "segundo piso" de revolución de las conciencias, un movimiento ascendente, dialéctico, que no se agota en el gesto provocador, sino que exige un desarrollo en profundidad, una escalada hacia formas nuevas de libertad. Hoy el Surrealismo puede concebirse como la sacudida inaugural, la irrupción de un manifiesto (1924) que, en palabras de Breton, no buscaba embellecer el mundo sino transfigurarlo radicalmente desde la raíz de la experiencia humana, el inconsciente, el sueño, la escritura automática, el azar, lo que la censura de la razón mantenía oculto. Breton comprendió que el sistema capitalista no sólo explotaba el trabajo material, sino que también expropiaba la vida interior, colonizaba la imaginación con las cadenas de la moral hipócrita y de la utilidad instrumental. Ese primer piso fue el piso de la rebeldía visceral contra la falsa cordura, abrir el cuarto cerrado del inconsciente, desatar la escritura de sus cadenas lógicas, producir un cortocircuito entre vigilia y sueño, entre deseo y expresión. Era el momento de la demolición de la cárcel mental, la negación radical de las normas que el positivismo y la moral burguesa habían establecido como garantes del "orden". Pero la revolución de las conciencias no puede quedarse en el gesto inaugural, por sublime que resultase. El Surrealismo, de no haber trascendido habría quedado reducido a un catálogo de rarezas, a un ornamento exótico para coleccionistas refinados, como tantas veces intentó la cultura dominante. Breton, sin embargo, comprendió que el Surrealismo debía mantener un vínculo indestructible con la historia y con la lucha de clases. De ahí su encuentro con el marxismo, sus afinidades con Trotsky, su confrontación con la burocracia estalinista y su insistencia en que la verdadera revolución del espíritu sólo podía consolidarse en el horizonte de la revolución social permanente. Surrealismo no es sólo liberar las imágenes del inconsciente, es un proyecto colectivo de emancipación humana. Allí radica la verdadera profundidad de la revolución surrealista, no bastaba con abrir la puerta de los sueños, hay que integrar esa energía a la praxis revolucionaria. Su dialéctica expresa un tránsito humano esencial. En el plano del descubrimiento, de

Rita Felski, Edebiyat Ne İşe Yarar? adlı çalışmasında teorisyenlerin ve eleştirmenlerin bu kadim soruya verdikleri cevaplara alternatif tanımlar, (metne) bağlanma biçimleri, pratik amaçlar, yorumlar, beklentiler ve spesifik sorularla yaklaşıyor. Bir metin yapısı gereği hem estetik değeri, saf sanatı hem de bilgiyi –tarih kitaplarında ya da ansiklopedilerde rastladığımız cinsten değil– barındırmaz mı? Bir kitap okurken satırlar arasında kendimizi aramaz mıyız? Bu, Orhan Pamuk’un adlandırmasıyla, yalnızca “safça” bir eylem midir? Yoksa “öteki” olan kendimizle yüz yüze gelmenin, ücra yönlerimizi “tanıma”nın okuma eylemindeki dışavurumu mudur? Halid Ziya’ya dönersek, romanlar mı hayatı yapar, hayat mı romanları? Madame Bovary’den, Jane Eyre’den pratik hayata ya da kadınsal düşünceye yönelik hiçbir şey öğrenmez miyiz? Viktorya dönemi romanlarının salonları niçin tıkış tıkıştır?

Okurun metne bağlanma biçimleri, metinle ilişkisi her ne kadar dağınık, alaşımlı ve çelişkili görünse de, yazar bu deneyimlerin çeşitliliğini dört ana başlıkla izah etmeye çalışır: “Tanıma”, “Büyülenme”, “Bilgi” ve “Şok.”

Đã làm nhà phê bình thì không ít sẽ nhiều động chạm đến người sáng tác. Có lẽ, đa số người ta hiểu lầm phê bình văn học là thẩm phán văn chương. Một thứ quyền lực gia trưởng. Không phải, là một loại hầu bàn văn chương không có tiền típ.
Phê bình văn học không nhằm mục đích tìm kiếm dứt khoát một chân lý duy nhất (sự đúng/sai). Nó  hướng đến việc thấu hiểu và kiến tạo ý nghĩa thông qua việc đọc kỹ lưỡng và tập trung vào một văn bản văn chương, từ đó dẫn đến một dạng kiến thức chuyên biệt và phân tích với những phương pháp nghiêm túc.

This article deals with the role that languages have played in the life and literary writing of Elias Canetti, beginning with his mother tongue, Judeo-Spanish, and taking into account German as his literary language. 
Key words: Elias Canetti, autobiography, language, Judeo-Spanish, German.

Este artículo trata de la función que en la vida y en la escritura literaria de Elias Canetti han tenido las lenguas, comenzando por su lengua materna, el judeoespañol, y tomando en consideración el alemán como su lengua literaria.
Palabras clave: Elias Canetti, autobiografía, lengua, judeoespañol, alemán.

on their exclusion of the philosophical canon Resumen Eileen O'Neill denominó como el "problema del oxímoron" a la idea de que "una mujer filósofa es algo apenas posible y siempre antinatural" (36). A partir de esta noción, el presente artículo persigue dos objetivos principales. El primero es analizar cómo dicha concepción sirvió para justificar la exclusión de las mujeres en la filosofía y cómo fue confrontada por dos autoras de la modernidad: Mary Astell y Sor Juana Inés de la Cruz. El segundo es identificar los compromisos que implica combatir este discurso sexista, esto es, reflexionar sobre cómo es preciso narrar la historia de la filosofía para reconocer la aportación de las mujeres en ella. Palabras clave Sexismo, misoginia, historia de la filosofía, filosofía moderna Abstract "The oxymoron problem" is the way Eileen O'Neill refers to the thesis that "woman philosopher is something barely possible and always unnatural" (36). In light of the oxymoron problem, this article has two main objectives. The first is to point out how 28

Јазикот и народната култура се вградени во прозата на Петре М. Андреевски како неизбришлив документ за животот на македонскиот народ низ времето, за многу заборавени елементи од народната материјална и духовна култура. Дијалектната лексика, со силата на својата изразност, живописно ја претставува средината во која се случува дејството и во која битисуваат ликовите, ги изразува историските и општествените услови и менталитетот на народот, ја претставува народната фитонимија и зоонимија. Народниот и реалистичен карактер на јазикот на Андреевски се збогатува и со народната фразеологија во која се одразени душевните состојби, народната мудрост, народните сознанија за сѐ што го опкружува човекот и искуствата произлезени од секојдневните проблеми, како и со народната религија, верувањата во натприродните сили итн. Непосредно од богатата македонска народна ризница се црпени и благословите, клетвите, пословиците.

Este ensayo se ocupa de algunos aspectos y planteamientos creativos de la obra del poeta neerlandés Cees Nooteboom, como la idea de que el poeta es un molino que transforma la realidad y la imaginacion en palabras, la idea del poema consciente, la búsqueda que cada poema hace del poeta. Su actividad y su experiencia como traductor refuerzan su confianza en la persistencia del poema, que revive en las lenguas a las que es traducido.

This essay deals with some aspects and creative approaches in the work of Dutch poet Cees Nooteboom, such as the idea that the poet is a mill that transforms reality and imagination into words, the idea of the conscious poem, the search that each poem performs for the poet. His activity and experience as a translator enhance his trust in the persistence of the poem, which is revived in the languages into which it is translated.

Walter Benjamin’s essay “The Task of the Translator,” the most widely cited twentieth century philosophical statement on translation, is commonly seen as one of the most opaque and misunderstood essays in the field. This paper uses a close reading of Benjamin’s doctoral thesis, “The Concept of Criticism in German Romanticism,” to throw light on his thoughts on translation. I argue that the German Romantics’ definition of art, and art’s relation to criticism, are crucial to understanding why Benjamin conceived of translation as an “afterlife” of the work of art, why he believed that translatability is an innate quality of the work of art, and why he speaks of translation as moving the work of art onto a higher plane. I read Benjamin’s own essay on translation as a sort of “criticism” which seeks to “translate” the philosophical ideals of the Romantics, and thus give them an afterlife, and then reflect upon the implications for translation studies today.

Los estudios benjaminianos reciben un valioso y original aporte con la reciente publicación de Belleza sin aura. Surrealismo y teoría del arte en Walter Benjamin, de Ricardo Ibarlucía. El libro aborda con un análisis lúcido y una rigurosa documentación la génesis y el desarrollo de la "teoría materialista del arte" del pensador alemán, a partir de la influencia de la vanguardia surrealista en el período de entreguerras. En este sentido, el filósofo argentino pone de relieve la centralidad de dicho movimiento en las reflexiones de Benjamin, al punto que se constituye no en un interés pasajero registrado en "El surrealismo. La última instantánea de la inteligencia europea" (1929), sino en "la piedra angular" de su teoría estética.

This article examines the relationship between neological creation and literary creation. The creation of imaginary reality is reinforced by neological creation, which contributes to the consolidation and consistency of the literary reality directly represented by new utterances. The contribution of neological creation to referential construction is analysed in two literary works, Enrique Gaspar's "El anacronópete" Herbert G. Wells' "Time Machine".

This article deals with the preface written
by Mariano Baquero Goyanes for the
edition of a volume containing Francisco
Ayala’s novels "Muertes de perro" and "El
fondo del vaso". The preface is studied as
a text of literary criticism where Mariano
Baquero carries out an analysis and an
explanation of the main issues and features
of both novels, like their relationship of
complementarity and the role of different
points of view in narrating the same
reality. Mariano Baquero’s preface is
key for understanding and enjoying these
novels, and thence it is not viewed and
explained as a paratext but as a creative
metatext.
Key words:
Mariano Baquero Goyanes. Francisco Ayala.
Creation. Criticism. Metatext. Analogy.

This article deals with the configuration of microtexts taking into account the rhetorical and cultural foundations of these texts. The textual brevity, the semantic intensity, the mass and density of referent and meaning, the semantic strength, and the tension in interpretation are constituent elements of the micro-texteme, that is a unit of system. The joint action of these elements results in a communicative pressure that is pragmatically and rhetorically based. Special attention is paid in the article to the role of aphoristic imprint in microtexts beyond aphorism, as well as to short short story (short tale) as a narrative sub-genre with a current great development and acceptance. The status of some microtexts in the textual cultural heritage is viewed as to its contribution to the rhetorical-cultural basis of micro-texteme.
KEYWORDS: brevity, communicative pressure, cultural rhetoric, micro-text, micro-texteme, semantic intensity.

Jorge Wagensberg, el físico y complexólogo español, decía que el arte es la comunicabilidad de complejidades ininteligibles, o sea, una herramienta (o medio) que puede reproducir determinada complejidad, aunque puede que no de forma totalmente inteligible. La primera Residencia en la tierra (1933), según Amado Alonso, es reconocida porque sus poemas suspenden los nexos causales entre los fenómenos, solapan los diferentes estados de la materia, y eliminan los límites entre sujeto y objeto. Tales rasgos reflejan postulados centrales de la física cuántica, que se particularizan aquí a través del pensamiento del físico austríaco Erwin Schrödinger. De acuerdo con ello, el principal propósito de este artículo es dilucidar esos vínculos con el apoyo de la literatura comparada. Otro de nuestros objetivos es analizar los recursos de que se valió el poeta para trasladar y expresar la complejidad de su visión. Esta hibridación entre ambos campos, poesía y física cuántica, enriquece de alguna manera el debate filosófico sobre qué es la realidad y cómo nos relacionamos con ella.

El ojo en el caleidoscopio es una obra necesaria para el estudio del enorme número de colecciones de textos integrados, es decir, de relatos tan autosuficientes como interrelacionados entre sí, que permanecían desatendidos porque carecían de un acercamiento teórico adecuado. Eventualmente la crítica abordaba

This monograph presents a comprehensive analysis of Deuteronomy 21:10-25:4, demonstrating that this legal collection, which we call the "Beautiful Weave," was originally composed as a sophisticated 10×3 matrix containing over fifty laws. Building on recent scholarship that identifies similar woven structures in the Covenant Code (Exodus 22:17-23:19), this analysis reveals that the Torah's literary units were composed using a lost literary paradigm that was subsequently linearized through different editorial strategies. While the Covenant Code was deconstructed by reading across horizontal rows (weft threads), the Beautiful Weave was uniquely deconstructed by reading down vertical columns (warp threads). Of the Torah's eighty-six literary units, this column-wise linearization represents the only known example of purely vertical deconstruction. The discovery of varied linearization methods, combined with the intricate thematic and linguistic patterns that emerge only when the text is reconstructed in its original tabular form, provides compelling evidence for a sophisticated authorial tradition. The weave traces a progression from the most intimate human union to the most abstract principles of separation. The recovery of "literary weaving" as this ancient authorial paradigm, suggests we must fundamentally reconsider our approaches to the composition and interpretation of the Torah.

"Cruel, misogynist rant as literary criticism appears here. Be(a)ware. Es todo."
  —RJR

Officially anointed "La Girlfriend" by the English-speaking media, Sandra Cisneros is considered a living classic. She is the most sought-after Latina writer of her generation and a guest impossible to ignore in any multicultural fiesta.

The black-and-white photographs used to promote Cisneros's work are colored by an overwhelming sense of theatricality. They make her look like a sweet light-skinned Indian with a European flair-a natural beauty out of a Sergei Eisenstein film. Her enigmatic smile hides the ancient mysteries of her people, and her cowboy boots, tiny miniskirts, idiosyncratic Mexican shawls, and hair bands inject the needed exoticism into her ethnic roots.

Cisneros's status as the voice of a minority has not befallen by accident. Born in 1954 in a Chicago barrio and educated in the Midwest, Cisneros acquired her distinct Tejano identity when she settled in San Antonio in the mid-eighties.


Ilan Stavans is the publisher of Restless Books and the Lewis-Sebring Professor of Humanities and Latin American and Latino Culture at Amherst College. His books include On Borrowed Words, Spanglish, Dictionary Days, The Disappearance, and A Critic’s Journey. He has edited The Norton Anthology of Latino Literature, the three-volume set Isaac Bashevis Singer: Collected Stories, The Poetry of Pablo Neruda, among dozens of other volumes. He is the recipient of numerous awards and honors, including a Guggenheim Fellowship, Chile’s Presidential Medal, the International Latino Book Award, and the Jewish Book Award. Stavans’s work, translated into twenty languages, has been adapted to the stage and screen. A cofounder of the Great Books Summer Program at Amherst, Stanford, Chicago, Oxford, and Dublin, Stavans is the host of the NPR podcast “In Contrast.”

The first post-World War II generation of Soviet Russian writers was faced with a crisis of language even more pervasive and serious than the “Crisis of Symbolism ” at the beginning of the 20th century: the level of abstraction and formulaic speech used in public venues had become such that words and phrases could only gesture helplessly in the direction of mysterious meaning. Due to the traditional status of poetry in Russian culture and to various other factors explored in this dissertation, the generation of poets coming of age in the mid-1950s was in a unique position to spearhead a renewal of language. Among those who took up the challenge was a group of four friends in Leningrad: Dmitry Bobyshev, Joseph Brodsky, Anatoly Naiman, and Evgeny Rein. Because of the extreme position this group adopted regarding the use of language, I refer to them in this work not as “Akhmatova’s Orphans”—a term commonly applied to the quartet—but as literary “Avvakumites, ” a name Anna Akhmatova sug...