Pub Date : 2021-12-11DOI: 10.19130/iifl.ap.2022.43.1.458724
David Issai Saldaña Moncada
This paper deals with El samurái de la Graflex, by Daniel Salinas Basave. The analysis focuses on the representation of a historical character of Japanese origin: Kingo Nonaka, whose figure represents the irruption of a culture that contrasts with the attitudes and ideosyncrasy of revolutionary Mexico. Nonaka concentrates elements that form the image of a Japan in transition towards modernity. Between meditation as a method for diving and fluency with a camera, Salinas Basave follows Nonaka in his wanderings and allows the reader to appreciate details of the history of the first half of the twentieth century from a perspective “alien” to the Mexican one, while building a space for reflection on writing and memory.
本文论述了Daniel Salinas Basave的《El samurái de la Graflex》。分析的重点是一个日本血统的历史人物的表现：野中敬吾，他的形象代表了一种文化的爆发，这种文化与革命的墨西哥的态度和意识形态形成了鲜明对比。野中集中了构成日本向现代性过渡的形象的元素。在冥想作为一种潜水方法和熟练使用相机之间，Salinas Basave跟随野中的漫游，让读者从与墨西哥“陌生”的角度欣赏二十世纪上半叶的历史细节，同时为写作和记忆建立一个反思的空间。
{"title":"La paz del vacío y la bola de la Revolución: aproximaciones a El samurái de la Graflex","authors":"David Issai Saldaña Moncada","doi":"10.19130/iifl.ap.2022.43.1.458724","DOIUrl":"https://doi.org/10.19130/iifl.ap.2022.43.1.458724","url":null,"abstract":"This paper deals with El samurái de la Graflex, by Daniel Salinas Basave. The analysis focuses on the representation of a historical character of Japanese origin: Kingo Nonaka, whose figure represents the irruption of a culture that contrasts with the attitudes and ideosyncrasy of revolutionary Mexico. Nonaka concentrates elements that form the image of a Japan in transition towards modernity. Between meditation as a method for diving and fluency with a camera, Salinas Basave follows Nonaka in his wanderings and allows the reader to appreciate details of the history of the first half of the twentieth century from a perspective “alien” to the Mexican one, while building a space for reflection on writing and memory.","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45159390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-11DOI: 10.19130/iifl.ap.2022.43.1.458727
Emiliano Rodríguez Montiel
The aim of this paper is to explore and to analyze the set of formal elements that makes up the time of Wasabi by Alan Pauls. The topic of debt is here understood as our starting point. There are three debts: one extratextual and two purely economic (contracted within fiction). Our hypothesis is that the three debts, linked together, are not only paid fictionally with the child born at the end of the text (analogy between art and life); nor only with the monstrosity of the cyst (link between body and writing), but with time. Narcolepsies, those chronic sleep disorders are, well looked at, temporary coins through which fiction collects the debt that the writer contracts with it.
{"title":"Vivir endeudado. Las narcolepsias de Wasabi de Alan Pauls","authors":"Emiliano Rodríguez Montiel","doi":"10.19130/iifl.ap.2022.43.1.458727","DOIUrl":"https://doi.org/10.19130/iifl.ap.2022.43.1.458727","url":null,"abstract":"The aim of this paper is to explore and to analyze the set of formal elements that makes up the time of Wasabi by Alan Pauls. The topic of debt is here understood as our starting point. There are three debts: one extratextual and two purely economic (contracted within fiction). Our hypothesis is that the three debts, linked together, are not only paid fictionally with the child born at the end of the text (analogy between art and life); nor only with the monstrosity of the cyst (link between body and writing), but with time. Narcolepsies, those chronic sleep disorders are, well looked at, temporary coins through which fiction collects the debt that the writer contracts with it.","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41931015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-11DOI: 10.19130/iifl.ap.2022.43.1.458722
Ilanan Feldman
Retracing the cultural history of the reception of the TV series Holocaust (1978) as it redefined the politics of the State and put the testimony for the first time at the centre of the cultural field, undermining how the Jewish genocide was perceived until then, the article aims at discuss —by the contributions of Annette Wieviorka and Georges Didi-Huberman, among others— through a comparison with the hbo series Chernobyl (2019) and other cinematographic productions, what audio-visual is capable of in front of different forms of State violence, of a traumatic past and of a threatened future.
{"title":"De Holocausto (1978) a Chernobyl (2019): ¿Qué puede hacer el audiovisual ante un pasado traumático y un futuro amenazado?","authors":"Ilanan Feldman","doi":"10.19130/iifl.ap.2022.43.1.458722","DOIUrl":"https://doi.org/10.19130/iifl.ap.2022.43.1.458722","url":null,"abstract":"Retracing the cultural history of the reception of the TV series Holocaust (1978) as it redefined the politics of the State and put the testimony for the first time at the centre of the cultural field, undermining how the Jewish genocide was perceived until then, the article aims at discuss —by the contributions of Annette Wieviorka and Georges Didi-Huberman, among others— through a comparison with the hbo series Chernobyl (2019) and other cinematographic productions, what audio-visual is capable of in front of different forms of State violence, of a traumatic past and of a threatened future.","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45657012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-11DOI: 10.19130/iifl.ap.2022.43.1.458728
Diego Sheinbaum Lerner
The reflections on screenwriting in Mexico constitute a tradition that has not been critically reviewed. This article recovers fundamental texts of Mexican writers and teachers in order to analyze their attempts to articulate this practice. The texts oscillate between the poetics, the essay and the didactic manual. A stimulating dialogue arises from interweaving their ideas about the nature of the screenplay, its narrative and dramatic dimensions, the specificity of this type of writing and the creative process. The review begins with El conocimiento cinematográfico y sus problemas (1965), written by José Revueltas and ends with the unpublished book by Beatriz Novaro, El roce de los lenguajes (2013).
对墨西哥电影创作的反思构成了一个未经批判性审查的传统。这篇文章恢复了墨西哥作家和教师的基本文本，以分析他们试图阐明这种做法。文本在诗学、散文和说教手册之间摇摆不定。一场刺激性的对话产生于他们对剧本性质、叙事和戏剧维度、这类写作的特殊性和创作过程的想法的交织。这篇评论从JoséRevueltas撰写的《El conocimiento cinematográfico y sus problemas》（1965年）开始，到Beatriz Novaro出版的《El roce de los lenguajes》（2013年）结束。
{"title":"Reflexiones sobre la escritura cinematográfica en México: Apuntes para una historia (1965-2013)","authors":"Diego Sheinbaum Lerner","doi":"10.19130/iifl.ap.2022.43.1.458728","DOIUrl":"https://doi.org/10.19130/iifl.ap.2022.43.1.458728","url":null,"abstract":"The reflections on screenwriting in Mexico constitute a tradition that has not been critically reviewed. This article recovers fundamental texts of Mexican writers and teachers in order to analyze their attempts to articulate this practice. The texts oscillate between the poetics, the essay and the didactic manual. A stimulating dialogue arises from interweaving their ideas about the nature of the screenplay, its narrative and dramatic dimensions, the specificity of this type of writing and the creative process. The review begins with El conocimiento cinematográfico y sus problemas (1965), written by José Revueltas and ends with the unpublished book by Beatriz Novaro, El roce de los lenguajes (2013).","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44180512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-11DOI: 10.19130/iifl.ap.2022.43.1.458726
José Carlos Vilchis Fraustro
Luis Manuel Salcido Arispuro, whose alias gives its name to the novel El Sinaloa, is a policeman with a dual personality: an agent in the service of the Mexican State, which in turn serves the interests of the Sinaloa drug cartel mafia of the late 1990s. Hand in hand with Guillermo Rubio’s narrative, the reader will be introduced to the world of the mafia, with its impunity and self-confidence, where amid parties, excesses and violence, we will discover a charismatic character, with an insatiable hunger and of an exacerbated voracity. Given this, it is valid to ask ourselves if it is a normal condition of a character of its type, or if it is a curse of unsuspected, as well as ancestral dyes.
路易斯·曼努埃尔·萨尔西多·阿里斯普罗(Luis Manuel Salcido Arispuro)的别名为小说《锡那罗亚》(El Sinaloa)提供了名字，他是一名具有双重人格的警察:既是为墨西哥政府服务的特工，又是为上世纪90年代末锡那罗亚贩毒集团黑手党的利益服务的特工。与吉列尔莫·卢比奥(Guillermo Rubio)的叙述相结合，读者将被引入黑手党的世界，那里逍遥法外，充满自信，在派对、过度和暴力中，我们会发现一个有魅力的人物，他有着永不满足的饥饿和日益严重的贪婪。鉴于此，我们有理由问自己，这是否是这种类型的角色的正常状态，或者这是一种未经怀疑的诅咒，以及祖先的染料。
{"title":"Cuerpos abiertos, cuerpos insaciables. Modelos narratológicos y una vieja maldición en El Sinaloa, de Guillermo Rubio y de Vizcarrondo","authors":"José Carlos Vilchis Fraustro","doi":"10.19130/iifl.ap.2022.43.1.458726","DOIUrl":"https://doi.org/10.19130/iifl.ap.2022.43.1.458726","url":null,"abstract":"Luis Manuel Salcido Arispuro, whose alias gives its name to the novel El Sinaloa, is a policeman with a dual personality: an agent in the service of the Mexican State, which in turn serves the interests of the Sinaloa drug cartel mafia of the late 1990s. Hand in hand with Guillermo Rubio’s narrative, the reader will be introduced to the world of the mafia, with its impunity and self-confidence, where amid parties, excesses and violence, we will discover a charismatic character, with an insatiable hunger and of an exacerbated voracity. Given this, it is valid to ask ourselves if it is a normal condition of a character of its type, or if it is a curse of unsuspected, as well as ancestral dyes.","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46542453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-11DOI: 10.19130/iifl.ap.2022.43.1.458723
Guadalupe Antonia Domínguez Márquez
This article analyses the work of the Austrian novelist Gustav Meyrink (1868-1932), who, between the years 1913 and 1927, published five fantastic novels in which several elements of late Twentieth Century Occultism prevail, in contrast to the historical context in which they were written, compelled by positivist scientism. From these esoteric and expressionist texts, we can build insight into a reading of modernity influenced by theosophy and eastern religions, as well as other spiritual currents, which show the multiple complexities of modernity.
{"title":"Del lado encantado de la modernidad: mesianismo y ocultismo en las novelas expresionistas de Gustav Meyrink","authors":"Guadalupe Antonia Domínguez Márquez","doi":"10.19130/iifl.ap.2022.43.1.458723","DOIUrl":"https://doi.org/10.19130/iifl.ap.2022.43.1.458723","url":null,"abstract":"This article analyses the work of the Austrian novelist Gustav Meyrink (1868-1932), who, between the years 1913 and 1927, published five fantastic novels in which several elements of late Twentieth Century Occultism prevail, in contrast to the historical context in which they were written, compelled by positivist scientism. From these esoteric and expressionist texts, we can build insight into a reading of modernity influenced by theosophy and eastern religions, as well as other spiritual currents, which show the multiple complexities of modernity.","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47135300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-22DOI: 10.19130/iifl.ap.2021.2.18121
Raúl Rodríguez Freire
{"title":"Presentación del Thema: Ficción y ley","authors":"Raúl Rodríguez Freire","doi":"10.19130/iifl.ap.2021.2.18121","DOIUrl":"https://doi.org/10.19130/iifl.ap.2021.2.18121","url":null,"abstract":"","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45567104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-22DOI: 10.19130/iifl.ap.2021.2.18123
A. Sáez
Law, in its structure and from its first conformation, shares the same matrix with theater. Elements such as representation, spectacle, storytelling and actions are constitutive of both subjects, which makes law an eminently fictitious practice. This becomes evident in the case of Jorge Mateluna, former member of the patriotic front Manuel Rodriguez, who was arrested and sentenced to 16 years in prison for a crime he did not commit, a case denounced in the play Mateluna by Chilean playwright Guillermo Calderon, staging that, when compared to the legal case, reveals the theatrical and fictitious nature of law.
{"title":"La actuación del derecho","authors":"A. Sáez","doi":"10.19130/iifl.ap.2021.2.18123","DOIUrl":"https://doi.org/10.19130/iifl.ap.2021.2.18123","url":null,"abstract":"Law, in its structure and from its first conformation, shares the same matrix with theater. Elements such as representation, spectacle, storytelling and actions are constitutive of both subjects, which makes law an eminently fictitious practice. This becomes evident in the case of Jorge Mateluna, former member of the patriotic front Manuel Rodriguez, who was arrested and sentenced to 16 years in prison for a crime he did not commit, a case denounced in the play Mateluna by Chilean playwright Guillermo Calderon, staging that, when compared to the legal case, reveals the theatrical and fictitious nature of law.","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49188945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-22DOI: 10.19130/iifl.ap.2021.2.18126
Mohammed I. Alghamdi
This paper provides a textual analysis of Walt Whitman’s “Song of Myself”, revealing its significance as a national poem. The paper argues that Whitman’s "Song of Myself" breaks literary and political limits, challenging the sovereignty of the nation. By examining "Song of Myself" in the six different editions of Whitman’s Leaves of Grass, this paper will further analyze Whitman’s style and his speaker as representations of the limitations and sovereignty of literary tradition and the politics of his nation. By “politics,” I refer to the religious, political, and social doctrines that shape the nation. By “literary,” I mean the traditional literary style of writing, such as the poem’s form, scope, and subject.
{"title":"The Transparent Eyeball of the Nation: Walt Whitman’s Imagined Nation in “Song of Myself”","authors":"Mohammed I. Alghamdi","doi":"10.19130/iifl.ap.2021.2.18126","DOIUrl":"https://doi.org/10.19130/iifl.ap.2021.2.18126","url":null,"abstract":"This paper provides a textual analysis of Walt Whitman’s “Song of Myself”, revealing its significance as a national poem. The paper argues that Whitman’s \"Song of Myself\" breaks literary and political limits, challenging the sovereignty of the nation. By examining \"Song of Myself\" in the six different editions of Whitman’s Leaves of Grass, this paper will further analyze Whitman’s style and his speaker as representations of the limitations and sovereignty of literary tradition and the politics of his nation. By “politics,” I refer to the religious, political, and social doctrines that shape the nation. By “literary,” I mean the traditional literary style of writing, such as the poem’s form, scope, and subject.","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49610544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-22DOI: 10.19130/iifl.ap.2021.2.18122
Raúl Rodríguez Freire
The relationship between law and literature takes various forms, but the way in which law contributed to the formation of the modern novel is rarely mentioned. As this essay shows, this was possible because Justinian’s codification of Roman law was appropriated by Boccaccio, who, in turn, codified the novel. Coding allowed him to gather a heterogeneous set of stories under a powerful articulating framework. But in addition, as will be shown in these pages, the very term “novel” also comes from Justinian, since that is how he titled his legislative work after his Constitutions.
{"title":"Del derecho a la literatura: Boccaccio y la (re)codificación de la novela","authors":"Raúl Rodríguez Freire","doi":"10.19130/iifl.ap.2021.2.18122","DOIUrl":"https://doi.org/10.19130/iifl.ap.2021.2.18122","url":null,"abstract":"The relationship between law and literature takes various forms, but the way in which law contributed to the formation of the modern novel is rarely mentioned. As this essay shows, this was possible because Justinian’s codification of Roman law was appropriated by Boccaccio, who, in turn, codified the novel. Coding allowed him to gather a heterogeneous set of stories under a powerful articulating framework. But in addition, as will be shown in these pages, the very term “novel” also comes from Justinian, since that is how he titled his legislative work after his Constitutions.","PeriodicalId":42007,"journal":{"name":"Acta Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43570159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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