Pub Date : 2024-05-07DOI: 10.25025/perifrasis202415.32.08
Esther Argüelles Rozada
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Pub Date : 2024-05-07DOI: 10.25025/perifrasis202415.32.04
Claudia Pulido Hernández
The purpose of this article is to unveil the gesture of rewriting as an exercise of sign translation, which is presented as one of the territories of radicant writing in the works El libro de Tamar by Tamara Kamenszain and Tratado de arqueología peruana by Roberto Zariquiey. For this purpose, it has been decided to guide the research through a comparative literary study of the corpus, which is achieved based on the definition offered by Nicolas Bourriaud on contemporary art in his book The Radicant (2009). In these works we identify an incursion into that “translation-oriented modernity” that Bourriaud himself proposes, since the acts of appropriation that are developed constitute a translation of past voices, which help to clear the signs of previous passages that are contained in hermetic archives, in order to build the present from them.
{"title":"Reescribir para descodificar: traducción radicante en El libro de Tamar de Tamara Kamenszain y Tratado de arqueología peruana de Roberto Zariquiey","authors":"Claudia Pulido Hernández","doi":"10.25025/perifrasis202415.32.04","DOIUrl":"https://doi.org/10.25025/perifrasis202415.32.04","url":null,"abstract":"The purpose of this article is to unveil the gesture of rewriting as an exercise of sign translation, which is presented as one of the territories of radicant writing in the works El libro de Tamar by Tamara Kamenszain and Tratado de arqueología peruana by Roberto Zariquiey. For this purpose, it has been decided to guide the research through a comparative literary study of the corpus, which is achieved based on the definition offered by Nicolas Bourriaud on contemporary art in his book The Radicant (2009). In these works we identify an incursion into that “translation-oriented modernity” that Bourriaud himself proposes, since the acts of appropriation that are developed constitute a translation of past voices, which help to clear the signs of previous passages that are contained in hermetic archives, in order to build the present from them.","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141005330","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 : 2024-05-07DOI: 10.25025/perifrasis202415.32.07
R. Padrón
{"title":"De la abstracción a la alegoría: la cartografía imperial de Vicente de Memije","authors":"R. Padrón","doi":"10.25025/perifrasis202415.32.07","DOIUrl":"https://doi.org/10.25025/perifrasis202415.32.07","url":null,"abstract":"<jats:p/>","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141001969","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 : 2024-05-07DOI: 10.25025/perifrasis202415.32.02
Emiliano Rodríguez Montiel
This paper focuses on Romina Paula's work, on how, within her literary, theatrical and cinematographic production, a temporal experience that is both untimely and intimate and that differs from the 24/7 logic is composed. My hypothesis, motivated by the double interest of exploring, on the one hand, how the present is being narrated in contemporary Argentine narrative and, on the other, what fictional outlets are being proposed to circumvent the accelerationist imperatives, argues that Paula's work, conceived as a true space of experimentation with time, rehearses an alternative -a practical and therapeutic solution- by making her characters run away from home. Rather than celebrating that the world has become less slow and enduring, Paula's women, in need of a break, escape from their fixed abodes in search of some time of their own.
{"title":"Formas de irse de casa: el tiempo propio de Romina Paula","authors":"Emiliano Rodríguez Montiel","doi":"10.25025/perifrasis202415.32.02","DOIUrl":"https://doi.org/10.25025/perifrasis202415.32.02","url":null,"abstract":"This paper focuses on Romina Paula's work, on how, within her literary, theatrical and cinematographic production, a temporal experience that is both untimely and intimate and that differs from the 24/7 logic is composed. My hypothesis, motivated by the double interest of exploring, on the one hand, how the present is being narrated in contemporary Argentine narrative and, on the other, what fictional outlets are being proposed to circumvent the accelerationist imperatives, argues that Paula's work, conceived as a true space of experimentation with time, rehearses an alternative -a practical and therapeutic solution- by making her characters run away from home. Rather than celebrating that the world has become less slow and enduring, Paula's women, in need of a break, escape from their fixed abodes in search of some time of their own.","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141002559","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 : 2024-05-07DOI: 10.25025/perifrasis202415.32.05
Alexa Hurtado Montaño
Afro-Colombian women poets, by their poetry, reveal the relationship of human beings with their environment They present the interconnection and interdependence of all living and non-living beings, and show how the protection and care of the environment are key aspects for humanity. In this paper, I analyze the poetry works of Sonia Nadhezda Truque and María Elcina Valencia Córdoba whose poems reflect their experiences and views on the environment affected by violence, displacement, and the conditions of race, gender, and class. I contend that both poets demonstrate an ethic and interconnection with their territories, evidencing their cosmovision of the self and their connection with the earth and nature, as reflected in the African environmental philosophy. I argue that within their poetry, there are aspects of African-ecocriticism and ecowomanism theories due to their experience as environmental activists, women, and members of the African Diaspora.
非洲裔哥伦比亚女诗人通过她们的诗歌揭示了人类与环境的关系，展现了所有生物和非生物的相互联系和相互依存，并说明了保护和爱护环境是人类的关键所在。在本文中，我分析了 Sonia Nadhezda Truque 和 María Elcina Valencia Córdoba 的诗歌作品，他们的诗歌反映了他们对受暴力、流离失所以及种族、性别和阶级状况影响的环境的体验和看法。我认为，这两位诗人的诗歌都表现出了一种伦理道德以及与他们所处地域的相互联系，证明了他们对自我的宇宙观以及他们与地球和大自然的联系，正如非洲环境哲学所反映的那样。我认为，在她们的诗歌中，有非洲生态批评和生态女性主义理论的一些方面，这是由于她们作为环保活动家、女性和非洲移民社群成员的经历所决定的。
{"title":"Las poetas afrocolombianas del Pacífico y la reconstrucción del territorio: una mirada desde la filosofía africana, la teoría ecocrítica africana y el ecowomanism","authors":"Alexa Hurtado Montaño","doi":"10.25025/perifrasis202415.32.05","DOIUrl":"https://doi.org/10.25025/perifrasis202415.32.05","url":null,"abstract":"Afro-Colombian women poets, by their poetry, reveal the relationship of human beings with their environment They present the interconnection and interdependence of all living and non-living beings, and show how the protection and care of the environment are key aspects for humanity. In this paper, I analyze the poetry works of Sonia Nadhezda Truque and María Elcina Valencia Córdoba whose poems reflect their experiences and views on the environment affected by violence, displacement, and the conditions of race, gender, and class. I contend that both poets demonstrate an ethic and interconnection with their territories, evidencing their cosmovision of the self and their connection with the earth and nature, as reflected in the African environmental philosophy. I argue that within their poetry, there are aspects of African-ecocriticism and ecowomanism theories due to their experience as environmental activists, women, and members of the African Diaspora.","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141004758","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 : 2024-05-07DOI: 10.25025/perifrasis202415.32.06
Paula Miranda Herrera
This article analyzes part of the poetic work of Raúl Zurita, expressed both in some of his poetry books and in his "inscriptions" or material inscriptions and in his corporal self-mutilations to determine the functions that his art fulfills in the face of neoliberal biopolitical practices (Foucault, Agamben, Calveiro) and as a bet for a communitas of pain (Diéguez). It explains the meaning and function of books such as Purgatorio (1982), Canto a su amor desaparecido (1985) and zurita/in memoriam (2007), or interventions such as her verse "ni pena ni miedo" in the Atacama Desert, her presence in memorials or her intervention "El mar del dolor"; all as differentiated forms of resistance from art, against strategies of power that tried to "let die" part of the society in the context of the military dictatorship in Chile (1973-1990) and also in other contexts of human rights violations.
本文分析了劳尔-苏里塔的部分诗歌作品，包括他的一些诗集、他的 "铭文 "或物质铭文以及他的身体自残，以确定他的艺术在面对新自由主义生物政治实践（福柯、阿甘本、卡尔维罗）时所发挥的功能，以及作为痛苦共同体的赌注（迪盖斯）所发挥的功能。它解释了《炼狱》（Purgatorio，1982 年）、《Canto a su amor desaparecido》（1985 年）和《Zurita/in memoriam》（2007 年）等书籍的意义和功能，或她在阿塔卡马沙漠的诗句 "ni pena ni miedo"、她在纪念馆的存在或她的干预 "El mar del dolor "等干预活动的意义和功能；在智利军事独裁统治时期（1973-1990 年）以及其他侵犯人权的情况下，权力战略试图 "让 "社会的一部分 "死亡"。
{"title":"Biopolíticas e “inscrituras”: la poesía de Raúl Zurita como communitas del dolor","authors":"Paula Miranda Herrera","doi":"10.25025/perifrasis202415.32.06","DOIUrl":"https://doi.org/10.25025/perifrasis202415.32.06","url":null,"abstract":"This article analyzes part of the poetic work of Raúl Zurita, expressed both in some of his poetry books and in his \"inscriptions\" or material inscriptions and in his corporal self-mutilations to determine the functions that his art fulfills in the face of neoliberal biopolitical practices (Foucault, Agamben, Calveiro) and as a bet for a communitas of pain (Diéguez). It explains the meaning and function of books such as Purgatorio (1982), Canto a su amor desaparecido (1985) and zurita/in memoriam (2007), or interventions such as her verse \"ni pena ni miedo\" in the Atacama Desert, her presence in memorials or her intervention \"El mar del dolor\"; all as differentiated forms of resistance from art, against strategies of power that tried to \"let die\" part of the society in the context of the military dictatorship in Chile (1973-1990) and also in other contexts of human rights violations.","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003188","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 : 2024-05-07DOI: 10.25025/perifrasis202415.32.01
Olivia Margarita Villegas Cabrera
This article analyzes the work Manual Prático do ódio by Ferréz in the light of some theories that deal with what is relegated to the margins. The aim is to demonstrate that in Ferréz's work all the characters, in their situation of marginalized subjects, show the condition of human waste, being both lagging victims of economic progress and victims of stigmas and diatribes manifested by hierarchically superior beings. The research considers Zygmunt Bauman's concept of human waste as its backbone, an approach that is intertwined with secondary sources (Butler, Lipovetsky, Lynch, Paugam, Silva-Santisteban, Wacquant) referring to other forms and dimensions of marginality.
本文根据一些关于边缘事物的理论，分析了费雷兹的作品《Manual Prático do ódio》。目的是证明费雷兹作品中的所有人物，在其边缘化主体的处境中，都表现出人类浪费的状况，他们既是经济进步的滞后受害者，也是高高在上的人所表现出的污名和诋毁的受害者。本研究以齐格蒙特-鲍曼（Zygmunt Bauman）的 "人类垃圾 "概念为基础，并结合二手资料（巴特勒、利波维茨基、林奇、保加姆、席尔瓦-桑蒂斯特班、瓦夸），探讨边缘化的其他形式和层面。
{"title":"Manual Prático do ódio by Ferréz: Waste in the Favela’s Underworld","authors":"Olivia Margarita Villegas Cabrera","doi":"10.25025/perifrasis202415.32.01","DOIUrl":"https://doi.org/10.25025/perifrasis202415.32.01","url":null,"abstract":"This article analyzes the work Manual Prático do ódio by Ferréz in the light of some theories that deal with what is relegated to the margins. The aim is to demonstrate that in Ferréz's work all the characters, in their situation of marginalized subjects, show the condition of human waste, being both lagging victims of economic progress and victims of stigmas and diatribes manifested by hierarchically superior beings. The research considers Zygmunt Bauman's concept of human waste as its backbone, an approach that is intertwined with secondary sources (Butler, Lipovetsky, Lynch, Paugam, Silva-Santisteban, Wacquant) referring to other forms and dimensions of marginality.","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141002087","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 : 2024-05-07DOI: 10.25025/perifrasis202415.32.09
Jhon Edwin Acuña Gutiérrez
{"title":"Blom, Philipp. El gran teatro del mundo. Traducido por Daniel Najmías, Anagrama, 2023, 144 pp.","authors":"Jhon Edwin Acuña Gutiérrez","doi":"10.25025/perifrasis202415.32.09","DOIUrl":"https://doi.org/10.25025/perifrasis202415.32.09","url":null,"abstract":"","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003658","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 : 2024-05-07DOI: 10.25025/perifrasis202415.32.03
Katia Viera
In this text I propose to characterize the way in which the Cuban writer Jorge Enrique Lage configures Havana. The proposed analysis seeks to recognize in this author's novel, Carbono 14. Una novela de culto, the strategies of configuration of the Havana city, based on the characters that appear in it. I start from the premise that the writer constructs a story that sets in motion the identity and specificity of Havana and forwards them to other delocalized universes by exchanging and translating referents. Subjects in Lage's writing, wanderers, exiles, migrants, tourists, robots, zombies transplant behaviors, transcode images from here and there and build a portable, movable and expanded account of the terroir in which it is difficult to locate an identity.
在这篇文章中，我打算描述古巴作家豪尔赫-恩里克-拉吉（Jorge Enrique Lage）塑造哈瓦那的方式。所提议的分析试图从这位作家的小说《碳14》（Carbono 14.Una novela de culto）中，根据书中出现的人物来认识哈瓦那城市的配置策略。我的前提是，作家构建的故事启动了哈瓦那的特性和特殊性，并通过交换和翻译参照物将其转发到其他非本地化的宇宙中。在拉吉的笔下，流浪者、流亡者、移民、游客、机器人、僵尸移植行为等主体，对来自此处和彼处的图像进行了转码，并对难以确定身份的风土建立了一个便携、可移动和可扩展的描述。
{"title":"Radicantes en una ciudad de culto. Personajes de Jorge Enrique Lage","authors":"Katia Viera","doi":"10.25025/perifrasis202415.32.03","DOIUrl":"https://doi.org/10.25025/perifrasis202415.32.03","url":null,"abstract":"In this text I propose to characterize the way in which the Cuban writer Jorge Enrique Lage configures Havana. The proposed analysis seeks to recognize in this author's novel, Carbono 14. Una novela de culto, the strategies of configuration of the Havana city, based on the characters that appear in it. I start from the premise that the writer constructs a story that sets in motion the identity and specificity of Havana and forwards them to other delocalized universes by exchanging and translating referents. Subjects in Lage's writing, wanderers, exiles, migrants, tourists, robots, zombies transplant behaviors, transcode images from here and there and build a portable, movable and expanded account of the terroir in which it is difficult to locate an identity.","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003525","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 : 2024-01-09DOI: 10.25025/perifrasis202415.31.05
Víctor Barrera Enderle
Escritos a lo largo de dos décadas, los trabajos que conformaron el libro Seis ensayos en busca de nuestra expresión (publicado en Buenos Aires en 1928) desplegaron estrategias críticas para apropiar y resignificar diferentes enfoques teóricos metropolitanos (filológicos, historiográficos y lingüísticos) para su aplicación a la literatura latinoamericana. Desde la publicación de Ensayos críticos, en 1905, Pedro Henríquez Ureña estudió la formación y el desarrollo de la literatura hispanoamericana, tanto en su estancia mexicana como en la Argentina. Henríquez Ureña se convirtió así en uno de los primeros críticos en proponer un instrumental teórico adecuado a las particularidades de los campos literarios en América Latina. En este ensayo me propongo describir estas estrategias (englobándolas en el concepto de transculturidad crítica) en Seis ensayos en busca de nuestra expresión y su importancia en la configuración de la teoría crítica latinoamericana.
在二十多年的写作过程中，《寻找我们的表达的六篇论文》（Seis ensayos en busca de nuestra expresión，1928 年在布宜诺斯艾利斯出版）一书中的作品采用了批评策略，将不同的大都会理论方法（语言学、历史学和语言学）应用于拉美文学，并对其进行重新整合。自 1905 年出版《评论集》（Ensayos críticos）以来，佩德罗-恩里克斯-乌雷尼亚在墨西哥和阿根廷逗留期间一直研究拉丁美洲文学的形成和发展。因此，恩里克斯-乌雷尼亚成为最早提出适合拉丁美洲文学领域特点的理论工具的评论家之一。在这篇文章中，我将描述《六篇寻找我们表达的文章》中的这些策略（将其纳入 "批判的跨文化性 "概念）及其在拉丁美洲批判理论构架中的重要性。
{"title":"Transculturalidad crítica en los Seis ensayos en busca de nuestra expresión de Pedro Henríquez Ureña","authors":"Víctor Barrera Enderle","doi":"10.25025/perifrasis202415.31.05","DOIUrl":"https://doi.org/10.25025/perifrasis202415.31.05","url":null,"abstract":"Escritos a lo largo de dos décadas, los trabajos que conformaron el libro Seis ensayos en busca de nuestra expresión (publicado en Buenos Aires en 1928) desplegaron estrategias críticas para apropiar y resignificar diferentes enfoques teóricos metropolitanos (filológicos, historiográficos y lingüísticos) para su aplicación a la literatura latinoamericana. Desde la publicación de Ensayos críticos, en 1905, Pedro Henríquez Ureña estudió la formación y el desarrollo de la literatura hispanoamericana, tanto en su estancia mexicana como en la Argentina. Henríquez Ureña se convirtió así en uno de los primeros críticos en proponer un instrumental teórico adecuado a las particularidades de los campos literarios en América Latina. En este ensayo me propongo describir estas estrategias (englobándolas en el concepto de transculturidad crítica) en Seis ensayos en busca de nuestra expresión y su importancia en la configuración de la teoría crítica latinoamericana.","PeriodicalId":516732,"journal":{"name":"Perífrasis. Revista de Literatura, Teoría y Crítica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140511691","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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