Versants. Revista suiza de literaturas románicas
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Teatro mágico, teatro fantástico: tres piezas de Hugo Argüelles
Full text linkAmong the many peculiarities that made Hugo Argüelles (Veracruz, 1932-CDMX 2003) a unique dramatist, perhaps the repeated appearance of magical objects in his plays is the most recognizable. These motifs certainly lead many of the playwright’s work into the realm of the marvellous, although with some fantastic traits, as in Los amores criminales de las vampiras Morales and La esfinge de las maravillas. Nonetheless, a clear sample of pure fantastic mode appears in El gran inquisidor. Auto profano. Here, Argüelles uses the technique of metatheatre to achieve a transgression that cannot be explained in the work itself. We will see, then, how this dramatist approaches the frontiers between the marvellous and the fantastic mode while he works on his obsessions upon incest and how he achieves a fantastic piece with the figure of Tomás de Torquemada.
Keywords: metatheatre, fantastic literature, fantastic theatre, Mexican theater, magical objects. aEntre las múltiples particularidades que hicieron único al dramaturgo Hugo Argüelles (Veracruz, 1932-CDMX 2003), quizás la más conocida sea el uso constante de objetos mágicos en su obra. Estos motivos llevan la obra del dramaturgo a lo maravilloso, aunque con algunos rasgos de lo fantástico, como sucede en Los amores criminales de las vampiras Morales y La esfinge de las maravillas. En cambio, una clara muestra de lo fantástico aparece en El gran inquisidor. Auto profano, donde el escritor acude al metateatro para lograr una transgresión que no logra explicarse en la obra misma. Veremos, entonces, cómo Argüelles se acerca a las fronteras de lo fantástico cuando trabaja sobre las obsesiones del incesto y cómo logra una pieza fantástica con la figura de Tomás de Torquemada.
Palabras clave: metateatro, fantástico, teatro fantástico, teatro mexicano, objetos mágicos. 
De escritores y tumbas: trasmundos trasatlánticos de Jorge Luis Borges, Julio Cortázar y Carlos FuentesDe escritores y tumbas: trasmundos trasatlánticos de Jorge Luis Borges, Julio Cortázar y Carlos Fuentes
No full textBorges, Cortázar and Fuentes do not only share a common status as twentieth century Latino-American classics, but also the fact of having being buried in Europe. Beyond the personal and political reasons for this last decision and the controversy it sometimes aroused, such a choice sheds light on the complex relationship between the three authors and their homeland and the importance of the transatlantic bond in their life and work. By comparing the intellectual stance of the three concerning their mortal remains with that of the seventeenth century creole writer Bernardo de Balbuena (1562-1627), this paper aims at showing how the symbolic imbalance created by colonization influences the conception of Europe as the center of a global republic of letters suitable for replacing the ailing Latin-American nation as a place for eternal rest.
Keywords: Jorge Luis Borges, Julio Cortázar, Carlos Fuentes, colonization, Transatlantic Studies. Borges, Cortázar y Fuentes no solo comparten su condición de clásicos latinoamericanos del siglo XX, sino también el hecho de haber sido enterrados en Europa. Más allá de las razones personales y políticas de esta postrera decisión y de la polémica que en ocasiones generó, dicha elección ilumina la compleja relación que los tres autores mantuvieron con su país de origen y la importancia del vínculo transatlántico en su vida y obra. Comparando la actitud intelectual de los tres autores con respecto a sus restos mortales con la del escritor criollo del siglo XVII Bernardo de Balbuena (1562-1627), este artículo pretende mostrar cómo el desequilibrio simbólico influye en la concepción de Europa como el centro de una república global de las letras susceptible de sustituir a la imperfecta nación latinoamericana como lugar de eterno reposo.
Palabras clave: Jorge Luis Borges, Julio Cortázar, Carlos Fuentes, Colonización, Estudios transatlánticos. 
Pacho O’Donnell y el revisionismo histórico argentino, entre fútbol y ficción
Full text linkThis article analyzes a production of one of the great exponents of Argentine historical revisionism, Pacho O’Donnell, doubly relegated to oblivion because it is, on the one hand, a text of the 1970s and, on the other hand, a fictional tale. “Falucho” is a story that allegorically reformulates the events of the May Revolution, reconfiguring the opposition between Spaniards and Criollos in a dichotomy between elites and people, and thus aims to deconstruct the great national story about the independence deed from Spain. In doing so, however, Pacho O’Donnell reveals the mechanisms that preside over his own historiographic practice; thus, the story appears to us as an invitation to read the author against himself.
Keywords: historical revisionism, Argentina, May 25th, fiction, historiography. Este artículo analiza una producción de uno de los grandes exponentes del revisionismo histórico argentino, Pacho O’Donnell, doblemente relegada al olvido por tratarse, por un lado, de un texto de la década de 1970 y, por el otro, de un relato ficcional. «Falucho» es un cuento que reformula de manera alegórica los acontecimientos de la Revolución de Mayo, reconfigurando la oposición entre Españoles y Criollos en una dicotomía entre élites y pueblo, y que pretende así deconstruir el gran relato nacional sobre la gesta independentista respecto de España. Al hacerlo, sin embargo, Pacho O’Donnell deja en evidencia los mecanismos que presiden a su propia práctica historiográfica; así, el cuento se nos aparece como una invitación para leer al autor contra sí mismo.
Palabras clave: Revisionismo histórico, Argentina, 25 de mayo, ficción, historiografía. 
A. von Humboldt et Goethe : des épistémés relationnelles et orphiques pour connaître les formes vivantes
Full text linkThe dialogue between Alexander von Humboldt and Goethe underlines their common interest in an approach of nature that combines natural sciences and poetry, even though these two fields of knowledge are at the time increasingly separated from each other. They share an awareness of the relational nature of the world and of knowledge, the latter having, according to them, to be conceived in contact with and in the image of the former. Their creative friendship and their mutual Bildung are rich in up-to-date epistemological suggestions they make to each other, at a time when ecology, as a science of living relationships and interactions, increasingly sees the need for a sensitive knowledge of the world. Goethe and Humboldt share a common way of practicing living sciences, both being careful not to upset what they observe, in an Orphic manner.
Keywords: zoopoetics, animal, ecology, relationship, vulnerability. Le dialogue entre Alexander von Humboldt et Goethe souligne leur intérêt commun pour une approche de plus en plus scindée en deux champs de connaissance que leur époque tend à séparer : les sciences de la nature et la poésie, qu’ils pratiquent de concert. Ils partagent une conscience de la nature relationnelle du monde comme du savoir, le second devant pour eux se concevoir au contact et à l’image du premier. Leur amitié créatrice et leur Bildung mutuelle sont riches de suggestions épistémologiques toujours des plus actuelles, au moment où l’écologie, en tant que science des relations et interactions au sein du vivant, entrevoit de plus en plus la nécessité d’une connaissance sensible du monde. On repère en partage chez eux une manière commune de pratiquer des sciences vivantes, soucieuses de ne pas bouleverser ce qu’elles observent, en ce sens orphiques.
Mots-clés : zoopoétique, animal, écologie, relation, vulnérabilité. 
Modernidades en disputa: de Piglia a Sarmiento. Operaciones críticas
Full text linkThe present paper seeks to explore the complex and transitory nature that governs the development of modernity in Argentine narrative through the dichotomy between politics and aesthetics and their intrinsic issues. Specifically, it examines the debate on literary autonomy and the role of the writer in society. The study revolves around four key figures representing three pivotal moments of an era: Sarmiento, Borges-Macedonio, and Ricardo Piglia. The central thesis of the article is that Ricardo Piglia embraces the Argentine tradition of previous models and manages to overcome the asynchronous relationship with European literature through a process of reading.
Keywords: autonomy, asynchrony, civilization and barbarism, Ricardo Piglia, modernity. El presente artículo trata de indagar en la naturaleza compleja y transitoria que rige el desarrollo de la modernidad en la narrativa argentina a partir de la dicotomía entre política y estética y sus problemáticas intrínsecas. A saber: el debate sobre la autonomización literaria y la función del escritor en la sociedad. El trabajo se articula en torno a cuatro figuras clave representantes de tres momentos bisagra de una época: Sarmiento, Borges-Macedonio y Ricardo Piglia. La tesis central del artículo es que el Ricardo Piglia recoge la tradición argentina de los modelos previos y logra superar la relación de asincronía con la literatura europea a través de una operación de lectura.
Palabras clave: autonomía, asincronía, civilización y barbarie, Ricardo Piglia, modernidad. 
Scrivere assieme ai lettori: dialogo e creazione letteraria nella corrispondenza del "Corriere della Sera"
Full text linkIn January 1974, Italy’s most widely circulated newspaper Corriere della Sera inaugurates a multi-author correspondence column, inviting readers to propose «other and new topics, including personal ones». Goffredo Parise is among the authors involved, and develops, I argue, a particular form of collaborative writing, involving readers as writers. In such works, dialogic stimuli transcend barriers and hierarchies: readers become writers, each one with their style, and personal matters become the cradle of ideas. I will present and analyze these experimental texts in the historical, cultural and social context of the time. Drawing from Michail Bachtin’s thought, I reflect theoretically on dialogic textual forms and the role of readers in literary innovation.
Keywords: Corriere della Sera, letters, readers, Goffredo Parise, dialogic co-creation. Nel gennaio del 1974 il Corriere della Sera inaugura una rubrica multiautoriale di corrispondenza con i lettori, invitando il pubblico a contribuire proponendo «altri e nuovi argomenti, anche personali». Fra gli autori coinvolti c’è Goffredo Parise, che nell’ambito della rubrica sviluppa una particolare forma di scrittura collaborativa, dove gli stimoli dialogici travalicano barriere e gerarchie: tra scrittori e lettori, tra stili, tra argomenti personali e idee generali. Questa sperimentazione, innovativa sotto vari aspetti, verrà analizzata nel contesto storico, culturale e sociale del tempo. Ciò permetterà di riflettere anche teoricamente sul ruolo delle forme testuali dialogiche e sul ruolo dei lettori nei meccanismi di innovazione letteraria, alla luce del pensiero di Michail Bachtin.
Parole chiave: Corriere della Sera, epistolari, lettori, Goffredo Parise, co-creazione dialogica. 
Produttività potenziata. Edoardo Sanguineti e Luciano Berio, da "Esposizione" a "Laborintus II"
Full text linkIn this essay, I consider the dynamics of collaboration and co-creation between Edoardo Sanguineti and Luciano Berio I examine how the ballet-performance Esposizione, considered by Berio as an aesthetic failure, was transformed, within a changed collaborative configuration, into Laborintus II. In fact, I claim that one of the prerequisites that fostered the aesthetic success of Laborintus II, refocusing the creative minds on an element absent from Esposizione, was precisely the intervention of the commissioners of the work at the ORTF, the French radio station, who on the occasion of Dante’s 700th birthday had asked Berio and Sanguineti for a work in homage to the poet of the Divina Commedia. By reusing the materials from Esposizione, but adding a dialogue with Dante to it, Berio and Sanguineti managed to convert failure into success.
Keywords: co-creation, intermediality, intertextuality, Dante, Ann Halprin. Nel presente saggio analizzo le dinamiche di collaborazione e di co-creazione tra Edoardo Sanguineti e Luciano Berio. Esamino come da una precedente collaborazione ritenuta da Berio esteticamente fallita, il balletto-performance Esposizione, nasca, in una configurazione collaborativa cambiata, Laborintus II. Sostengo l’ipotesi che uno dei presupposti che ha favorito la riuscita estetica di Laborintus II, rifocalizzando le menti creative su aspetti assenti in Esposizione, sia stato il ruolo dei committenti dell’opera alla ORTF, che in occasione del settimo centenario della nascita di Dante hanno richiesto a Berio e Sanguineti un’opera-omaggio del poeta della Commedia. Riutilizzando i materiali di Esposizione, ma attivando un dialogo con Dante, Berio e Sanguineti riuscirono a convertire il fallimento in successo.
Parole chiave: co-creazione, intermedialità, intertestualità, Dante, Ann Halprin. 
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