1,720,976 research outputs found
Todo sobre mi hermano: Ernesto Guevara en el espacio de la intimidad
Full text link"Che, My brother" by Juan Martín Guevara and Armelle Vincent springs from a testimony that embraces family history and big history, biography and self-fiction. Che Guevara’s biography is the narration of a life propelled by a drive for justice. With this book Juan Martín sets his own story in motion, finds the texture of his life and retraces his traumatic past, charting the casual order of his memories. Juan Martín’s memoir reveals the doubling of every autobiographical adventure; it reconstructs Che’s personal journey far from the myth, and inevitably halts in front of the impossibility of transferring such an exemplary life
Texto e imagen en La Quijotita y su prima, de Fernández de Lizardi. Las cenizas de la imaginación.
No full textLa Quijotita y su prima, by the Mexican writer J.J. Fernández de Lizardi, was
first published in 1818, and then re-edited throughout the 19th century, with several illustrations. The presence of the images in the book influences the relationship between
the text and the reader, modifying the time and gesture of the reading itself. The image
determines that the written text is not the exclusive repository of meaning, influences the
forms of reception, and contributes to the construction of the meaning of the text, which
is historically determined. From these premises, the essay analyses not only the different
functions of the images in relation to the text, but also the way in which their presence
evolves, from the eve of Independence to the fullness of the Nation
La traducción del exilio. La ‘refiguración’ del cuento a la vida, en los testimonios de los chicos de Vera Vigevani Jarach.
No full textThis article aims to explore certain issues which arise from the reading of the
testimonies collected in Los chicos del exilio. Argentina (1975-1984) by Vera Vigevani, Diana
Guelar y Beatriz Ruiz, and suggests an analysis about the working methodology elected
by the editors. On the basis of the dichotomies deconstruction/reconstruction of identity,
constriction/voluntariness, subjectivity/objectivity, negotiation/fidelity, the thematic and
methodological analysis proceeds by the comparison with the translation that I had the
privilege to realize for the Italian edition of the book
La poesía móvil y plural de Belice: Amado Chan y el cruce de frontera
No full textThe Maya culture of Belize had an exceptional continuity and vitality throughout its history. Despite the difficult publishing situation in Belize and its complex social
condition, its literature is trying to get out of its isolation and be known thanks to bilingual
editions in English and Spanish. An interesting example of this literary production is the
poetry of Amado Chan, an intellectual from Orange Walk District, in the Northern part of
the country. This paper analyses his poetic production in the context of contemporary
Belizean culture and its multiple linguistic, social and literary identities
«Peregrina en mí misma». Julia de Burgos y el imaginario de la naturaleza como emblema de la identidad nómada hispanoamericana
No full textThe present essay aims at contextualising the production of Puerto Rican poet Julia de Burgos amongst migration writings, highlighting her divergence from patriarchal treintista ideology and her pan-American ideal that conciliates plurality of identities. Furthermore, the essay proves that, despite being related to difficult circumstances, the migrating identity of female Latin American subjects may acquire positive connotations when transposed into lyrical texts. For this purpose, the ecocritical analysis of a selection of texts by Julia de Burgos will show how the fluidity of the female nomadic subject is mirrored in an imagery related to nature and dominated by watery elements
Dejen hablar al testigo. El gallo de Rosencof, los perros de Quijada
No full textThe fable seems to be the last frontier in the narration of the unspeakable, using irony, parody, allegory, the grotesque. Without renouncing the attributes of the genre of the fable – opposition between two characters/animals placed in a state of social inequality, ethical and educational purpose –, some authors such as Uruguayan Mauricio Rosencof and Chilean Anibal Quijada, both victims of the dictatorships of their respective countries, together with traditional forms of writing of testimony and denunciation have used the genre of the fable with added value of strong political content
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
