A Contracorriente: una revista de estudios latinoamericanos https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente <p>Founded in 2003,&nbsp;&nbsp;<em>A Contracorriente</em>&nbsp;is a refereed journal that is dedicated to fostering intellectual debate about politics, sociology, history, literature, film, art, and education in Latin America and pushing back against the relativism present in postructuralism and postmodernism,&nbsp; from a critical, left-wing point of view.</p> Editorial A Contracorriente | Partially sponsored by the Department of Foreign Languages and Literatures at NC State University en-US A Contracorriente: una revista de estudios latinoamericanos 1548-7083 <p>1. Author hereby grants, transfers, and assigns to <em>A Contracorriente</em>:</p> <p>(a) the exclusive first serial rights in the Work for publication and distribution throughout the world, as <em>A Contracorriente</em> sees fit, in all languages and formats, by print or any electronic means, including, without limitation, the internet, other public and/or private proprietary intranets and computer networks and on CD-ROMs, DVDs and other discs, before the Work shall appear in any other publication (whether print or electronic), in any manner, format or language, or in any other medium now known or hereafter devised. The first serial rights granted to <em>A Contracorriente</em> by this Paragraph 1(a) shall be exclusive to <em>A Contracorriente</em> until one year following the date of the first serial publication of the Work by<em> A Contracorriente</em>; in addition, this grant of rights shall include the non-exclusive right in perpetuity to include the Work in any collection, or compilation produced or authorized by<em> A Contracorriente</em>, and containing at least 75% material that has appeared in <em>A Contracorriente</em>, for distribution throughout the world, in all languages and formats, by print or any electronic means, including, without limitation, the internet and other public and proprietary intranets and computer networks and on CDROMs, DVDs and other discs;</p> <p>(b) further, the non-exclusive right to authorize, reproduce and distribute reprints of the Work throughout the world, in all languages and formats, by print or any electronic means, after the Work appears in a publication produced or authorized by<em> A Contracorriente</em>; the right to permit subscribers and other users of the services and publications in which the Work may appear electronically to download, reproduce, and otherwise utilize the Work for their personal, non-commercial use throughout the universe; and the non-exclusive perpetual right, throughout the world, to use the Work, in whole or in part, and Author’s name, likeness, or biography in promoting, advertising, and/or publicizing any publication in which the Work is authorized to appear consistent with this Agreement.</p> <p>2. <em>A Contracorriente</em> reserves the right to publish the Work with illustrations and other graphic materials. Nothing contained herein shall obligate <em>A Contracorriente</em> to exploit any of the rights granted to <em>A Contracorriente</em> hereunder. All rights not granted to <em>A Contracorriente</em> are reserved to Author for Author’s own use and/or transfer, assignment, or disposition.</p> <p>3. Author represents and warrants: the Work is original to Author, has not been copied in whole or in part, and does not infringe upon the copyright or any other rights of any person or entity; Author has the right to grant the rights granted to<em> A Contracorriente</em> under this Agreement free of any and all claims and encumbrances; Author has not granted or transferred any rights in or to the Work to any third party; and Author has not done and will not do anything that has impaired, might impair or will impair in any way any of the rights granted to<em> A Contracorriente</em> hereunder.</p> <p>4. Author shall defend, indemnify, and hold harmless the NC State and its employees, agents, affiliates, successors, licensees, and assigns from and against all claims, damages, liabilities, losses, costs, and expenses, including, without limitation, attorney’s fees and costs, arising out of any breach or alleged breach of any of Author’s representations, warranties, or agreements. Any remedies that Author may have against <em>A Contracorriente</em> for breach of this Agreement shall be limited to the right to recover damages, if any, in an action at law. Author hereby waives any right or remedy in equity, including any right to terminate this Agreement, to rescind<em> A Contracorriente</em>’s rights in the Work, or to enjoin, restrain, or otherwise impair in any manner the production or distribution of any publication that is authorized or produced by <em>A Contracorriente</em>.</p> <p>5. <em>A Contracorriente</em> shall have the right to assign this Agreement, either in whole or in part, to any entity affiliated with <em>A Contracorriente</em> or to any party that acquires all or substantially all of <em>A Contracorriente</em>'s assets. Author shall not have the right to further assign any of the rights conferred pursuant to this Agreement, either in whole or in part, or any of the rights granted to Author herein.</p> <p>6. This Agreement is intended by the parties hereto as the final expression of their understanding with respect to the subject matter herein, as a complete and exclusive statement of the terms herein, and supersedes any and all prior or contemporaneous negotiations, understandings, and agreements between the parties relating thereto.</p> <p>7. The Agreement may be modified only by a writing signed by both parties to the Agreement. The laws and courts of the State of North Carolina shall govern and control the resolution of any&nbsp;and all conflicts and disputes that may arise hereunder.</p> Tom Lewis--a Remembrance https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1867 <p>Remembrance of the life of Tom Lewis, University of Iowa</p> Brian Gollnick ##submission.copyrightStatement## 2018-12-11 2018-12-11 16 2 1 3 Introduction: Textures of the 60s and 70s https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1856 <p class="p1"><span class="s1">This dossier gathers the researches of a group of professors and researchers of the National University of Córdoba, whose main vocation is to analyze the internal plots and the diffuse limits of a historical period characterized by an intense political activity and novel transformations in terms of practices and cultural consumptions. Based on specific questions, each of the eight articles that make up the dossier, not only explore the complex warp that made the internal constitution, the meanings, the artistic-cultural and literary experiences of a broad and diverse group of left, but also interrogate the forms of socialization, exchange, identification and recognition, both outward and inward of their own field of belonging.</span></p> Pablo Ponza Laura Maccioni ##submission.copyrightStatement## 2019-01-07 2019-01-07 16 2 4 8 Writing from the Tension. https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1858 <p>This paper analyzes the literary production and the political and ideological conflicts that characterized the trajectories of Eduardo Galeano and Francisco Urondo between 1955 and 1976. The text do not merely propose a reconstruction of the processes that led these writers to adhere to a prospect of radical transformation of capitalism. Indeed, we wish to disclose what controversies they had to face as anti-intellectual discourses were imposed among the leftist groups of the continent. Specifically, the work pursues, first, to specify the function the two authors attribute to the intellectuals and to the artistic work in that context. Second, to determine what do they propose to link literature and politics. And finally, to identify what position they adopted against the practices and worldviews marked by the logic of war. To this end, the analysis focuses on several dimensions of their work: the transformation of their thought along these two decades, the themes and stylistic resources they incorporated into their writing programs, and the treatment they gave to their own experiences of political and cultural militancy.</p> Gabriel Montali ##submission.copyrightStatement## 2019-01-08 2019-01-08 16 2 9 39 The prisons of the last Argentinian dictatorship: spaces of intellectual formation and creation https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1863 <p>There is no more need to show that the places of imprisonment, in Argentina and elsewhere, have produced the opposite effect of what the dictatorial regime had predicted. Imprisonment, silence and repression did not make minds barren and neither did it neutralize the cricitical mind or prevent people from acting and creating. The testimonies of former political prisoners and the tremendous amount of artworks which were born in the prisons of the last dictatorship prove it, once again. The aim of this article is to study two aspects in particular which allow to consider the Argentinian prisons as genuine spaces of formation and creation: on the one hand, the strategies elaborated by the political prisoners to maintain a certain level of intellectual formation (lessons, work groups, reading), and on the other hand, the literary and artistic productions made in prison (poems, correspondence, short stories, drawings...), which prove the existence of an active network of resistance against the repression exerted by the authoritarian regime.</p> <p>Key-words: prison; Argentinian dictatorship; formation; creation; reading; writing</p> Amandine Guillard ##submission.copyrightStatement## 2019-01-07 2019-01-07 16 2 40 56 Néstor Perlongher y Pedro Lemebel: dos intelectuales disidentes durante las dictaduras de Argentina y Chile https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1861 <p>This text deals with the trajectories of political militancy and literary production of Néstor Perlongher and Pedro Lemebel, circumscribed in the theme of dissenting intellectuals in Argentina and Chile during the 1970s. The research was constructed from the problematization and debate about the subjectivities and representations around the role of homosexual militant-intellectuals in the revolutionary process of both countries. From this, the general objective will be to discuss the stigmatization professed by the left towards the dissident collectives of the nations involved, taking as specific goals the description of the militant journeys of each author and the socio-historical analysis of the works "Evita live (in each hotel accommodation)" and" Manifiesto (I speak for my difference)", respectively.<br>Regarding the main hypothesis, it is argued that the resources of the Neo-Baroque genre in the literary works of Perlongher and Lemebel were used to denounce the practice of the revolutionary left in Argentina and Chile by sparing efforts to transform the conservative socio-cultural canons firmly entrenched in the worldview of Western and Christian society, especially in the field of sexuality.</p> <p>&nbsp;</p> Carolina Wild ##submission.copyrightStatement## 2019-01-07 2019-01-07 16 2 57 75 Experiments with the Possible: Reinaldo Arenas and Revolutionary Imagination https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1859 <p>El artículo pretende contribuir al estudio de los 60/70 latinoamericanos explorando las formas de la imaginación revolucionaria en Cuba, y en particular, los modos en que fue imaginado el sujeto de la revolución, cuyo principal modelo fue el hombre nuevo guevariano. En contraste con este sujeto ideal promovido desde la política cultural del gobierno cubano, se realiza una lectura de dos cuentos del escritor Reinaldo Arenas que explora de qué modo, desde el campo de la literatura, fueron imaginadas otras subjetividades por fuera de cualquier modelo previo, creando otras formas de lo posible.</p> Laura Maccioni ##submission.copyrightStatement## 2019-01-07 2019-01-07 16 2 76 90 New Left and graphic press during the second half of the 20th century https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1853 <p>The trajectory of the political-cultural magazines published by the Nueva Izquierda Argentina, during the second half of the twentieth century, it was powerfully affected by the political turbulence of that time. Making a general and long-term reflection about magazines trajectory, this article aims to analyze: 1) The groupings around editorial projects, the production, circulation and distribution, centrally between 1955 and 1976. 2) Analyze the cultural and politics universe from 3 conceptual and argumentative apparatuses. And 3) identify the 3 major topics of debate of the publications. These are: A) Peronist proscription. B) the underdevelopment and crisis of capitalism. And C) the creation of an armed vanguard.</p> Pablo Ponza ##submission.copyrightStatement## 2019-01-07 2019-01-07 16 2 91 113 Renovation and Crisis in Argentine Cartoons: Héctor Oesterheld and the End of a Golden Age https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1857 <p>The objective of the research presented in this text is to identify, reconstruct and analyze the early trajectory of the comic script writer Hector German Oesterheld (Buenos Aires, 1919- disappeared in 1977).&nbsp; The author promoted emerging forms of cultural production in the Argentinian field of comic in the mid-fifties and early sixties of the XXth century. Over the years, Oesterheld has come to be celebrated as a master in his field and as one of the pioneering artists in modern comics in the World. Playing at the borderline of mass culture system and the adventure genres at the time, Oesterheld’s work present artistic renewal based on aspects such as narrative construction and themes and moral issues developed. With his innovations, a new paradigm of comic production was emerging and Oesterheld’s influences stretched beyond the borders of Argentina. Some production conditions enabled the rise of that new way of writing and editing comics. These conditions basically consisted of some relative autonomy from economic pressures and editorial criteria prevalent in the professional comic publishing industry in the middle of the last century. Our aim is to reconstruct and explain the strategies and positioning of the aforementioned author, especially during the period of his professional consolidation. We are referring here to the modifications that Hector Oesterheld produced in the field of Argentinian comics during a period that it entered into a period of crisis, reduction and concentration of the publishing market.</p> Sebastian Horacio Gago ##submission.copyrightStatement## 2019-01-07 2019-01-07 16 2 114 140 Archivos de obra laterales en la conformación de una mirada autoral. El caso de las fotografías y textos periodísticos de Daniel Moyano en La Rioja (1961-1976) https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1860 <p>Este trabajo se centra el análisis de archivos de obra, específicamente a partir del Fondo documental del escritor argentino Daniel Moyano. El punto de partida es lo que varias disciplinas ya han desarrollado: la exhumación, recuperación y análisis de fondos documentales que puedan dar información clave sobre la génesis de los procesos creativos de un autor. Aquí nos restringimos a un archivo de escritor, allí donde generalmente se suelen encontrar borradores, manuscritos, dactiloscritos, documentos digitales que, más allá de las épocas, han oficiado como papeles y apuntes redaccionales y pre-redaccionales. En ese sentido, los archivos de escritores permiten a los investigadores articular procesos de producción escritural y artística con contextos de producción: no hay archivo sin diálogo, lo que potencia el trabajo teórico y práctico con archivos como modo de acceder y dilucidar una época.</p> <p>El caso de Moyano es singular por su derrotero biográfico y las características de su obra. Moyano se destacó como escritor pero también como músico y periodista, y gracias a un trabajo de investigación realizado desde 2013 a esta parte, pudimos conocer su faceta como fotógrafo durante su periodo riojano (1959-1976). Aquí acudimos a la categoría de <em>archivo lateral</em> para dar cuenta de un conjunto de documentos que, en principio, no parecen relacionarse con los que le otorgaron visibilidad pública o consagratoria al autor. Se trata de documentos <em>descentrados</em>, que fueron “descubiertos” en el proceso de conformación del archivo, y que articulan la producción de ficción con el periodismo y la fotografía en años hoy vistos como cruciales para comprender la historia riojana contemporánea, y también la nacional.</p> Diego Germán Vigna ##submission.copyrightStatement## 2019-01-07 2019-01-07 16 2 141 158 Genesis of the Latin American debate on Communication Policies in the '70s. https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1862 <p>Communication policies as state guidelines for action are incorporated into the national projects of the Latin American countries in a progressive way in the postwar context, but only get a place in the international agenda in the 70's from the momentum and coordinated political action that the meeting of states known as the Movement of Non-Aligned Countries (MPNA) will carry forward within UNESCO. The historical time that elapses between the '60'70 wrapped by the winds of emancipation and revolution in which the MPNA struggles are born, illuminates an unprecedented encounter between the academy and the political action that will have its special accent in Latin America. This is expressed as a sort of "state of political consciousness" about the unequal exchanges of information (Mattelart 2006, 14) and it is based on a proposal of a foundational nature that was expressed as the New World Order of Information and Communication (NOMIC ).</p> <p>Indeed, after an extensive process of preliminary international debate, in November 1976, the General Conference of UNESCO represents an International Commission for the Study of Communication Problems (CIC), chaired by Irishman Sean MacBride. His work culminates with the presentation and approval of the General Assembly of UNESCO held in Belgrade in 1980 of those results, which were known and disseminated under the name of MacBride Report. A year later these conclusions are published in the book <em>Many voices, one world</em>.</p> <p>The presentation of the Report implied, paradoxically, the closure of the topic. Even with the limitations that can be recognized in its elaboration and in the excessive "diplomacy" of the final document that is avoided by all means to confrontational tone, it is necessary to recognize that never again in history did an international debate take place again in these terms in the sine of UNESCO.</p> <p>Taking these references, and the interventions made by Latin American intellectuals in the construction of these debates, we are interested in reading from the light and from the present, that drifts occur around the nucleus of communication policy that discussions Latin America in the international concert, between this seminal moment and the World Summit on the Information Society (WSIS) that took place in 2003-2005 under the orbit of the International Telecommunication Union (ITU). Finally, we will seek to reflect on the regressions observed in terms of contemporary communication policies for the Latin American region, in a context of increasing economic concentration and infocommunication convergence.</p> Daniela Ines Monje ##submission.copyrightStatement## 2019-01-07 2019-01-07 16 2 159 175 Alberto Flores Galindo: entre la utopía andina y la utopía socialista https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1843 <p>Alberto Flores Galindo (1949-1990) fue un historiador e intelectual público de izquierda cuya amplia y variada obra contribuyó notablemente a los debates culturales y políticos en el Perú de las décadas de 1970 y 1980. Estudioso de Mariátegui, Tupac Amaru, los movimientos campesinos y lo que él y Manuel Burga llamaron "la utopía andina", entre otros temas, Flores Galindo hizo un uso creativo del marxismo y, como Gramsci o el mismo Mariátegui, fue siempre ajeno a los dogmatismos de todo tipo. Prematuramente fallecido, su trabajo continúa inspirando a quienes aspiran a contribuir, desde la reflexión y la investigación, a la transformación de nuestras sociedades. Este ensayo pasa revista a la trayectoria intelectual y política de Flores Galindo y pasa revista a sus principales aportes como historiador.</p> Carlos Aguirre Charles F. Walker ##submission.copyrightStatement## 2019-02-06 2019-02-06 16 2 176 192 Revisión histórica feminista: la denuncia del discurso oficial y de estereotipos sexuales en Entre Villa y una mujer desnuda https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1732 <p>La obra de teatro de Sabina Berman cuestiona el discurso histórico oficial que, forjado luego de la Revolución de 1910-20, para los años 90s ha sufrido patente desgaste. Este cuestionamiento acude a la parodia de un ícono revolucionario y machista, Pancho Villa, para exhibirlo como discurso nacional incoherente, impotente y obsoleto frente al ascenso social y económico de la mujer profesional, la cual propone una relectura revisionista y feminista de la historia y su incorporación a un nuevo discurso abierto y ambivalente.</p> Eduardo Ruiz ##submission.copyrightStatement## 2018-11-07 2018-11-07 16 2 193 210 Sentimentality in Unsentimental Times: Love in Jacinta Escudos and Luis Chaves https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1688 This paper focuses on the representation of romantic heterosexual relationships in post-conflict Central American literature, specifically in <em>Crónicas para sentimentales </em>(2010) by Salvadoran Jacinta Escudos and <em>Asfalto: un road poem </em>(2006) by Costa Rican Luis Chaves.I look at how global media, for instance “Killing Me Softly with His Song” in Escudos’ title story, serve as sentimental anchors in an unsentimental world that eschews lasting attachments. Global media makes visible and at times assuages romantic couples' isolation and alienation from each other. These media products fulfill narrators’ need for love and sentimentality without revealing their <em>cursi</em>-ness and thus, keeping in place <em>sentimentales</em>’ tenuous <em>crónicas</em> chronicling their unsentimentality. Yvette Aparicio ##submission.copyrightStatement## 2018-11-07 2018-11-07 16 2 211 223 Focus and / or universalization: analysis of the plan "I return to Study" of Santa Fe, Argentina. https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1734 <p>In the present work we analyze the socio-educational inclusion policies applied to the middle level in Argentina, specifically addressing the Return to Study plan, implemented in the province of Santa Fe. The field work was done with plan workers, we start from an anthropological approach, from which we analyze representations and practices that are generated during the implementation of the program. Also, we try to track the traces and contradictions of multiple historical processes that are condensed in the present. Thus, we can better understand how this policy is inserted in relation to others implemented in previous decades. This will serve to problematize the antinomy and complementarity of universal and focused policies, their continuity or rupture, taking as a guideline the type of subjectivities that tend to delimit the policies and the conceptions that guide them. In this way, we will see that in the implementation of inclusion policies different types of governmentalities are put into tension, from which relationships, classifications and practices are constructed, interpellating the subjectivity of the recipients and that of the state agents themselves.</p> <p><strong>&nbsp;</strong></p> Silvia Vanesa Alucin ##submission.copyrightStatement## 2018-11-07 2018-11-07 16 2 224 247 Who is shooting? Technological Representation and the Ideologies of Latin American Difference in Video Trans Americas by Juan Downey https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1710 <p>In his long-standing project <em>Video Trans Americas</em> (1973-1979), the Chilean artist Juan Downey video-recorded his encounters with marginal communities of the continent, such as peasants and indigenous people, in order to generate alternative and emancipatory forms of communication within Latin America. In this article, I argue that <em>Video Trans Americas</em> underlines the conflictive relation between the figure of the intellectual, representation, and cultural identity in the Latin American postcolonial context. By analyzing a specific video of the series, I argue that the whole project not only subverts the convention of ethnographic documentary, but also articulates a reflection on the position of the Latin American intellectuals and artists in relation to continental cultural difference.</p> Gonzalo Montero ##submission.copyrightStatement## 2018-11-07 2018-11-07 16 2 248 263 The Fantasy of Subaltern Literature in Bolaño and Elizondo https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1731 <p>Roberto Bolaño explores of a fantasy of subaltern literature in his short story “Dentista” by rewriting Salvador Elizondo’s story “Narda o el verano.” This rewriting exemplifies an ideological repetition symptomatic not only a historical exhaustion of literature, but also of subaltern and cultural studies. The well-intentioned aim of the detective or academic to learn the truth about the subaltern Other is perverse when it maintains a hope that marginalization and suffering might be somehow redemptive. Bolaño shows this “exhaustion” not as the end of literary and cultural studies, but rather as a starting point for its revaluation.</p> Gabriel Horowitz ##submission.copyrightStatement## 2018-11-07 2018-11-07 16 2 264 284 Eisner's Revisionism https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1883 <p>Review of&nbsp;Mark Eisner, <em>Neruda / El llamado del poeta</em>.New York: HarperCollins-Español, 2018.&nbsp;</p> Hernán Loyola ##submission.copyrightStatement## 2019-02-04 2019-02-04 16 2 285 290 Eroticism, Transgression, Exile, intertextuality: Critical Readings of Peri Rossi's Cartography https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1884 <p>Review of&nbsp;Jesús Gómez-de-Tejada (coord.). <em>Cristina Peri Rossi. </em><em>Erotismo, transgresión y exilio: las voces de Cristina Peri Rossi</em>. Sevilla: Editorial Universidad de Sevilla, 2017.</p> María Teresa Vera-Rojas ##submission.copyrightStatement## 2019-02-04 2019-02-04 16 2 291 296 Lost and Found: Argentine Silent Film in Print Publications https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1885 <p>Review of&nbsp;Mafud, Lucio. <em>La imagen ausente. El cine mudo argentino en publicaciones gráficas. Catálogo. </em><em>El cine de ficción (1914-1923)</em>. Buenos Aires: Teseo, 2016.</p> Matt Losada ##submission.copyrightStatement## 2019-02-04 2019-02-04 16 2 297 301 TranAndean Gabriela Mistral https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1886 <p>Review of&nbsp;Magda Sepúlveda. <em>Gabriela Mistral. Somos los andinos que fuimos</em>. Santiago: Cuarto Propio, 2018.</p> Javier Mocarquer ##submission.copyrightStatement## 2019-02-04 2019-02-04 16 2 302 304 Nuevos relatos autobiográficos cubanos https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1832 <p style="margin-bottom: 0cm; line-height: 100%; orphans: 2; widows: 2;" align="left"><span style="font-size: small;"><em><span style="color: #000000;">La literatura cubana cuenta con numerosas </span><span style="color: #000000;">antologías </span><span style="color: #000000;">o</span><span style="color: #000000;"> compilaciones de poesía, ensayo, cuento, crítica </span><span style="color: #000000;">o </span><span style="color: #000000;">teatro, </span><span style="color: #000000;">pero </span><span style="color: #000000;">faltaba precisamente un volumen que ofreciera un arco de sus escrituras autobiográficas, así, con esa precisión y ese centrado objetivo. </span><span style="color: #000000;">Esta es la contribución del volumen </span></em><span style="color: #000000;"><span style="font-style: normal;">Escenas del yo flotante</span></span><em><span style="color: #000000;">, editado por Carlos A. Aguilera y Idalia Morejón Arnáiz, narradores y ensayistas cubanos que residen en el exilio. C</span><span style="color: #000000;">on la lectura de los </span><span style="color: #000000;">textos que componen este libro, </span><span style="color: #000000;">se tiene material </span><span style="color: #000000;">para </span><span style="color: #000000;">apreciar, comparar, analizar de qué modo los autores construyen el sujeto autobiográfico: </span><span style="color: #000000;">q</span><span style="color: #000000;">ué estrategias siguen, qué efectos recrean para colocar el yo en el centro de la historia o para colocar la historia en el yo. </span></em></span></p> Reinier Pérez Hernández ##submission.copyrightStatement## 2019-02-04 2019-02-04 16 2 305 314