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Journal Cover Catedral Tomada. Revista de crítica literaria latinoamericana
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  This is an Open Access Journal Open Access journal
   ISSN (Print) 2169-0847
   Published by U of Pittsburgh Homepage  [33 journals]
  • Óscar Campo's Cinema: Memory of Violence in Colombia from the
           Documentary of Dissent

    • Authors: Diana Kuéllar
      Pages: 1 - 21
      Abstract: The following article discusses the existence of an Colombian documentary film which works from the aesthetics of dissent and proposes to art as a political space, understood the concept of politician as the intersection between power and resistance where the debate it generates, as proposed by Jacques Rancière. They are films that seek to create a disarticulation in the consensual order of historical narration that prevails in Colombia and are characterized by developed in marginality and pose creation from the compression of the consensus agreements to have arguments for discussion.Colombia since the mid of the last century is mired in violence coming from different fronts, media have been commissioned to disseminate and publicly support power agreements. In this environment, this research seeks to respond: how is accomplished dislocate the public consensus and build a dissenting memory that survives to the saturation of the discourses circulating around violence in Colombia'This paper will discuss the work of the Colombian director Óscar Campo as representative of this proposal. His work comprises a range of narratives which, although they are different each other, they maintain some cohesion and progression in a story that manages to create unconventional political – aesthetic criteria of Colombian violence.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.233
      Issue No: Vol. 5, No. 9 (2018)
       
  • (Des) Coloniality of Power in 13 pueblos en defensa del agua, el aire y la
           tierra

    • Authors: Salvador Velazco
      Pages: 22 - 44
      Abstract: This article analyzes Francesco Taboada’s 13 pueblos en defensa del agua, el aire y la tierra documentary (2008) from the perspective of the “coloniality of power.” This concept, in accordance with Walter Mignolo, refers to the subordination of the knowledge and culture of subaltern and excluded groups that is a feature of Western modernity. Taboada highlights the epic struggle of the 13 Villages in the State of Morelos Movement to defend not only natural resources (water, land, forests) but also the full rights of indigeous communities.  This film is an obligatory reference for documenting indigeneous people’s movements and the social struggles that are being waged in today’s neoliberal Mexico.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.249
      Issue No: Vol. 5, No. 9 (2018)
       
  • Unstable Land (2014) by Tiziana Panizza. Materiality, Memory and Survival

    • Authors: Valeria de los Ríos
      Pages: 45 - 66
      Abstract: The documentary Tierra en movimiento (2014) is an audiovisual essay realized in collaboration with the Chilean poet German Carrasco. In it the counterpoint of sounds, texts and a narrative voice-over (in other words, its intermedial condition), allows to establish a poetic reflection on the material and concrete experience of living in a territory devastated by an earthquake. The remnants of what survived is collected to talk about memory and the present, opposing at the same time to the monumentality of memory and to neoliberal rationality.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.271
      Issue No: Vol. 5, No. 9 (2018)
       
  • Transcending the Surface: The body as a Rhetorical and Ideological
           Enunciator in the Documentary Noticias.

    • Authors: Vladimir Silva Oyaneder
      Pages: 67 - 83
      Abstract: The text raises a critical interpretation about the representation of the body in the documentary Noticias (2009) of the Chilean directors Bettina Perut and Ivan Ossnovikof. To this end, it is emphasize on the capacity of the concept of a body without organs to destroy the intellectual reflection that has been universally hegemonic when it comes to appreciating a work of art. In this way, it is argued that the body in the analyzed film, aims to the de-hierarchization of the gaze in the intellectual act of appreciating cinematographic work. The body understood,then, as a sensitive organicity that inverts the reflection of body/intellect, shows the capacity of making a critique of the classic cinematic representation  and a questioning to the ideological and social configuration in which, historically, the cinema has developed its  discourse.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.272
      Issue No: Vol. 5, No. 9 (2018)
       
  • Narrating Dictatorship for Childhood. Images that Smuggle Meanings

    • Authors: Macarena García-González
      Pages: 84 - 108
      Abstract: Children’s literature and media presents a privileged field to explore the reproduction of social discourses and consensus. In this article, we approach four works recommended by critics and mediators: the picturebooks La composición, Camino a casa and Un diamante en el fondo de la tierra, and the short film “Bear Story”. In these four texts, the interplay of the verbal and the visual makes references to political violence in Latin America. Assisted by visual theories —and by the category of image modality introduced by Gunther Kress and Theo van Leeuwen—, I analyze how these texts narrate dictatorship avoiding the remembrance of violence. The ideological analysis is complemented with reflections elaborated upon reader responses of primary education teachers as well as children obtained in reading workshops organized in Santiago de Chile.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.243
      Issue No: Vol. 5, No. 9 (2018)
       
  • The Cinema and the Cultural Imaginaries of the Violated City in Roberto
           Bolaño

    • Authors: Nelida Jeanette Sánchez Ramos
      Pages: 109 - 142
      Abstract: The present article examines three works by Roberto Bolaño, who put the ballistic Effigies through narratology and cultural anthropology, who expose new uses for urban space by avoiding a symbolic imaginary controlled by the spatial functions of a disguised overmodernity. In this way, the analysis covers its axiological negativity, its ethical anomaly and the inconstancy of its constitutive definitions as characters, which are representations of evil in modern thought in America. It is a trajectory of the existential vacuum, impressions that will be repeated intermittently as anthropological structures from the regime of the image.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.246
      Issue No: Vol. 5, No. 9 (2018)
       
  • Images of Survival: of the Urban Realism of the Chaski Group to Peru
           Contemporary of Claudia Llosa.

    • Authors: Jorge Zavaleta Balarezo
      Pages: 143 - 168
      Abstract: The article analyzes the first films of the Grupo Chaski and Claudia Llosa, two strong references in the Peruvian cinema of the last thirty years. Through the critique of the ideas and characteristics of these movies, the essay tries to build a image of Peru, a country where democracy returned in 1980 and since then he has had presidents accused of corruption and abuse of power such as Alan García, Alberto Fujimori, Alejandro Toledo and Ollanta Humala. The works of Chaski focus on poverty and vulnerability of children in Lima, a big city, capital of the country, in the 1980s. In this sense, they are previous stories to “cine de la marginalidad” that in the 1990s featured movies so realistic like Pizza, birra, faso, La vendedora de rosas, Ciudad de Dios or Ratas, ratones, rateros. Claudia Llosa´s work, called international attention when her second film, La teta asustada, won the Golden Bear, the main prize at Berlin Festival. This film, that establishes a necessary continuity to her first film, Madeinusa, is a portrait of the postwar years in the Peruvian Andes, those of the violence of Sendero Luminoso and how the Army designed a destructive strategy. The article looks for an overview of Peruvian society of the last thirty years, characterized for the structural poverty, terrorism, the development of neoliberal reforms and the corruption of the State at different levels.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.245
      Issue No: Vol. 5, No. 9 (2018)
       
  • The Myth of the Cannibal, Mimesis and Social Criticism in Como era gostoso
           o meu francês (1971).

    • Authors: Roberto Ponce Cordero
      Pages: 169 - 184
      Abstract: Como era gostoso o meu francés is a 1971 Brazilian film. Directed by Nelson Pereira dos Santos, it adapts chronicles by old explorers from the 16th century who were imprisoned by native peoples of what is now Brazil. Thus, it deals with topics such as cannibalism, the attraction that the “savage” life had on the “civilized” subject, and the performative character of sacrificial rituals. In this article, we start by looking at the differences between the historical (and proto-historical) sources inspiring this film. We maintain that these differences, and the conscious decision to change certain aspects of the narratives on which the movie is based, show that he did not intend to portray an otherwise fictitious past (cannibalism in the Americas). Rather, these differences turn this film into a political satire directed at 1971 Brazil, as well as into a comment on colonial difference and on the strategies employed by the colonized in order to mock the colonizer by performing his worst fears about the Other.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.264
      Issue No: Vol. 5, No. 9 (2018)
       
  • Imaginaries of Violence in Contemporary Mexican Cinema. The Case of Miss
           Bala by Gerardo Naranjo

    • Authors: Mayté Murillo
      Pages: 185 - 219
      Abstract: The article reflect on the construction of the imaginary of violence in the contemporary Mexican cinema, and how the social imaginaries are connected with the filmic imaginaries. Edgar Morin's suggestion about the imaginary is crucial for this reflection, also Merleau-Ponty’s ideas about the Phenomenology of the perception. To support this aim, an analysis exercise of Miss Bala (Gerardo Naranjo, 2011 is proposed, a representative film that approach the issue of violence that was increased since the symbolic "declaration of war" to drug trafficking during Felipe Calderón government. Its aesthetic and narrative forms allow the spectator to glimpse other manifestations of violence, which go beyond visual spectacular violence, to allow us to see more intrinsic and symbolic ways, based on the Žižek approach. The present reflection can provide the reader a panoramic perspective on the role played by the cinema and its filmic imaginaries in the constitution of the social imaginaries, on how one lives, perceives, condemns and assimilates a social reality pronounced by narco violence in Mexican society.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.261
      Issue No: Vol. 5, No. 9 (2018)
       
  • The Dispute over Ethnic Identities in Contemporary Mexican Cinema.

    • Authors: Aleksandra Jablonska
      Pages: 220 - 252
      Abstract: The article analyzes the extent to which recent mexican cinema, both fiction and documentary, have been transforming their discourse on ethnic identities in recent years. Based on a interdisciplinary methodology that articulates the categories of cinematographic analysis with those of anthropological and social studies, it tries to show some attempts to decolonize the view of indigenous peoples in fiction cinema, as well as the diverse tendencies present in the documentary film ranging from understanding the ethnic as cultural reproduction to raising the processes of resistance and the transformation of identities.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.265
      Issue No: Vol. 5, No. 9 (2018)
       
  • "Jacob and the Other": in the Light of the Cinema (Apollo).

    • Authors: Armando Escobar
      Pages: 253 - 273
      Abstract: The relationship between Uruguayan writer Juan Carlos Onetti and the cinema is extensive and. When we analyze one of the many adaptations of his work, we have to consider that it is a relationship of double influence, since our author has also take from the cinema to develop one of the most extensive and essential works of Latin American literature. For this reason, it is increasingly common to find interpretations that propose a cinematic reading of Onetti's work. As part of a similar exercise, we propose to read the story "Jacob and the Other" (1961) in the light of his adaptation to the cinema made by Álvaro Brechner in Un mal día para pescar (2009). In doing so, Onetti's tale obtains new interpretations that can be reached by analyzing it with the eyes of the cinema.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.256
      Issue No: Vol. 5, No. 9 (2018)
       
  • Circe and other mythological allusions in the story and film of
           Cortázar

    • Authors: Hugo Salcedo Larios
      Pages: 274 - 294
      Abstract: The neat work of Julio Cortázar also included little known exercise dramatic theirs which constitutes a repertoire of several plays of his own, as well as some stories of best broadcasting, and whose thematic axis is fed myths Greek or Mesoamerican, some of which turned into screenplays. The purpose of this work is to mark a reference line in tone to the story his "Circe" from his book Bestiario, and in which the author worked as screenwriter.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.269
      Issue No: Vol. 5, No. 9 (2018)
       
  • Movement and Projection in the Slaughterhouse of the Argentine Cinema:
           Martín Fierro (1923) by Alfredo Quesada.

    • Authors: Nicolás Suárez
      Pages: 295 - 320
      Abstract: In 1923, after producing the adaptation of his brother Josué’s best-selling novel La vendedora de Harrods (1919), Alfredo Quesada made his directorial debut with the film Martín Fierro. It was based on the poem by José Hernández (1872 and 1879), which had been canonized shortly before. Although the film is now lost, this essay aims to examine its reception through different publications of the time and to place it within the framework of a film field that in the beginning of the 1920’s was already autonomously constituted. In particular, this work focuses on the interdependence of two fundamental demands of the field: the requests for movement and projection, defined according to Gilles Deleuze and Jean-Michel Frodon, respectively. Considering this link, the goal is to understand the reasons why Quesada’s movie was considered a failure and to infer the conditions that could determine the fate of Argentine films both locally and in the global market of culture.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.273
      Issue No: Vol. 5, No. 9 (2018)
       
  • Two Resistance Devices: About Invasión (1969) by Hugo Santiago and
           Moebius (1996) by Gustavo Mosquera

    • Authors: Julio Ariza
      Pages: 321 - 345
      Abstract: This article analyzes the mechanisms of political resistance deployed by cinematographic resources in two Argentine films: Invasión (1969), directed by Hugo Santiago, with screenplay by Jorge Luis Borges and Adolfo Bioy Casares, and Moebius (1996) directed by Gustavo Mosquera. Focusing the analysis further on Moebius, but making a foothold in Invasión, I argue that both films work with "fantastic situations" that seek to stage the universality of the notion of "resistance." This vocation of universality makes Santiago’s fictitious Aquileia to anticipate the Buenos Aires of the last civic-military dictatorship in Argentina, and the more retro-futuristic Buenos Aires of Mosquera speaks to us of those same dictatorial years, as well as of the deep crisis of disinterest for the other of the neoliberal nineties. Both Invasión and Moebius propose that resistance has no end, and they assume the task of constantly "resisting" the artificial balance of the contemporary, approaching in a disturbing way past, present and future.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.274
      Issue No: Vol. 5, No. 9 (2018)
       
  • The South of the South: Patagonian Identity Chronotopies in Argentinian
           Contemporary Films

    • Authors: Paz Escobar
      Pages: 346 - 383
      Abstract: This paper proposes a work of interpretation, from a textual and contextual analysis, of ten Argentinian films in which the Patagonian territory is re-presented: : La película del rey (C. Sorín, 1986); Gerónima (R. Tosso, 1986); Guerreros y cautivas (E. Cozarinsky, 1989); La nave de los locos (R. Willicher, 1994); Caballos salvajes (M. Piñeyro, 1995); Flores amarillas en la ventana (V. Ruiz, 1996), El viento se llevó lo qué (A. Agresti, 1998); Mundo Grúa (P. Trapero, 1999); Invierno mala vida (G. Cramer, 1999) e Historias mínimas (C. Sorín, 2002). Intertextual relations, whose meanings struggle to impose themselves, will be identified. A more precise idea of the cultural, social and historical dimension of a set of films will thus emerge. The general hypothesis is that the films show signs of the kind of experiences that the epochal neoliberal mutation molds in the subjects’ bodies end subjectivities. Mostly a representation of a “for export” Patagonia appears, with an exotic nature or an enigmatic immensity for contemplation or transitory adventure. This misconception shows at a symbolic level changes that the neoliberalism produced in all Latin America, but which in the south of the south finds specific coordinates and stereotypes.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.258
      Issue No: Vol. 5, No. 9 (2018)
       
  • Brief Story of a Utopian Project: The Movement of the New Bolivian Cinema
           and Video and its Revista Imagen

    • Authors: María Gabriela Aimaretti
      Pages: 384 - 423
      Abstract: In the context of a more extensive research that reveals, describes and analyses the audiovisual production practices in La Paz, Bolivia, between 1978 and 1989, the present work focuses on the chronicle of the editorial project Imagen: a film magazine published by the Movement of the New Bolivian Film and Video during the second half of the eighties. With no local tradition of film publications, Imagen was a self-supporting and self-financed initiative, which operated with a changeful frequency and format, and served as a forum for discussion on specific issues of local work, acted as a vehicle for dissemination of the Movement activities, a micro-training space, a medium of circulating calls and contests, and a tool for articulating different proposals.The work explains the publication’s historical evolution, describes its general characteristics and editorial profile, gives an account of the intervening actors and their forms of organization, and indicates the conditions of possibility, accomplishment and limitations of the project.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.247
      Issue No: Vol. 5, No. 9 (2018)
       
  • The Failure of the Transatlantic Migratory Dialogue in Vientos de agua

    • Authors: Ignacio Dionisio Arellano-Torres
      Pages: 424 - 440
      Abstract: This article analyzes the affective connotations of the transatlantic dialog proposed by Vientos de agua, a Spanish-Argentinean TV show. It is it´s project to establish a community for all the victims of structures of domination, may them be political or economic. Across the parallel histories of Argentina and Spain, a connection is established between the disruptive power of the Spanish fascism at the beginning of the 20th century, and that of the capitalism in Argentina at the beginning of the 21th century. Vientos de agua proposes the deconstruction of the binary structure inherited from the colonial momentum by creating the universal categories of victim and immigrant. We consider this project failed in view of the treatment of certain figures who in last instance remain excluded from the affective circuit. We conclude that these strategies end in the prevalence of the peninsular space, as well as in the exclusion of the indigenous and African element from the supposed new community, resulting in the failure of the migratory transatlantic dialogue.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.244
      Issue No: Vol. 5, No. 9 (2018)
       
  • The “Kaleidoscope Perspectives” in Arcade Fire’s videos Afterlife
           and Porno: from the Reflektor Tapes

    • Authors: María Isabel Ledezma G.
      Pages: 441 - 459
      Abstract: This paper develops the “kaleidoscope perspective” notion over two musical videos from the Canadian rock band Arcade Fire titled Afterlife and Porno: from the Reflektor Tapes. These audiovisual works show three important topics: the Orfeo and Euridice myth, the black racial theme (“la negritud”) in the Haitian and Brazilian culture, and the ritualistic process related to Afro-Caribbean community i.e. the Vudu and the Santeria candomblé practice. The way how these topics are inserted in the musical video narrative invites to suppose that there is a constant game of appropriations and distances, at the same time, which emulates the kaleidoscope dynamic, and it is used by the videos with artistic goals. The final result of the “kaleidoscope perspective” is the presentation of two videos that are beyond of the promotional use to become in artistic works that vindicate the Afro-Caribbean identity practice.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.260
      Issue No: Vol. 5, No. 9 (2018)
       
  • Language’s Configurations in La casa de los conejos by Laura Alcoba

    • Authors: Estefanía Luján Di Meglio
      Pages: 460 - 495
      Abstract: This article studies a novel written in the argentinean posdictatorship, in French, La casa de los conejos (2007) by Laura Alcoba. The main concept of the paper is the mother and second tongue and its multiples links with the history –the history of state violence– that novel relates. First of all, it is studied the fact that text is written in French in spite of author’s mother tongue is Spanish: Alcoba had to go into exile during the period of the “Triple A” in Argentina. In second place, it is observed that beyond this fact, there are several words written in Spanish. Such words work as metonymy of a whole language (Spanish), as a symbol of a history (the state terrorism) and at the same time, they work as a metonymy of posdictatorship argentinean literature: those words represent the capital fact to telling a history in another way of that one of the oficial history.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.222
      Issue No: Vol. 5, No. 9 (2018)
       
  • In the Treshold of the Aurora: Itineraries of a Ritualistic and Alchemical
           in Cidade Sitiada

    • Authors: Rodrigo Veloso
      Pages: 496 - 521
      Abstract: This is a study of the work A cidade sitiada by Clarice Lispector, in dialogue with antropology (rites of passage), the second alchemy Jungian psychology in which it is intended to analyze the character in its individuation process, that means of self-knowledge of oneself. We perceived that the  principal character is marked by the conjugation and stigma of the verb to live, that is, it goes through different phases and stages in order to discover who he really is, since he is always in search of his identity, which is constructed with the development of his story in the novel. The narrative procedure adopted by Clarice Lispector, in that work led us to the concept of the rites of passage theorized by Arnold Van Gennep and alchemy, second Carl Gustav Jung. We investigated which are the behaviors demanded from the protagonist by the other members of the community in which to see inserted, and how it is positioned before it. Finally, we intend to show how the passage of the rites in Lucrecia's life, in addition to being related to her natural development (phases of adulthood), is mainly linked to the way in which the text is constructed.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.241
      Issue No: Vol. 5, No. 9 (2018)
       
  • Ways of Constructing Memory in the First Experimental Antidictatorship
           Chilean Novel: El paso del ganso (1975) by Fernando Alegría

    • Authors: Patricia Espinosa
      Pages: 522 - 535
      Abstract: This article presents evidence of both the ways in which memory is constructed and the crisis of representation in the novel El paso de los gansos (1975) by Fernando Alegría (1918-2005). This volume gives prominence to Cristian Montealegre, a photographer and victim of the repression, whose photographies are testimony of his experience within the context of the first two months of the dictatorship. On this way, one of the two first Chilean antidictatorship novels exposes the coup d’etat and the crisis of this fact unleashes through the intensification of the relationship between word and image. 
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.250
      Issue No: Vol. 5, No. 9 (2018)
       
  • Julio Cortázar: Jazz and America

    • Authors: Araceli Abras Daneri
      Pages: 536 - 550
      Abstract: The Julio Cortazar`s literary corpus can be explained from the origin of his narrative in a context whose main feature it is the syncretic nature that it is grounded in the different origins and cultural influences that characterize the American cultural product. It is in music and literature where, to Cortazar, the different languages serve as a channel through which these influences of various kinds are transferred. This syncretic character by which others logical traditions are inherited from others, positions the american intellectual in the problem of identity, and in Cortazar case, in the field of commitment.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.227
      Issue No: Vol. 5, No. 9 (2018)
       
  • From Political Unity to State Fragmentation: Crime, Law and Sovereignty in
           Carlos Fuentes and Juan Rulfo

    • Authors: Guillermo J. Fajardo Sotelo
      Pages: 551 - 574
      Abstract:  The author analyzes the late work of Mexican writer Carlos Fuentes to think about the Mexican political system and its transformations. Also, the author uses the figure of Pedro Paramo as an example of total sovereignty in comparison with the state fragmentation and the multi-sovereign forms that Carlos Fuentes uses in his novels as tools to demonstrate how the transformations have operated in Mexico: from a strong state to a fragmented government surrounded by other forms of control such as globalization, crime, and necroempowerment.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.262
      Issue No: Vol. 5, No. 9 (2018)
       
  • The Archive's Weight: Notables daños de no guardar a los indios sus
           fueros (1571) by Lawyer Polo de Ondegardo

    • Authors: Oscar Martin Aguierrez
      Pages: 575 - 599
      Abstract: The notion of Archive is central to know how the colonial logic marks the ways of appropriating America. The Archive is the beginning and the mandate (Derrida, 1997). It organizes, orders and institutes what the gods and men command. It imposes a dynamic in which the texts delimites a readers communities and excludes others comunities. In this articule, Notables daños de no guardar a los indios sus fueros (1571) of Polo of Ondegardo is presented catched into the networks of the Archive. This manuscript contributes to the consolidation of imperial policies introduced by Felipe II and delimits an inside and an outside of Archive. American nature and geographic space, the political system and the economic organization of the Incas, the past, the myth, all that enters into the Archive thanks to the writing. The writing becomes them in manipulable objects and it make them circulates like a secret. Meanwhile, on the outside of Archive, the bodies suffer the violence of a pacification political project that finishes with the death of Tupac Amaru I in the public square of Lima.
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.225
      Issue No: Vol. 5, No. 9 (2018)
       
  • Review. Jorge Arrate. Con viento a favor. Vol. I. Del frente popular a la
           Unidad Popular. LOM Ediciones, 2017.

    • Authors: Cristina Moyano Barahona
      Pages: 600 - 607
      Abstract: Resumen
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.251
      Issue No: Vol. 5, No. 9 (2018)
       
  • "The Metaphors of Sewing". Review. Eugenia Prado Bassi. Advertencias de
           uso para una máquina de coser (segundo borrador). Santiago: Editorial
           Moda y Pueblo, 2017

    • Authors: Francisco García Mendoza
      Pages: 608 - 611
      Abstract: Resumen
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.240
      Issue No: Vol. 5, No. 9 (2018)
       
  • Review. Eleazar Humberto. Guerra de la Huerta, Narración, experiencia y
           sujeto. Estrategias textuales en siete autobiografías mexicanas. México:
           Bonilla Artigas, 2016

    • Authors: Alejandro Arteaga Martínez
      Pages: 612 - 617
      Abstract: Resumen
      PubDate: 2018-01-05
      DOI: 10.5195/ct/2017.237
      Issue No: Vol. 5, No. 9 (2018)
       
 
 
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