Authors:Alvaro Llosa Sanz Pages: 4 - 15 Abstract: In scenes VII-X of the second painting corresponding to the ‘auto sacramental’ The martyr of the Sacrament, San Hermenegildo by Sor Juana Inés de la Cruz (1651-1695), the character who allegorizes the fantasy of King Leovigildo visibly projects the series of Hispanic Gothic kings in the theatrical space. This visibility generated by the right of fantasy perfectly fulfills the requirements of visual composition ascribed to the art of memory in the Golden Age and even visibly communicates the dramatic architecture of the glorifying discourse of the monarchy implicit in such staging. They make up a theater of memory that, gestated from the emblematic and Golden Age programmatic culture of the galleries of fame, is fantastically staged before the eyes of the audience. The set of scenes is also inscribed in the political-religious theme of Visigothic Arianism and the question of the conversion of the monarchy to Catholic Christianity represented by Hermenegildo, crown prince. I am interested in addressing, in the colonial context of Sor Juana, how the projection of these virtual and hologrammatic images produced in the theatrical space correspond and dialogue both with the hermetic thought of political emblems and occhiali and with the optical technologies of the time, especially the camera obscura, which could be considered as a new tool at the service of the tradition of the art of memory and reaches our days in form. of cinematography and other virtual visual projections. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134291 Issue No:Vol. 31 (2022)
Authors:Carla Alanis Pages: 16 - 28 Abstract: How can we tell the horror of the past' Gustavo Nielsen's novel Auschwitz imagines the unthinkable: What if the horror of concentration camps is nothing more than a catalog of possible tortures, a mockery in the voice of a pervert' I depart from the assumption that the meaning of Auschwitz in the novel is problematic because although it alludes to the historical event, it impoverishes it at the same time. Such operation is analyzed with help of Barthe’s concept of myth (Mythologies,1957). However, given that meaning is denigrated by a pervert, I would also consider the link between the pervert and the society he belongs to since it is this society, after all, the one that names the perversion. Finally, I will also evaluate the relationship that the novel traces between the Nazi State, the Argentinean dictatorship, and the present of the diegesis based on what Esposito (2011) refers as the immunization paradigm. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134427 Issue No:Vol. 31 (2022)
Authors:Juan Carlos Cruz Suárez Pages: 29 - 42 Abstract: Throughout 1981, the Chilean poet Elvira Hernández wrote La bandera de Chile which was published a decade later, due the political context of those years. The entire work represents a poetic effort to dismantle the traditional meaning of a symbol clearly related to the notion of national identity. This fact allows the work to be read as a cultural product that confronts the dictatorial regimen of Augusto Pinochet, constituting, therefore, a work of resistance. In addition to that, precisely because it may be understood as a literary witness of its time, La bandera de Chile should be read as a work bent on the theme of memory. In this article I analyze this double implication and I will relate it with the very notion of postnational culture, since the work advocates a reading that deconstruct the traditional manner in which the concept of nation is discursively built. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134522 Issue No:Vol. 31 (2022)
Authors:An Van Hecke Pages: 43 - 52 Abstract: This article analyses two stories from the book El esquinista (2014) by Mexican author Laia Jufresa, based on their ecphrastic textual frameworks: “Cristina” and “La noche que desapareció Holanda”. The first story focuses on the work Christina’s World by the American painter Andrew Wyeth. The second contains several references to the works by Johannes Vermeer: Woman Holding a Balance and Young Woman with a Lute. In both texts Jufresa creates an inter-artistic space where literature and painting meet and interfere. In these experimental stories the narrator changes the perspective, both the perspective with which she observes a painting and the inner perspective, which observes the most intimate reflections of the characters. Jufresa’s approach to universal themes puts the reader in an uncomfortable space, but at the same time she encourages him or her to participate in the game of the visible and the invisible. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134293 Issue No:Vol. 31 (2022)
Authors:Rodrigo González Pages: 53 - 63 Abstract: Este trabajo analiza el cuento “Recuerdos de un computador personal” del escritor chileno Alejandro Zambra (Mis documentos, 2013) para evidenciar cómo la irrupción de lo digital en lo doméstico re/des-configura las relaciones interpersonales y promueve una imbricación entre la subjetividad del usuario digital y la del escritor analógico. A partir de una representación nostálgica de la cultura digital del 2000, el cuento presenta a Max, quien adquiere su primer computador para uso doméstico y transcribe en él sus poemas. El aparato, marcado por la obsolescencia que lo corroe desde el momento en que es adquirido, metaforiza la decadencia de las relaciones interpersonales y el fracaso de la paternidad, a la vez que evoca una idea hegemónica de la cultura digital tecnocapitalista: la novedad del dispositivo está siempre diferida (Kozak, 2019). Por último, se evidencia cómo el relato entrega una representación de la escritura afectada y mediatizada por las nuevas tecnologías: el computador altera la escritura, descentra y mecaniza los procesos, e inaugura nuevas maneras de entender lo literario. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134428 Issue No:Vol. 31 (2022)
Authors:Daniel Escandell-Montiel Pages: 64 - 75 Abstract: Eugenio Tisselli is a socially aware author with an activist tradition. As a Mexican, we can expect NAFTA’s continued impact on local people, the environment, and the economy, to be issues relevant for him to vindicate. In The 27th. El 27, the digital creator constructs an artivist discourse: he combines artistic expression, theoretical reflection and political action, to draw attention to this situation and the growing weight of algorithms in political development through a text that is intervened by automatic translation. This article values the motivations and reflections of Tisselli and his use of e-literature to build his critical discourse, but also his space within the conception of artivism. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134290 Issue No:Vol. 31 (2022)
Authors:Vega Sánchez-Aparicio Pages: 76 - 92 Abstract: If we think about digital materiality in printed texts, we can approach this work from three basic questions: how is a feminist language articulated from the ‘abstract masculinity’ (Hartsock) of algorithms' Can software be feminist' Can the materiality of code be moved' Thus, this text will review writing practices in Spanish produced by women —specifically the works of Cristina Rivera Garza (Tamaulipas, 1964), María Ángeles Pérez López (Valladolid, 1967) and Verónica Gerber Bicecci (Ciudad de México, 1981)— who have developed an ethical discourse. Their aesthetics, dissident from the rhetoric of software, aim to make visible and, consequently, subvert hegemonies, roles and gender stereotypes that still persist in contemporary culture. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134426 Issue No:Vol. 31 (2022)
Authors:Alex Saum-Pascual Pages: 93 - 109 Abstract: This essay examines the relationship between digital technologies and climate damage, looking at a selection of works of digital literature that expose their entanglement within material networks of mineral extraction and energy consumption. It argues that the modern dichotomous framework that separates humans from nature has propelled the evolution of digital technologies, paving the way to contemporary globalization. Using the Capitalocene (Moore) as alternative periodization, I analyze the work of 8 digital artists from the Latin American diaspora and Spain who challenge the virtual/material and human/nature divisions and defend, instead, a posthumanist ethical relationship with nature (Braidotti, Haraway, Hayles). Finally, from this environmental perspective, I argue that digital literature’s planetary impact situates it at the center of any transatlantic studies discussion. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134295 Issue No:Vol. 31 (2022)
Authors:Gianfranco Selgas Pages: 110 - 125 Abstract: This essay departs from the artistic work on Chile’s and Venezuela’s mineral extractive zones by Ana Alenso to reflect on how art symbolically and materially deals with geological, political, and cultural entanglements. By combining geology of media studies and Latin American political ecology, it studies how Alenso’s artworks allow us to discuss and highlight the ways in which art empowers socio-ecological claims and actions that configure other forms of resilience in the face of extractive capitalism. It also discusses how culture is intrinsically related to the history of the Earth, geological and mineral formations, and energy. The essay concludes by conceptualizing these artworks as archives of the planetary mine. This notion understands artistic praxis as a cultural archive recording the socio-ecological imbrications activated by the multiple dimensions of mining in Latin America. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.132589 Issue No:Vol. 31 (2022)
Authors:Linnea Kjellsson Pages: 126 - 136 Abstract: In 2012, the Chilean writer Matías Celedón publishes the work La filial, a book-object conditioned by the precariousness and economic circumstances of his time, but also the analogue materiality of the stamp he uses to write it. At a time when the paper book seemed doomed to obsolescence, Celedón responds with anguish at the possible disappearance of archived memory and with reflective nostalgia (Boym 2001) towards obsolete technologies and found objects. This interview with the writer explores his narrative, the analogue aesthetic, the importance of memory and the role of independent publishers in the commitment to experimentation. PubDate: 2022-12-20 DOI: 10.7146/dl.v31i.134525 Issue No:Vol. 31 (2022)
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