Ilse Logie

Imaginarios apocalípticos en la literatura hispanoamericana contemporánea

El mito fundacional del apocalipsis, que hunde sus raices en una de las grandes fuentes de la cultura occidental, la Biblia, despliega un imaginario subyacente en muchas obras representativas de la literatura hispanoamericana desde Dario y Neruda hasta Roberto Bolano y Marcelo Cohen. Pero ?existe en la literatura una revelacion apocaliptica? Ahora que la crisis de la idea del fin como proceso del recomienzo se ha generalizado, ?aun es posible figurarse el camino hacia el porvenir como posibilidad de superacion de lo agotado, como vitalidad frente a lo banal de la sociedad de consumo, como regeneracion, o antes bien queda el anhelo de orden anulado por las nociones de azar y de caos, de entropia irreversible y de destino imprevisible? Este libro, fruto de un proyecto interuniversitario radicado en Belgica (Gante y Lovaina la Nueva) pero que ha podido contar con las aportaciones de valiosos especialistas internacionales, intentara contestar estas preguntas al examinar como se pone en escena – o se contrarresta – la conciencia de un ‘final’ definitivo de toda una cultura y con que proposito se utilizan o se subvierten los mitemas apocalipticos tradicionales en la literatura hispanoamericana (con predominio en el corpus considerado de lo argentino) del siglo XX y de principios del XXI.

Hacia un renovado vínculo entre la obra y su exterior: El desperdicio de Matilde Sánchez

This article aims at a thorough interpretation of El desperdicio by Argentinian writer Matilde Sanchez based on a series of narrative paradoxes (patently present in the narrative voice and its locus of enunciation) with ideological implications. The novel not only recounts the tragic life of leading character Elena Arteche, but also provides a chronicle of the last three decades of Argentinian economic and cultural life. In combining a person’s adventures with collective social developments, El desperdicio can be seen as one of several “narratives of collapse” that have recently been written in Argentina. The novel, however, focusses on rural rather than on urban demise. An analysis of the polysemic nature of the title, which can mean both “waste” and “remains”, allows us to establish the link with modern views on autonomy, both in the existential sense of the term (“control over one’s own life”) as in the artistic one (thematized here out of the formalist concept of ostranenie). Our study also considers the place this novel holds within the Argentinian literary fi eld. Finally, the confl icting esthetical paradigms which the author seems to hesitate between are connected with Florencia Garramuno’s ideas on recent changes in the status of literature.

UNA MUCHACHA MUY BELLA DE JULIÁN LÓPEZ, O EL GESTO REPARADOR DE LA ESCRITURA

ABSTRACT This article focusses on the aspects that make Julian Lopez’s novel Una muchacha muy bella (2013) original. First, we will examine how this text compares to other stories written by the post-dictatorial Argentine “second generation”. Then we will look into the strategies used by the narrator to cope with the trauma of his mother’s disappearance, where ellipsis, which in turn leads to compensating techniques, seems particularly noticeable. Finally, we will focus on a number of interventions of the text – such as the poeticization of experience and the importance attached to reading – that make it go against the flow and destabilize certain predominant practices in the contemporary literary field. KEY WORDS: the literature of the second generation, contemporary argentine narrative prose, Julian Lopez