The paper deals with the new critical assessments of the historical Tradition Los brujos de Shulcahuanga, through a new look at the exegesis, already carried out and, within a holistic approach, of intra, inter and extra textuality, consistent with the nature of the Palmyan Tradition. Locating us in one of its worlds: the historical, (chronic), more than the other: the literary, in which, the Tradition takes its being, and, having achieved its literary values, we try to find objectivity, “proportionality” of the history in the plot of the Tradition, the dimensions and characteristics of a narrated independence uprising, taking care of the inextricable unity of those two worlds, that is given through a language loaded with ironic humor, jocular, satirical and mocking, that conforms the tradition. The findings will allow a comprehensive assessment of the mentioned Tradition.

The present work deals with the search, discovery and exhibition of two letters written to Palma by two informants from the city of Huamachuco, Nicolás Rebaza Cueto and Francisco Moreno Azcate, whose texts include the written source of the Traditions “The witches of Shulcahuanga”, and the third part of “The burial seekers”. The exegesis is done to the literary texts of both traditions confirming the findings of the studies and extensive criticism that has been made to the life and work of the Patriarch of our letters, and, in the case of “The witches of Shulcahuanga”, in the reaches of the critique, many different conclusions to which some authors have arrived, achieving more, the objectives of the meetings denominated “Re-vision of the Traditions”.

El presente ensayo revisa la tradición "Un litigio original" de Ricardo Palma contrastándola con documentos históricos sobre los personajes mencionados y las acciones descritas en ella. Asimismo, formula hipótesis sobre las motivaciones de Palma al redactar el mencionado texto y revisa su propia poética.

Within a set of literary values which have been agreed, this re-vision displays the high trait of liminality that defines the Tradition The king of the camanejos, not only in the relationship established between its sources, an oil painting and the oral tradition that explains it, but also in the richness of the concept developed by Arnold Van Gennep, Víctor Turner and Teresa del Valle, from the symbiosis and virtuality of the historical world and the literary world that structure the text. It is done by applying the complexity method to literature, being supported also in the idea of a comprehensive and rigorous study that allows to put into effect the categories of intra, inter and extratextuality. The result is a broad, comprehensive and prolificoutlook towards the elements the Master used to write his work.

The purpose of this article is to show the complementarity that occurs in the romantic literary criticism between Ricardo Palma and Cesar Vallejo, two of the most important and studied Peruvian writers, being both part of the Romanticism, the first one in a fully developed way, and the second one in the last years of this movement; therefore, in different times, circumstances and particularities, but in the same interest of valuing romantic writers, we include Arnaldo Márquez, Luis Benjamín Cisneros and Carlos Augusto Salaverry, members of Palma’s bohemian group. We resort to the method of complexity, within this, the mobilization of the category of intertextuality, and the epistemological validity of the literary criticism made by both writers to find the objective evaluations, which is the purpose of this task.

According to Espejo Asturrizaga, when César Vallejo was imprisoned, between November 1920 and February 1921, he wrote eight poems that were included in Trilce; one of them, the one marked with the Roman numeral LXI, whose initial verse is "Esta noche desciendo del caballo", does not reveal, like others, the vision of prison or physical imprisonment, but a form of human transcendence that establishes a moral or ethical rule of good in the chaotic and agonizing human existence. We develop this hypothesis from a historical and socio-cultural perspective, supported by the analysis, interpretation and literary assessment from which we consider that the poem "LXI" is interrelated with the thematic and formal elements of the collection, in a current and futuristic vision, which allows us to notice that in Vallejo's poetry not everything is said, nothing is definitive; on the contrary, everythi...

La ponencia trata sobre las nuevas valoraciones críticas a los rasgos históricos de la tradición “Los brujos de Shulcahuanga”, mediante una nueva mirada a la exégesis, ya efectuada, y dentro de un enfoque holístico, de intra, inter y extra textualidad, coherente con la naturaleza de la tradición palmiana. Ubicándonos en uno de sus mundos: el histórico (crónica), más que en el otro: el literario, en el cual, la tradición cobra su ser; y habiéndose logrado sus valores literarios, tratamos de encontrar la objetividad, la “proporcionalidad” de la historia en la trama de la tradición, las dimensiones y características de una sublevación independentista narrada, cuidando la unidad inextricable de esos dos mundos que se da a través de un lenguaje cargado de humor irónico, jocoso, satírico y burlón, que estructura la tradición. Los hallazgos permitirán una valoració...

El presente trabajo trata de la búsqueda, el hallazgo y la exhibición de dos cartas escritas a Palma por dos informantes de la ciudad de Huamachuco: Nicolás Rebaza Cueto y Francisco Moreno Azcate, en cuyos textos se encuentran la fuente escrita de las tradiciones Los brujos de Shulcahuanga, y la III parte de Los buscadores de entierros. Se hace la exégesis a los textos literarios de ambas tradiciones confirmando los hallazgos de los estudios y de la amplia crítica que se ha hecho a la vida y obra del Patriarca de nuestra letras, y, en el caso de Los brujos de Shulcahuanga, en los alcances de la crítica, muchas conclusiones son diferentes a las que han llegado algunos autores, lográndose con creces los objetivos de los encuentros denominados “Re-visión de las Tradiciones”.

El presente ensayo revisa la tradición "Un litigio original" de Ricardo Palma contrastándola con documentos históricos sobre los personajes mencionados y las acciones descritas en ella. Asimismo, formula hipótesis sobre las motivaciones de Palma al redactar el mencionado texto y revisa su propia poética.

La presente re-visión muestra, dentro del conjunto de valores literarios a los cuales se ha accedido, el alto rasgo de liminalidad que caracteriza a la tradición “El rey de los camanejos”, no solo dentro de la relación que se establece entre sus fuentes, un óleo y la tradición oral que la explica, sino en la riqueza del concepto que desarrollan Arnold Van Gennep, Víctor Turner y Teresa del Valle, a partir de la simbiosis y virtualidad de los “dos mundos”, el histórico y el literario, que estructura el texto. Se hace aplicando el método de la complejidad a la literatura, sustentado, además, en la idea de un estudio comprensivo y riguroso, que permite movilizar las categorías intra, inter y extra textualidad. El resultado es una mirada amplia, integradora, rica, de los elementos con los cuales el Maestro escribió su obra.

The purpose of this article is to show the complementarity that occurs in the romantic literary criticism between Ricardo Palma and Cesar Vallejo, two of the most important and studied Peruvian writers, being both part of the Romanticism, the first one in a fully developed way, and the second one in the last years of this movement; therefore, in different times, circumstances and particularities, but in the same interest of valuing romantic writers, we include Arnaldo Márquez, Luis Benjamín Cisneros and Carlos Augusto Salaverry, members of Palma’s bohemian group. We resort to the method of complexity, within this, the mobilization of the category of intertextuality, and the epistemological validity of the literary criticism made by both writers to find the objective evaluations, which is the purpose of this task.