Any compendium of linguistic expression that is passed into writing is faced with the kind of problem that is related to its oral nature since this cannot be verified in the same manner, also there is the problem of the constantly changing nature of such expression. As well as the problem of oral speech there is another that has to do with the translation and even the very possibility of translation, something that is very clear when one looks at texts written in Quechua for example. When the translators manipulate a story ideologically they not only alter the system of the original language but even its basic symbols and sometimes they even end up repressing the Quechua text in its direct forms of representation and finally lose sight of a cosmovision that they will find difficult to recover.

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Este trabajo se propone analizar en la poesía de J. M. Arguedas los mecanismos integrativos que desarrolla el autor para superar lo quellama "cerco opresor'' y que secularmente significó dominación e injusticia para la cultura andina.

In this research, we intend to study how couple relationships are in the Quechua testimony. We can assure that, in the Quechua cosmovision, the relationships between animals, gods, men and nature are expressed indualities, by correspondence, by symmetry, by analogy, by complementarity and by reciprocity. It is a type of cognitive structure that includes the entire cosmological order. For this reason, it is possible to find traditional communities where there are roles played by both men and women that can be traced back through chronicles and Inca mythology. Consider the mythical couple Manco Capac and Mama Ocllo. The spaces they founded represent the high (hanan), the masculine (the Inca), the low (hurin) and the feminine (the Coya). In the cosmological drawing of Santa Cruz Pachacuti, this dualism is also expressed in mythical figures represented by the notions of yanantin and masintin...

In this article we propose to examine the role animals take inside the narrative universe of the work by JMA. Why did the author constantly inserts various beings of nature that concentrates a heavy charge of semantic load? His incorporation is not andean, rather, they possess a meaning and express a certain way of seeing and understanding reality, the same that follows the two systems of the Andean cosmovision: the dual, opposite (hanan-hurin) and complementary (ichoq/allauca); and, the tripartite (hanan pacha/uku pacha/kay pacha). For this purpose, we will appeal to the notion of “Andean historical chronotope” since this theoretical category, developed by Federico Navarrete, will allow us to settle how Arguedas forms the symbolic and social spaces in his work.

Many critics have acknowledged the stylistic and technical skills in Eleodoro Vargas Vicuña’s narrative, such as the orality of his characters, narrative fragmentation and polyphonic voices that describes his plot. There have been suggestions that the Indigenism of Vargas Vicuña renewed the pro-Indian narrative universe, but there are few concerns about the links of his story with his poetic production. Our research aims to establish which type of narrator rules his work. We will also show how his characters start showing through a particular language in order to reveal a vision of reality strongly linked to that of his poetic work, a transculturalized and mixed-raced discursive formation, but whose roots are related to his first reference: the mythical Andean perspective.

Evidencia las confluencias y conflictos entre la voz y la letra en las representaciones discursivas de la literatura producida en los andes peruanos. Para ello se ha tomado un corpus multigenérico: testimonio, novela, relato, poesía y huayno. Al interior de ellos se observa el impacto de la cosmovisión andina, las formas en que se representan, los imaginarios y los usos y las costumbres que se desprenden de la vida cotidiana, los mismos que son elevados a un nivel estético a través de la simbolización literaria. Utiliza una metodología descriptiva del texto mediante el análisis de la cita textual. Plantea que en la producción de la literatura andina existe una tensión entre la oralidad y la escritura (voz y letra) en la forma de confluencia y conflicto. Esta tensión se ve vinculada con la compleja forma de representación de la cosmovisión andina; así se muestra una visión ...