This article proposes that Fabla salvaje shows the crisis of the subaltern masculinity of the cholo, embodied in the tragic trajectory of the character Balta Espinar. The crisis of the cholo Balta originates in his deficient incorporation into a new hegemonic sex/gender system and a new masculinity of a literate and urban order (represented in his friends and the narrator). On the other hand, this new sex/gender system destabilizes the traditional divisions in the Serrano world-village, which explains the gender violence that Balta exercises against his wife, the also chola Adelaida. Finally, Fabla salvaje is interpreted at the intersection of two tendencies in Vallejo's writing: the gothic tendency (which nourishes the rhetorical arsenal) and the pedagogical tendency (which explains the function of the narrator). In that sense, Balta's crisis is not ethnic/racial, but pedagogical.

Los juicios finales, Peter Elmore’s latest and most ambitious book of criticism, is a fundamental contribution to the study of the Peruvian cultural and intellectual field in the second half of the 20th century. Based on a meticulous bibliographical reconstruction, the book establishes that the discovery of the Inkarri mythical cycle between 1955 and 1956 originated the most widespread and influential lettered vision of Andean mentalities. The Peruvian intelligentsia postulates indigenous peasants as having mythical roots and messianic projection from this discovery. Los juicios finales analyzes the impact of this vision on the social sciences, literature, and visual arts. In this bibliographic review, in addition to examining each section and chapter, I identify the centrality of two figures for the book’s objectives and organization: José María Arguedas (who was the most creative...

In this article, I will analyze the gender system and the construction of masculinity in the autobiographical writing of Lurgio Gavilán Sánchez. I offer a textual and hermeneutical analysis of the second stage of his writing, which begins with the «Epilogue» of the 2017 reissue of Memorias de un soldado desconocido and includes Cartas al teniente Shogún from 2019. In this second stage, the Gavilán Sánchez’s place of enunciation is a generation with coordinates of geographical region, social class, and gender —the ex-soldiers from Ayacucho who participated in the Internal Armed Conflict - IAC. For the role of narratario or implicit reading audience, the generation of ex-soldiers coexists with Lieutenant Shogun, who becomes the model of masculinity, paternity, and guiding principle in Gavilán Sánchez’s goal of recovering the family dimension. His writing employs religious la...

In this article, I will analyze the gender system and the construction of masculinity in the autobiographical writing of Lurgio Gavilán Sánchez. I offer a textual and hermeneutical analysis of the second stage of his writing, which begins with the «Epilogue» of the 2017 reissue of Memorias de un soldado desconocido and includes Cartas al teniente Shogún from 2019. In this second stage, the Gavilán Sánchez’s place of enunciation is a generation with coordinates of geographical region, social class, and gender —the ex-soldiers from Ayacucho who participated in the Internal Armed Conflict - IAC. For the role of narratario or implicit reading audience, the generation of ex-soldiers coexists with Lieutenant Shogun, who becomes the model of masculinity, paternity, and guiding principle in Gavilán Sánchez’s goal of recovering the family dimension. His writing employs religious la...

In this article, I will analyze the gender system and the construction of masculinity in the autobiographical writing of Lurgio Gavilán Sánchez. I offer a textual and hermeneutical analysis of the second stage of his writing, which begins with the «Epilogue» of the 2017 reissue of Memorias de un soldado desconocido and includes Cartas al teniente Shogún from 2019. In this second stage, the Gavilán Sánchez’s place of enunciation is a generation with coordinates of geographical region, social class, and gender —the ex-soldiers from Ayacucho who participated in the Internal Armed Conflict - IAC. For the role of narratario or implicit reading audience, the generation of ex-soldiers coexists with Lieutenant Shogun, who becomes the model of masculinity, paternity, and guiding principle in Gavilán Sánchez’s goal of recovering the family dimension. His writing employs religious la...

Este trabajo analiza la realización textual del motivo del sacrificio en Diamantes y pedernales, de José María Arguedas, y las coincidencias que establece con el mito del cambio cósmico de la cultura andina. En el extenso discurso crítico arguediano, el tema del sacrificio ha sido analizado en estrecha relación con la tragedia y lo trágico; sin embargo, Horacio Legrás ha identificado un error bastante frecuente: la reiteración de dichos términos en un sentido adjetival, para caracterizar la complejidad de la trama o para referirse a los avatares de la vida del autor o al hecho de su suicidio, en detrimento de un empleo técnico y preciso.

Este trabajo analiza la realización textual del motivo del sacrificio en Diamantes y pedernales, de José María Arguedas, y las coincidencias que establece con el mito del cambio cósmico de la cultura andina. En el extenso discurso crítico arguediano, el tema del sacrificio ha sido analizado en estrecha relación con la tragedia y lo trágico; sin embargo, Horacio Legrás ha identificado un error bastante frecuente: la reiteración de dichos términos en un sentido adjetival, para caracterizar la complejidad de la trama o para referirse a los avatares de la vida del autor o al hecho de su suicidio, en detrimento de un empleo técnico y preciso.

En este ensayo voy a analizar la trayectoria poética bilingüe (en quechua y en español) del William Hurtado de Mendoza. Propongo una división en dos etapas claramente diferenciadas por los temas tratados y por el tono del discurso: una primera etapa proselitista y milenarista, representada por el poemario Yanaykipaq taki/Canción para que aprendas (1977), y una segunda etapa íntima y melancólica, que empieza con el poemario Sunquypa Harawin/Harawi del corazón (1992). Con respecto a la primera etapa, van a discutirse los alcances y limitaciones de la lectura de Julio Noriega Bernuy sobre la “utopía andina”. Además, se va a identificar la influencia de la poesía en quechua de Andrés Alencastre y de José María Arguedas, así como la poesía en español de César Vallejo. En lo que concierne a la segunda etapa, se van a ubicar las innovaciones formales y temáticas (como la ...