This research postulates that Fabla salvaje (1923), a novel by César Vallejo, represents an epistemic violence that marks the full entry of modern subjectivity into the Andean world. The novel proposes, then, how modernity, through the dynamics of isolation and denial of dialogue, penetrates in the calm of the Andean world and breaks the prerogatives of the family or animal horizontality by rendering them strange and useless. This phenomenon is represented in Balta Espinar, the protagonist of the novel, as well as in his relations with his wife and with the nature that surrounds him. In order to demonstrate this hypothesis, the contributions of the French philosophers Gilles Deleuze and Félix Guattari will be used. The aim is to show how the novel narrates the distancing from the multiplicity of the surrounding life and the concentration on the unity of the subject. The transition from...

Under the modernista model of writing, this text presents motifs related to the uncanny, the unforeseen, the unexpected; a world where the rational explanations fail to give satisfactory answers. One of the pillars of such constructions is determined by the uncanny, the perplexity proposed by the represented world. Faced with certainty, this story proposes a disturbing world.

In some poems of The Black Heralds (1919), the first set published by César Vallejo, the lyric subject has a predisposition to use the sense of sight as the means to identify, in different levels, those elements that surround him. Consequently, it is possible to recognize two different visions: in one vision, the focused element stimulates an inner reaction in the observer; in the other vision, the protagonist discovers —through the observed element— an intimate and personal truth for him. Hence, the elements behave as resources in order that the lyrical subject knows more about himself as he interprets and understands his surroundings. It must be understood that the lyrical subject is a projection of the poet. To demonstrate this interpretation, in this study we will proceed to analyze the poems «Deshojación sagrada», «La araña», «La de a mil» and «Las piedras».

La presente investigación aborda la obra de los tres principales referentes de la literatura afrodescendiente producida en el siglo XX en el Perú: Antonio Gálvez Ronceros (Monólogo desde las tinieblas), GregorioMartínez (Canto de sirena) y Lucía Charún-Illescas (Malambo). Se propone analizar la obra en conjunto de estos tres autores con el objetivo de establecer los rasgos comunes que comparten. Se realiza un análisis comparativo de las estrategias discursivas y lingüísticas empleadas en estas obras que, en conjunto, comparten el objetivo común de problematizar las representaciones tradicionales del sujeto afroperuano por medio de una toma de conciencia lingüística de la naturaleza del objeto literario. Asimismo, se considera la importancia que tiene la tradición de la cultura cómico popular en las formas de la literatura carnavalizada descrita por Bajtín, en los universo...

From our perspective, the text Pobre gente de París is a poetic-political manifesto. In it, our author tries to agree on the vision of the literary writer and the vision of the political activist. The book is not, therefore, a mere set of “Parisian experiences” related by its condition of “autobiographical material”. Rather, it is a vehicle of ideas, which will continue along the same route that had formed their articles of opinion in the written press of those years. Then, we can observe that the ideas of Salazar Bondy run without difficulty between the lines of the text Pobre gente de París. The condemnation dictated in the page of a newspaper appears again in the pages of this book, perhaps in other words, perhaps with different extension, but always with the same indignation, with the same anger.  

In the present article the poem "Ocle to the Jet" of }ose Maria Arguedas, is studied fromthe perspective of modernity. This poem constitutes a song to an element strange inthe Quechua world. The lyric speaker shows admiration befare an objecr of modernityseeking to wesrernize the Quechua culture.

El estudio propone que en el poemario Ande existe una especie de contrapunto estructural mediante el cual el hablante básico, configurado como poeta y amante, opone a su disforia interior (subjetiva) la euforia exterior (no subjetiva) a modo de compensación o de plasmación discursiva de la temporalidad.

The article focuses on showing the value of this story, “Amaru”, inside Edgardo Rivera Martinez’s narrative. We believe that it deals with a cardinal narration since it constitutes a poetics; this text generates the conception of a cosmic writing, linked to the nature and to the time, that tries to set the ineffable thing.

El presente trabajo de investigación aborda la obra inicial de tres de los autores más importantes de la generación del 50: Enrique Congrains Martin, Julio Ramón Ribeyro y Sebastián Salazar Bondy, en otros términos, Lima, hora cero (1954), Los gallinazos sin plumas (1955) y Náufragos y sobrevivientes (1955), respectivamente. Aunque existen investigaciones que los han estudiado, todavía no se han elaborado textos que muestren de qué manera se articulan sus proyectos estéticos respecto de los ideales que guiaron su praxis artística. A través de la teoría de polisistemas, recorreremos las circunstancias de interpretación de la experiencia de transformación por la cual pasaba Lima y Perú en la década indicada. Es decir, se determina cómo la pluralidad de ciertos conjuntos incipientes fue traducida en sus libros de cuentos. Esto nos conducirá a proponer una idea de nación ...

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Manuel González Prada (Lima, 1844-1918) is known for his essay production and poetry, as well as for his transcendence in Peruvian political thought. He also explored the narrative and the aphoristics. His book El tonel de Diógenes (The Barrel of Diogenes), published posthumously in 1945, is a clear proof of this. Precisely, a section of El tonel de Diógenes entitled «Memoranda» is made up of more than two hundred aphorisms. Some of his scholars have considered these notes or loose notes useful to unravel González Prada’s ideology. Given that in several of these short texts, the author shares his impressions of poetry, the poet and literary creation, the aim of this paper is to systematize these impressions in order to identify the underlying poetics in those texts, so that links can be established with the rest of his work.