El siguiente artículo tiene por finalidad ofrecer un acercamiento al imaginario y la confluencia de voces en los relatos afropisqueños contenidos en el libro Desde la otra orilla. La voz afrodescendiente (2013). En estas voces resuenan las prácticas tradicionales heredadas; la sabiduría de vida; el simbolismo cultural producto del encuentro de lo andino, lo occidental y lo afro; la memoria colectiva, que ha ido consolidándose con el pasar de los siglos. Pese al brutal desarraigo material y cultural que sufrieron los esclavos negros y los negros libertos durante la Colonia, esto no fue un obstáculo para que, de una u otra manera, se fueran adaptando a su nueva situación y produjeran una cultura propia.

The descriptions of death made by Guaman Poma, Cieza and Garcilazo de la Vega present common characteristics, such as the embalming of the body, the family gathering at the wake, the remembrance of the deceased’s deeds with mournful songs and the burial with all his belongings. Of all those described, some have lost relevance, such as the respect and care for the body. For this reason, in the testimonies reviewed, the little importance that now acquires the body of the deceased is pointed out with this phrase: “his corpse will be returned”. Others have resemanticized, for example, the objects that the dead person must have to pass to the next life. Now they buy him a suit and tie. They have to wear slippers because these will allow him to run faster to glory. Traditional elements such as songs, food, weeping, family and the importance of the rites to be performed to the body of the...

El testimonio quechua se ha estudiado desde la teoría propuesta desde la academia norteamericana y latinoamericana. Esta perspectiva ayudó a entender los conflictos y tensiones que se generan durante su realización y la dimensión estético-política en la que pareció. Pero no explica por qué en estos textos encontramos mitos, hualinas, watuchikuna (adivinanzas), simbolismo de las plantas (papa, maíz), de los animales, entre otras nociones sobre la salud, la enfermedad, la distribución social, el ayni, entre otros. Por eso, desde una perspectiva culturalista, en este artículo nos proponemos encontrar la noción de testimonio que posee el runa y, a partir de ella, demostrar que el testimonio quechua es un telar, un tipo de texto que evidencia la creatividad escrituraria del runa porque construye una multiplicidad de imágenes-tejidos, y cómo esta práctica encuentra correspondenc...

El testimonio quechua se ha estudiado desde las categorías propuestas por la academia norteamericana y latinoamericana. Esta perspectiva ayudó a entender los conflictos y tensiones que se generan durante su realización y la dimensión estético-política en la que pareció. Pero no explica por qué en estos textos encontramos mitos, hualinas[1], watuchikuna (adivinanzas), simbolismo de las plantas (papa, maíz), de los animales, entre otras nociones acerca de la salud, la enfermedad, la distribución social, el ayni, entre otros. Por eso, desde una perspectiva culturalista, en este artículo nos proponemos encontrar la noción de testimonio que posee el runa[2]. Luego, a partir de ella, demostrar que el testimonio quechua es un telar, un tipo de texto que evidencia su creatividad escrituraria porque construye una multiplicidad de imágenes-tejidos, y cómo esta práctica encuentra cor...

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.

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...