Peruvian author Ricardo Palma achieved prominence as a South American literary through his pleasant and entertaining Peruvian Traditions that mostly resurrected the colonial world. To write his historical fiction, Palma was inspired by the Chronicles of the Indies and the plot of his tradition “Carta canta” comes directly from Inca Garcilaso de la Vega’s Royal Commentaries. However, from the firstincarnation of the tradition from 1875 to the last one, Palma conceals his true source of the story. For the second version, improved after the War of the Pacific, our philological research reveals that Palma continued tweaking still other Garcilaso elements. We offer some conclusions about why he insisted on hiding his debt to Garcilaso and what coloniality had to do with his motivations.

This text reviews the intellectual development of Iván Rodríguez Chávez and how this ended up shaping his thinking on the relationship between the humanities, law and the university as a fundamental basis for promoting Peruvianism. To this end, it begins with an account of his teachers, such as José Russo Delgado, Estuardo Núñez Hague, Luis Alberto Sánchez, among others, who inculcated in him the knowledge and academic practices that he would implement in his pedagogical exercise as an educator and later as rector of the Ricardo Palma University. It also exposes four of his intellectual predilections that are reflected in different books and interviews: humanities and law, society, the university and the relationship between the university and society, problems and solutions.

This article will examine “Sistema decimal entre los antiguos peruanos” by Ricardo Palma. Palma’s essay argues that the Inkas used the decimal system by departing from a philological analysis of Ollantay and the Royal Commentaries of Inca Garcilaso de la Vega. It will consider why this piece is an essay and not a tradición by comparing its constituent elements with the characteristics of the essay as Gómez Martínez theorizes them, including discursivity, lack of a rigid structure, inciting reflection, digression, and vagueness in quoting practices. If Palma does a philological study of Ollantay and the Royal Commentaries, the present article will complete a philological study of Palma’s “Sistema decimal”. Keywords: Ricardo Palma, “Sistema decimal”, essay, discursivity, Inca Garcilaso de la Vega, Ollantay, Peruvian literature.

This article examines different concepts of nation that range from the ethnic, modern, and utopian. It outlines the evolution of the meaning of the word nation from the Renaissance to the 21st century and distinguishes between the nation and the nation-state, the latter kidnapping the role formerly held by the former. To understand the concept during the Renaissance, Inca Garcilaso’s Royal Commentaries will offer background as will several period dictionaries. To understand the concept from the nineteenth century on, the article considers the theories of Benedict Anderson and Eric Hobsbawm, as well as Mario Vargas Llosa’s ideas on the topic. Some conclusions applicable to Peru will be drawn.

Este artículo parte de la teoría de la frontera de la escritora tejana Gloria Anzaldúa para explicar las fronteras en la vida y obra de la autora peruana clorinda matto de turner. la tesis de Anzaldúa es que las fronteras entre culturas dejan una «herida abierta» que daña a las personas. un siglo antes, matto de turner era consciente de heridas de este tipo y para curarlas propone la industria, el comercio y la transculturización para fomentar la armonía entre andinos y criollos, entre obreros/as e industrialistas, con el fin de promover a su vez una especie de capitalismo moderno postracial.

Se han publicado numerosos estudios sobre la poesía y el ensayo del escritorperuano Manuel González Prada enfocando su indigenismo, su romanticismosu modernismo, su premodernismo, su romanticismo, su pensamiento político yreligioso, su revanchismo, pero, fuera de algunas nobles indagaciones, menos tiempose ha dedicado a su concepto lingüístico1. Aquí para conmemorar el pronto centenariodel fallecimiento de afamado escritor que pasó del romanticismo al modernismo,para morir en 1918, quisiera explorar el tema de las prácticas ortográfica que no sontan progresistas como se imaginaría. Lo que veremos en las páginas que vienen acontinuación es que, pese a todas las innovaciones en el campo de las ideas, no hayuna innovación absoluta en los experimentos ortográficos del poeta y ensayista.

Between the Spanish American «modernismo» and avant-garde movements, César Vallejo’s The Black Heralds shows a strong dose of Indigenism, but also provides elements that evoke ancient Tahuantinsuyo, which constitute what may be called Incanism. This paper aims to isolate some of the indigenous referents of The Black Heralds to determine whether they are indigenist (socio-realistic representation), or Incanist (recovery of the Incas). It concludes by defining the indigenous concept in The Black Heralds.

Este artículo examina diferentes conceptos de nación que van desde lo étnico, lo moderno, y lo utópico. Esboza la evolución del significado de la palabra nación desde el Renacimiento al siglo XXI y distingue entre la nación y el estado-nación que secuestra el papel de la primera. Para entender el concepto durante el Renacimiento se acude a los Comentarios reales del Inca Garcilaso, así como diversos diccionarios del período. Para entender el concepto a partir del siglo XIX, se acude a las teorías de Benedict Anderson y Eric Hobsbawm, y las ideas de Mario Vargas Llosa al respecto. Se ofrecerá algunas conclusiones aplicables al Perú.

Peruvian author Ricardo Palma achieved prominence as a South American literary through his pleasant and entertaining Peruvian Traditions that mostly resurrected the colonial world. To write his historical fiction, Palma was inspired by the Chronicles of the Indies and the plot of his tradition “Carta canta” comes directly from Inca Garcilaso de la Vega’s Royal Commentaries. However, from the firstincarnation of the tradition from 1875 to the last one, Palma conceals his true source of the story. For the second version, improved after the War of the Pacific, our philological research reveals that Palma continued tweaking still other Garcilaso elements. We offer some conclusions about why he insisted on hiding his debt to Garcilaso and what coloniality had to do with his motivations.

Páginas 171-189

Manuel Guerra ha publicado su tercer libro de ficción, Fatum, en dos hermosas ediciones (2018, 2021) pero este, a diferencia de las novelas Trasiegos (2013) y La copa de la muerte (2016), constituye una colección de cuentos, veinte cuatro de ellos, para decirlo con exactitud. Los relatos son de extensión variada. “Detectives de oficina”, tiene veinte páginas, “Fatum”, el que le brinda su título a la colección, siete, mientras “Arte poética” es de una. “Complicidad” es un microcuento de cuatro renglones

The awareness of the «surviving colonialism» of the Peruvian society is generally recognized in the thought of José Carlos Mariátegui. In order to annihilate this, he opposed the Spanish culture that prevailed in the society and sought other models, including Marxism. Another predisposition in his theories, uncommonlyinterpreted, is found in the positivism brought by the proposals of Manuel V. Villarán, Rector of The National University of San Marcos (Universidad Nacional Mayor de San Marcos), whose pedagogy was characterized by two elements: a rejection of the literate affinity of the Spanish pedagogy and a proposal focused on an education encouraging commerce (professions). This study will analyze the section of Mariátegui’s Seven Interpretive Essays on Peruvian Reality (Siete ensayos de interpretación de la literatura peruana) that is related to the essays «The liberal profe...

En algunas instancias Ricardo Palma estimaba los Comentarios reales del Inca Garcilaso de la Vega, pero en otras los desdeñaba y hasta borraba mención de ellos en sus Tradiciones. Puede ser que esta valorización se atenuaba frente al prestigio de varios «expertos» extranjeros, pero también es forzoso considerar el peso de los prejuicios antiindígenas que circulaban en los medios intelectuales de Lima después de la Guerra del Pacífico, sin olvidar sus propias inclinaciones escriturales. El presente estudio detalla los pormenores de la recepción del Inca Garcilaso en el proceso creativo del autor de las Tradiciones peruanas mediante su elección y apropiación de palabras y cláusulas en el contexto de la influencia negativa de escritores extranjeros y la del discurso racista del momento.

This article argues that the poet and essayist Manuel González Prada is part of the literary school called modernism and examines three aspects of the situation: 1) the exclusion of González Prada from international criticism; 2) the appearance of modernism in Peru and the role of González Prada and especially Clorinda Matto de turner in it; and 3) a comparison of some modernist elements in the poetry of González Prada and Rubén Darío.