español andino]]> quechuismos]]> contacto lingüístico]]> interferencia lingüística]]> sincretismo cultural]]> Andean Spanish]]> Quechua loanwords]]> language contact]]> linguistic interference]]> cultural syncretism]]> The political, social, and ethnic history of this region reveals the confluence of factors belonging to these domains, which favored the emergence of such linguistic phenomena as products of cultural syncretism.]]> La historia política, social y étnica muestra la confluencia de factores propios de los dominios dichos que propiciaron estos fenómenos lingüísticos como productos del sincretismo cultural.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> poesía femenina]]> Teresa Leonardi Herrán]]> lírica salteña]]> discurso social]]> memoria]]> transgresión]]> women’s poetry]]> Teresa Leonardi Herrán]]> Salta poetry]]> social discourse]]> memory]]> transgression]]> This paper focuses especially on the writing of Teresa Leonardi Herrán, who, continuing a line of significant rupture that began in the 1940s, emerged as the female voice par excellence of the 1960s. Existential conflict, crisis with the paternal model, awareness of reality, and commitment to the historical moment make her writing a testimony of maturity and poetic renewal.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> Antígona]]> Griselda Gambaro]]> poder]]> intertextualidad]]> teatro argentino]]> realismo reflexivo]]> Antigone]]> Griselda Gambaro]]> power]]> intertextuality]]> Argentine theatre]]> reflexive realism]]> For this paper, we have selected Antígona furiosa by Griselda Gambaro and Sophocles’ classic Antigone. Through comparative analysis, both texts make it possible to explain the repetition of the history of power and the power of history to reconstruct itself.]]> Hemos seleccionado para la realización de este trabajo Antígona furiosa de Griselda Gambaro y la Antígona clásica de Sófocles. Ambos textos permitirán, en un análisis comparativo, explicar la repetición de la historia del poder y del poder de la historia para reconstruirse.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> hibridación cultural]]> Juan Ahuerma Salazar]]> narrativa salteña]]> discurso social]]> narrativa histórica]]> ruptura del canon]]> cultural hybridization]]> Juan Ahuerma Salazar]]> Salta narrative]]> social discourse]]> historical narrative]]> canon rupture]]> The analysis of the procedures used in this narrative made it possible to confirm the hypothesis of its discursive hybridization and its consequent rupture with the dominant realist canons in narrative writing from Salta. In conclusion, a paradigm shift can be inferred within the regional sphere, coexisting with the demystification of historical discourse carried out in “national” and “Latin American” literature.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> estudios literarios]]> interdisciplinariedad]]> semiótica cultural]]> discurso literario]]> prácticas de lectura]]> semiosfera]]> literary studies]]> interdisciplinarity]]> cultural semiotics]]> literary discourse]]> reading practices]]> semiosphere]]> The aim of this paper is to develop these three levels and to reflect on the possibilities that emerge when literary textuality is considered in relation to other cultural texts.]]> Este trabajo tiene como objetivo desarrollar los tres niveles aludidos y desplegar una reflexión acerca de las posibilidades que se abren, si consideramos la textualidad literaria en correlación a los otros textos culturales.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> Tomás Eloy Martínez]]> discurso no ficcional]]> novela histórica]]> periodismo]]> montaje narrativo]]> peronismo]]> Tomás Eloy Martínez]]> non-fiction discourse]]> historical novel]]> journalism]]> narrative montage]]> Peronism]]> This field of writing presents points of conflict: temporal proximity and the controversial nature of its characters. It therefore becomes necessary for the novelist to adopt new strategies and for criticism to develop new perspectives on reading.
The case of Tomás Eloy Martínez as a producer of literature on Perón and Evita leads us to consider the complexity of narrative techniques that translate into “historical objectivity”.
Regarding the results, it may be stated that both La novela de Perón (1985) and Santa Evita (1995) function as textual surfaces on which it is possible to read aspects of national culture that are often at odds with the image of a Europeanized nation and, therefore, closer in their manifestations to Latin America.]]> Este espacio escriturario presenta puntos de conflicto: la cercanía en el tiempo y lo controvertido de los personajes. Se hace necesaria, entonces, la adopción de nuevas estrategias -por parte del novelista-, y de nuevas perspectivas lecturológicas desde la crítica.
El caso de Tomás Eloy Martínez como productor de literatura acerca de Perón y Evita concita a dimensionar la complejidad de las técnicas narrativas que se traducen en "objetividad histórica".
Respecto de los resultados, se puede enunciar que tanto La novela de Perón (1985) como Santa Evita (1995) funcionan como una superficie textual en la que es posible leer aspectos de la cultura nacional, muchas veces reñidos con la imagen de nación europeizada y, por tanto, más cercanos a lo latinoamericano, en sus manifestaciones.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> Juana Manuela Gorriti]]> Camila O’Gorman]]> relato histórico]]> rosismo]]> escritura femenina]]> imaginario nacional]]> Juana Manuela Gorriti]]> Camila O’Gorman]]> historical narrative]]> Rosas regime]]> women’s writing]]> national imaginary]]> Examining the structural fabric of a tragic episode attributable to Rosas’s tyranny reveals the presence of the political debate of the period.
Through the theory of the imaginary, it becomes possible to observe that the narrative strategies characteristic of Gorriti’s writing challenge forms of complicity with the regime.
Gorriti’s writing explicitly legitimizes the prescribed role of women; however, her female characters conform to what the Enlightenment and Liberalism prescribe for the gender.]]> Examinar el entramado estructural de un episodio trágico imputable a la tiranía de Rosas demuestra la presencia del debate político de la época.
A través de la teoría del imaginario se advierte que las estrategias narrativas propias de la escritura impugnan complicidades con el régimen.
Los trazos de Juana M. Gorriti legitiman el deber ser de la mujer en lo explícito, pero los personajes femeninos se asimilan a lo que prescriben Ilustración y Liberalismo para el género.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> reescritura teatral]]> adaptación teatral]]> identidad hispanoamericana]]> Miguel Torres]]> Gabriel García Márquez]]> transmodalización]]> theatrical rewriting]]> theatrical adaptation]]> Spanish American identity]]> Miguel Torres]]> Gabriel García Márquez]]> transmodalization]]> Starting from the reverse process of the creation of the new text, that is, from the decomposition of the rewriting work, we will attempt to corroborate—or refute—the hypotheses that have been proposed to explain it:
- There is a shortage of playwrights.- The limited existing theatre lacks conflict, often because of its obvious political discourse.- There is an increasing tendency to “theatricalize” the texts of our great narrators, since they are considered to contain the roots of our identity.- Theatrical productivity in Spanish America is developing through the increasingly predominant figure of the director.
Our aim is to show that Spanish American theatrical rewriting arises as a way of promoting a dramaturgy that has not yet fully developed, unlike Spanish production, which rewrites as a result of the exhaustion of the system.]]> A partir del proceso inverso a la elaboración del nuevo texto, esto es, de la descomposición del trabajo reescritural, intentaremos corroborar -o refutar- las hipótesis que se han aventurado para explicarlo:
- Hay escasez de dramaturgos.- El exiguo teatro existente no posee conflicto, a menudo por su obvio discurso político.- Hay una tendencia cada vez mayor a “teatralizar” los textos de nuestros grandes narradores por considerarse que en ellos están las raíces de nuestra identidad.- La productividad teatral en Hispanoamérica se está desarrollando a través de la figura cada vez más preponderante del director.
Aspiramos a demostrar que la reescritura teatral hispanoamericana surge como una forma de impulsar una dramaturgia que aún no creció, a diferencia de la producción española que reescribe por agotamiento del sistema.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> Antonio Buero Vallejo]]> Las trampas del azar]]> tragedia]]> destino]]> azar]]> responsabilidad]]> Antonio Buero Vallejo]]> Las trampas del azar]]> tragedy]]> fate]]> chance]]> responsibility]]> We will attempt to carry out a semiotic reading that accounts for the meaning of generational isotopic repetition in Las trampas del azar, as well as its relationship with the notions of fate and chance. At the same time, we will examine the connections these terms establish with the universe of meaning of Buero Vallejo’s dramatic production in order to determine whether or not they modify the construct of tragedy previously developed by the author.]]> Intentaremos efectuar una lectura semiótica que dé cuenta del significado de la reiteración isotópica generacional en Las trampas del azar, así como su relación con las nociones de destino y azar. Al mismo tiempo, indagaremos las conexiones que contraen estos términos con el universo de sentido de la producción dramática de Buero Vallejo, para saber si modifican o no el constructo tragedia desarrollado anteriormente por el autor.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-05-30]]> application/pdf]]> Charles S. Peirce]]> semiótica triádica]]> mito]]> imaginario social]]> ritual]]> interpretante]]> Charles S. Peirce]]> triadic semiotics]]> myth]]> social imaginary]]> ritual]]> interpretant]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-11-30]]> application/pdf]]> personaje]]> semiopragmática]]> cine documental]]> cine de ficción]]> personaje redondo]]> modos de producción discursiva]]> character]]> semiopragmatics]]> documentary film]]> fiction film]]> round character]]> modes of discursive production]]> This paper attempts to demonstrate, through Roger Odin’s semio-pragmatic approach, that the “representational” or “real” nature of the documentary character and the “imaginary” or “fictional” nature of the fictional character share more than one aspect of their semiotic functioning.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-11-30]]> application/pdf]]> comunidad coreana]]> identidad étnica]]> inmigración coreana]]> integración social]]> semiótica cognitiva]]> espacios conceptuales]]> Korean community]]> ethnic identity]]> Korean immigration]]> social integration]]> cognitive semiotics]]> conceptual spaces]]> From a methodological point of view, this paper follows the guidelines of discourse analysis and cognitive semiotics, finding affinities with notions proposed by contemporary cognitive sciences, such as “conceptual integration” or “blending”, “mental spaces and blended spaces” (G. Fauconnier, 1994; G. Fauconnier and Turner, 1998), and “dynamic unity” (N. Mandelblit and O. Zachar, 1998).]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-11-30]]> application/pdf]]> semiótica]]> ciencias sociales]]> significación]]> semiosis social]]> metodología semiótica]]> análisis del discurso]]> semiotics]]> social sciences]]> signification]]> social semiosis]]> semiotic methodology]]> discourse analysis]]> Indeed, the term “semiotics” appears frequently across broad areas of these disciplines. However, what semiotics may be, the place it may occupy, and its possible connection with those disciplines remain far from clearly defined. Consequently, among a multiplicity of works—which we group into two major “traditions”: that of superstructures and that of the text—semiotics can be and do so many things that, strictly speaking, this results in a blurring of its features and in the lack of specificity of its tasks.
This paper will attempt to account for this state of affairs, while also formulating some positive observations on the matter.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-11-30]]> application/pdf]]> semiótica visual]]> color]]> cesía]]> luz]]> percepción visual]]> signos visuales]]> visual semiotics]]> color]]> cesia]]> light]]> visual perception]]> visual signs]]> After establishing an epistemological orientation, formulating some definitions, and outlining a number of antecedents in the study of color and of the appearance produced by the distribution of light in space, this paper proposes that semiotics can function as an appropriate theoretical framework for organizing and encompassing the different fields from which these aspects have traditionally been studied: physics, chemistry, physiology, neurophysiology, psychology of perception, and psychophysics.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-11-30]]> application/pdf]]> inmigración judía]]> mujeres inmigrantes]]> prostitución]]> imaginario social]]> representaciones colectivas]]> poder comunitario]]> Jewish immigration]]> immigrant women]]> prostitution]]> social imaginary]]> collective representations]]> community power]]> We are especially interested in the case of one such woman, located at the most rejected extreme of the social fabric because she practiced prostitution. This situation gives rise to a polarized discourse that makes it possible to observe how the social imaginary sustains a form of social mobility marked by ideological elements. Due to certain characteristics in the personal history of the figure under study, this discourse becomes an effective component in the exercise of power within the community life of Tucumán.]]> Nos interesa especialmente el caso de una de ellas, ubicada en el extremo más rechazado del tejido social por ejercer la prostitución, lo cual lleva a un discurso polarizado que permite advertir cómo el imaginario social sustenta una movilidad social que presenta elementos ideológicos y que, debido a ciertas características en la historia personal del personaje estudiado, se constituye en una pieza efectiva del ejercicio del poder dentro de la vida comunitaria de Tucumán.]]> Cuadernos FHyCS-UNJu]]> Cuadernos FHyCS-UNJu]]> 2001-11-30]]> application/pdf]]>