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This article does a study approach to the black humour genre in the written work of Roberto Fontanarrosa, an Argentine writer very famous in Latin American, in reference to the case Boogie the oily comic. In Boogie we observe a use of humor based on a naked, open and highly criticism toward to the liquid contemporary culture through the creation of a protagonist who reflects in itself all vices and evils of society. As methodology, this paper does a literature review and qualitative content analysis taking as reference ten comics of Boogie; with this material this article analyzes connotative and denotative messages. In conclusion this paper infers that a comic can serve as a vehicle to express reality by mean of absurdity and irony. Consequently, Boogie shows the culture of tolerance that human being has taken in front of the deformation values of today’s world.

El paper describe la historia de las editoriales cartoneras (EC) latinoamericanas, su evolución y la imbricación de su propio proceso productivo con formas relacionadas con la llamada “economía social” (ES) en el marco de un proceso de globalización del mercado editorial (proceso representado como GILT + ES). Se analiza la interrelación entre edición tradicional, edición cartonera y transposición a digital de dichas ediciones. Asimismo, propone una lectura de la acción de la influencia del giro poscolonial al colocar la dispositividad material cartonera como una de las formas de dicho giro, esta vez, ampliada a las formas tipográficas, ampliando los planos de acción poscolonial en el campo editorial. PALABRAS CLAVE: editoriales cartoneras, transposición de literatura, literatura latinoamericana y caribeña, ecosistema digital. This paper describes the history of the Latin American cardboard publishers-editoriales cartoneras (EC), their evolution and the interweaving of their own production process with practices related with the so called ‘social economy’ (SE), framed by the globalizing process of the publishing market (process represented as GILT + SE). The relationship between traditional publishing and cardboard publishing is analyzed, as well as their transformation to digital format. Moreover, it argues that the influence of the postcolonial turn can be appreciated in the material availability of cardboard, extended, this time, towards typographic forms, thus widening the scope of postcolonial action in the publishing field. Keywords: cardboard publishers, literary transposition, Latin American and Caribbean literature, digital ecosystem.

Este estudio propone una lectura de Respiración artificial (1980), de Ricardo Piglia, desde la perspectiva del subgénero de la novela de artista, de acuerdo con la definición de Herbert Marcuse, que ha sido validada para las novelas de artista hispanoamericanas de finales del siglo XIX, en las que se centran la mayoría de los estudios críticos. La representación del escritor en Respiración artificial se compara con su representación en la narrativa de fin de siglo con un doble objetivo: poner de manifiesto el hecho de que Respiración artificial es una novela de artista propiamente dicha y asimismo mostrar la reformulación del subgénero llevada a cabo por Piglia a través de su amalgama con el policial. Palabras clave: novela hispanoamericana, novela de artista, policial latinoamericano, Ricardo Piglia, Respiración artificial. This paper proposes a reading of Artificial respiration (1980) by Ricardo Piglia as an artist novel, according to Herbert Marcuse’s definition, validated for Latin American artist novels written at the end of the nineteenth century. The most influential critical studies have focused on that period. In this paper, the representation of the writer in Artificial respiration is compared with its corresponding representation at the end of the nineteenth century. This comparison allows us to highlight, on the one hand, the survival of the artist’s novel as an answer to the purpose of the literature after the end of the utopias. And on the other hand, the literary change carried out by Piglia: his reformulation of the character of the writer and also of the artist novel by employing narrative methods coming from the detective subgenre. Keywords: Latin American novel, artist’s novel, Latin American detective fiction, Ricardo Piglia, Artificial respiration.

The following paper explores the recent Chilean narrative which recalls childhood during the dictatorship, the so-called “literatura de los hijos” (literature of sons and daughters), establishing an aesthetic and discoursive link between shared memory and the development imaginaries of those who were children during the dictatorial past and that are writers in the post-dictatorial present. The affective continuity of a conflict, between a present state of memory and a past of childhood learning, still incomplete or with potential for understanding, explains the perspective chosen of sons and daughters of the narrators in some of the fictional works by Nona Fernández (1971), Álvaro Bisama (1975), and Alejandro Zambra (1975). In the three imaginary constructions explored in the following pages, the aim of these authors is described, in terms of their intention to articulate, within fiction, childhood imaginaries that establish and explain their current social, intellectual, and affective positions.