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This paper analyzes some poems by Leonardo Tello Imaina: poet, communicator, journalist, and director of Radio Ucamara (Nauta, Loreto Region, Peru). Tello identifies himself as a member of the Kukama people, and my analysis here departs from a fundamental premise: the importance of the river for the Kukama people. It then bifurcates into two connected axes: on the one hand, the relationships between humans and non-humans and, on the other--borrowing Mario Blaser's definition--the "ontological conflicts". I emphasize how Tello's poetry contributes to the visibilization of Kukama political ontology and, at the same time, to the inclusion of Amazonian indigenous literature in the national literary scenario. [ABSTRACT FROM AUTHOR]

This research paper proposes an approach to the poetry book Katatay/Temblar, with special attention to "Cubapaq. A Cuba", the poem dedicated by José María Arguedas to the Cuban island. The study emphasizes that the Arguedian verses represent and promote, by the isotopy of resilience, the ontological continuity of the Indigenous people and their identity claim. [ABSTRACT FROM AUTHOR]

The category of "insufficiency" is widely used in criticism that addresses César Vallejo's poetry; however, frameworks that deploy this category tend to omit that poetry's ethical dimensions. The genealogical method of this paper denaturalizes the concept of insufficiency to show a previously unacknowledged ethical critique of sacrificial history, which emerges through a negative order of perception. Drawing on Maria Zambrano's sociopolitical thought to describe active modes of insufficiency, I argue that the ethos of Vallejo's poetry sought to rehumanize political life by elevating the subject's indivisible constitution as protagonist and author of history, while proposing a responsible anagnorisis in response to the nightmare of tragedy. [ABSTRACT FROM AUTHOR]

This paper explores in Eielson's return to written poetry his enthusiastic resettlement in the founding text of his poetical production, namely Reinos, published in 1945. Reinos can be seen as a ritual burial or huaca that the 'archaeologist' poet chooses to dig into in his later collections, namely Celebración (2000) and Sin título (2001). As readers witness the unearthing of the Lima period images, the old funerary isotopy becomes the background against which a thriving vitality, a radiance and a critical impulse that had not been seen before burst gleefully thus modifying the reception of Eielson's poetry. Eielson's response to the questions posed by Peruvian filmmakers Patricia Pereyra and Gaby Yepes is finally added. [ABSTRACT FROM AUTHOR]

This paper analyzes the issue of visuality in Lorenzo Garcia Vega's poetry, focusing on its relationships to visual arts. As I show, the visuality of Garcia Vega's poetry often presents itself under the form of painting hypothesis, i.e., the narration of conjectural paintings. Such narrated paintings--frequently unfinished--aim to bring to the mind of the reader the immediacy and concreteness of what the poet-painter observes, but also that of what he imagines. In this sense, I argue that Garcia Vega's poetry shares with certain avant-garde tendencies their non-representational character, interpreting his focus on the most concrete aspects of our visual field--such as geometrical forms and colors--as a strategy to evade fiction. [ABSTRACT FROM AUTHOR]