Search

Este trabajo aborda la transhistoriedad del Barroco latinoamericano y chileno, vinculándolo con los distintos estadios de globalización experimentados por la cultura latinoamericana, desde el siglo XVI hasta hoy. Se centra en el caso chileno, donde identifica la matriz poética e histórica del Barroco de Frontera, recorriendo desde La Araucana hasta poéticas neobarrocas actuales. This work deals with the transhistority of the latin american and chilean baroque, linking it with different stages of globalization experienced by the latin american culture since the XVI century until now. The articule focuses in the chilean case, identifying the poetic and historical structure of the Border Baroque, going over from La Araucana up to contemporary neobaroque poetics.

El Estado Nacional se expandio durante el siglo XIX y principios del XX, no solo recurriendo a los fundamentos juridicos e institucionales, tambien lo hizo consagrandose a proponer una serie de modelos visuales que regularan la vida social y publica. En este plano, las imagenes fotograficas cumplieron un rol mediador al unir una vision barroca del poder con una concepcion positivista del orden. El resultado fue la construccion visual de la nacion. The Chilean State expanded during the XIX century and beginnings of the XX not only appealing to legal and institutional basis, but also by proposing a series of visual models that would regulate the social and public life. In this context, the photographic images played a intermediary role by uniting a baroque vision of power with a positivist conception of order. The result of that union was the visual construction of the nation.

El presente trabajo estudia la poética del éxtasis desarrollada por el poeta argentino Néstor Perlongher. A lo largo de los últimos años ha cobrado gran interés la pregunta crítica sobre aquellas experiencias poéticas que nos plantean otro modo de leer, que nos acercan a terrenos invisibles para la crítica tradicional, pero que conforman un nuevo interés poético al momento de leer la tradición. El caso de Néstor Perlongher es entonces más que significativo, pues a lo largo de su obra poética es posible observar cómo la escritura adopta diversos horizontes en procura de hacer de la experiencia su principal tema. Es por esto que dentro de dicha obra resulta significativo detenerse a estudiar los aspectos conceptuales, especulativos y ensayísticos que giran alrededor de su último libro: Aguas Aéreas (1991), ya que en él se puede percibir un desplazamiento de la escritura que va desde el orden retórico hacia el orden de la experiencia, desde lo íntimo hacia lo intenso. This paper studies the poetic rapture developed by the Argentine poet Néstor Perlongher. Over the past few years has gained great interest the review questions about those poetic experiences that we face another way of reading, which bring us to review invisible to traditional lands, but make a new poetic interest when reading tradition. The case of Nestor Perlongher is then more significant because throughout his poetry is possible to observe how writing takes different backgrounds in an attempt to make the experience your main theme. That is why in this work is significant stopping to study the conceptual aspects speculative and essays revolving around his latest book: Aguas Aéreas (1991) because it can be perceived a shift of writing that goes from the rhetorical order to the order of experience, from the intimate to the intensity.

Este articulo aborda la obra del poeta chileno Paulo de Jolly (1952), figura enigmatica y poco conocida de la poesia chilena de los ochenta, quien durante esos anos comienza a desarrollar un proyecto poetico que consistia en encarnar la voz del rey Louis XIV. A partir de un analisis comparado, se revisa de que modo mientras sus pares escribian –o intentaban escribir– sobre torturas y desapariciones, Paulo de Jolly le cantaba a los amplios jardines del Palacio de Versalles y enaltecia ideas relacionadas con la voluntad de vivir, la luminosidad de los espacios y lo apacible de la vida de corte. A partir de estos y otros asuntos (como el ofrecimiento de este poemario como modelo de gobierno para Pinochet; la emergencia de una figura de un rey soberano y guerrero, entre otros) se propone una lectura del poemario a partir de los estudios sobre el Barroco. This article addresses the work of Chilean poet Paulo de Jolly (1952). An enigmatic, little known figure in the Chilean poetry scene, De Jolly begun developing a poetic project in the ‘80s consisting in embodying the voice of King Louis XIV. Using comparative analysis, this article examines how, while his peers wrote -or tried to write- about torture and disappearances, Paulo de Jolly celebrated the ample gardens of the Palace of Versailles and glorified ideas regarding the will to live, the luminosity in spaces, and the mildness of life in the court. Building on these and other subjects (like the offer of this collection of poems as a model of governance for Pinochet; the emergence of the figure of an absolute and belligerent king, among others), the article proposes an interpretation of the book based on studies about the Baroque period.

En 1987, Christine Buci-Glucksamnn publico “El ojo barroco de la camara”, un ensayo que marcaria fuertemente las lecturas del cine de Raul Ruiz. Este articulo pretende analizar la nocion de barroco que subyace a este texto y situarlo de modo critico en relacion con la obra del director chileno. La hipotesis central es que la nocion de barroco es una categoria asociada a la historia, que desarticula la linealidad y espacializa el tiempo. En el caso de Ruiz, el momento historico que marca su produccion en terminos conceptuales y estilisticos es el Golpe de Estado y su posterior salida al exilio, lo que se refleja tanto en sus peliculas, como en su poetica. In 1987, Christine Buci-Glucksmann published “The Baroque Eye of the Camera”, an essay that strongly marked the readings of the cinema of Raul Ruiz. The present article aims to analyze the idea of Baroque that underlies this text by Buci-Glucksmann, and at the same time, locate this concept critically in relation to Ruiz’s work. The central hypothesis is that the Baroque is a category intimately related to history, that produces a break in history understood as a timeline, and that transforms time into space. In Ruiz’s case the historical moment that marks his production in a conceptual and stylistic way, is the military coup and the subsequent experience in exile. This is reflected both, in his films and his poetic.

Este ensayo analiza las nociones esteticas principales que definen la llamada poetica neobarroca. Al respecto, presenta elementos para justificar la utilizacion de los vocablos neo-no-barroco y barrococo en vez de “neobarroco”, por considerar a este termino erroneo, pues proyecta la idea –por el uso del prefijo– que es descendiente directo del barroco espanol, algo que es una verdad incompleta. La relacion del neo-no-barroco/barrococo con la idea fundacional del Romanticismo, de que la poesia debe pensar sobre el pensamiento, es obvia y sin embargo no ha sido debidamente analizada. Por lo tanto, al haber una reconfiguracion etimologica de la estetica asociada con la dificultad y la superposicion de escollos retoricos que le exigen al acto de la lectura una mayor concentracion, la poetica neo-no-barroca o barrococo podra alcanzar una mas exacta definicion y permitira incluir voces poeticas hasta ahora no consideradas neobarrocas. This essay reflects upon the principal aesthetic notions that define the so-called Neobaroque poetic. In this regard, new evidence is presented in order to justify the use of two words (synonymous), neo-no-barroco and barrococo instead of “Neo-baroque”, considering this term a misnomer since it projects the idea –by the use of the prefix– that it is a direct descendent of the Spanish Baroque, which is an incomplete truth. The relationship of the neo-no-barroco / barrococo with the foundational idea of Romanticism; that poetry should think about thinking is obvious and yet, it has not been adequately analyzed. Therefore, having an etymological reconfiguration of the aesthetic associated with difficulty and with the overlapping rhetorical pitfalls that demand the act of reading at a higher concentration level, the neo-no-barroco or barrococo poetic will be able to reach a more precise definition and allow the inclusion of poetic voices hitherto unconsidered as Neobaroque.

The following article explores one of the most important texts of New Spain's Baroque titled"Respuesta a Sor Filotea", written by Sor Juan Ines de la Cruz. The main objective of the article is to analyze the ways in which female and Creole subjectivity are constructed in New Spain. At the same time, the article explores the discursive and rhetoric transactions involved in the construction of that subjectivity. The article also examines the relationships between power, knowledge and desire within the de colonial lettered city, and the discursive devices of control and resistance to colonial and religious power. The analysis of the text shows the existence of an heterogeneous and fragmentary subjectivity in constant negotiation and tension with the social discourses of that time .