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This article reads anew the politics of Jorge Luis Borges' texts. In dialogue with Michel Foucault's seminars and Bruno Latour, it traces the figures of war in some of Borges' canonical texts from the 1930s and 1940s: "Tlön, Uqbar, Orbis Tertius," "Poema conjectural," "El milagro secreto," "El arte narrativo y la magia," "El sur" and "El jardín de senderos que se bifurcan." Thus, I show the relevance of the conflict between irreconcilable worlds to Borges' notion of fiction. The latter could be described as a twofold operation, which, on the one hand, dissolves all frames of intelligibility of the conflict (be it national, worldly, or universal), and, on the other hand, turns this very dissolution into a potential for the emergence of new worlds. [ABSTRACT FROM AUTHOR]

Here we expose the relationship between the thoughts of the philosopher Jacques Derrida about literature and transcendental phenomenology. We introduce this relationship from the reception of two authors who address Derrida on the literary field in the United States. They seem to assume that Derrida takes distance from philosophy or, at least, from Husserl's philosophy. Reading an unpublished seminar, we begin by posing the problem of literature's historicity. Because this problem is inseparable from a certain power of fiction associated with both, the law and the modern idea of democracy, we show secondly, the idea of literature as a "fictional institution." This idea is developed in relation to a "nonthetic experience of the thesis" linked to the Husserlian transcendental reduction. Finally, we select two moments from the book The Give of Death in which this experience is equivalent to the public, ethicalpolitical experience of a certain secret. [ABSTRACT FROM AUTHOR]

Lacan's relationship with Huxley is almost unknown. However, there is an indication that allows us to glimpse the reception in the psychoanalyst of some type of influence received from the writer. Using the verisimilitude of the exchange, from a single mention by Lacan to Huxley, we will try to clear one of the most hermetic lines of the 1949 version of "The Mirror Stadium", which refers to the effects of the fetalization. As this condition is a common theme between both authors, the dramatic aspect of the mirror stage --projected in subjective history-- could come to be captured with a fictionalized version of the delay in human development. [ABSTRACT FROM AUTHOR]

Este trabajo interpreta el libro Ratada, de la poeta Rosabetty Muñoz, como metáforas (alegoría) de la sociedad chilena durante la dictadura militar. Leída de este modo, Ratada es una escritura terapéutica, pues provoca en la conciencia del lector un efecto de dolor equivalente al de la limpieza de las heridas, necesaria para que el cuerpo saneThis paper interprets the book Ratada, written by the poet Rosabetty Muñoz, as metaphors (allegory) for the chilean society during the military dictatorship. In this reading, Ratada becomes therapeutic writing, as it provokes in the reader's mind an effect of pain equivalent to the cleansing of wounds, necessary for the healing of the body

The historical origin of testimonial literature is related to the Latin American political cultural process in the 60-70s, but testimonial literature as a genre exposes significant particularities when its development in postdictatorial Argentina is considered. Therefore, this paper focuses on Argentine testimonial literature produced during the 1980 decade. Firstly, we present a panoramic approach to the history of Argentine testimonial literature, beginning with its initial boom in the 70s, and taking up to the contemporary period. Secondly, we analyze three works produced by Argentine writers during the 1980 decade: Recuerdo de la muerte by Miguel Bonasso, La Escuelita by Alicia Partnoy and Pasos bajo el agua by Alicia Kozameh. The study shows the different interrelations between testimony and fiction, which are displayed in the texts as peculiar ways of representing the concentrationary experience. [ABSTRACT FROM AUTHOR]

Cervantes nos induce a replantearnos y a considerar lo que es realidad y lo que es ficción o fantasía. En El Quijote se produce un extraordinario juego de ficción novelesca. Sin embargo, la frontera entre realidad y fantasía no tiene límites precisos, y no los tiene, porque Cervantes así lo quiso. La ficción literaria en El Quijote (ficción de realidad, realidad de ficción, ficción de ficción) es un juego que realiza Cervantes para presentarnos a un loco aparente que no quiere distinguir los límites entre su realidad (realidad de ficción, ficción de realidad) y la de la ficción de sus lecturas (ficción de ficción). El quijotismo clínico no es nada más que un juego cervantino (quijotismo lúdico) para conducirnos a un quijotismo simbólico: agonía en pos de un ideal y de valores trascendentes y en busca de un proyecto de humanidad heroica, un camino hacia la libertad y hacia la ilusión de una conciencia individual que se sostiene en el misterio y en el prodigio de una percepción subjetiva de un mundo imaginario, en otras palabras, de lo eterno e inmutableCervantes induces us to re-examine the problem of reality vs. fiction/fantasy. Indeed the Quijote leads into an extraordinary play of novelistic fiction. However, the boundary lines between fantasy and reality have no precise definition, and this is because Cervantes himself wished it so The literary fictions in the Quijote (fiction out of reality-reality out of fiction- fiction out of fiction) is a game played by the author to introduce an apparent lunatic who will not dicriminate between the limits of his reality (reality out of fiction) and the fictional in this own reading (fiction out of fiction). This clinical quixotism is but a cervantine play (ludic quixotism) to lead us to a symbolic quixotism: agony after an ideal and trascendental values, and to a search for a project of heroic humanity, a road to liberty and to an illusion of an individual conscience sustained by mystery and by the miracle of a subjective perception of an imaginary world: in other words, of the eternal and immutable

En este trabajo se aborda la problemática de la ficción y de la realidad intermediada por la operación paródica en El Ingenioso Hidalgo don Quijote de La Mancha de Miguel de Cervantes Saavedra. Se asedia el texto para ver cómo la parodia y la ironía son estrategias fundamentales para leer la concepción novelesca y cómo se permite al lector avieso adentrarse en la Poética cervantina, partiendo de los paratextos: prólogo, sonetos iniciales antes de adentrarnos en el cuerpo de la novela para luego calar en éste. En todo este cometido colaboran los narradores ficticios para "leer" la novela moderna que postula Cervantes en el libro e incluso se advierte que los distintos narradores dejan al descubierto la parodia y al mismo tiempo permiten un juego crítico-reflexivo en la materia textualThis paper examines the problematic of fiction and reality as mediated by parody in Cervantes’ Don Quijote de la Mancha. The approach to the text is meant to see how parody and irony become fundamental strategies to understand the novelistic concept, and how the perceptive reader is permitted to enter into the Cervantine poetic, starting from the paratexts: the Prologue; the opening sonnets, before getting into the core of the work discriminatingly. In all this procedure fictitious narrators collaborate in the reading of the modernistic novel which Cervantes postulated. It may also be noticed how the different narrators disclose the parodic while allowing a critical-reflexive play in the text