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Copyright of Alpha: Revista de Artes, Letras y Filosofía is the property of Universidad de Los Lagos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prohistoria is the property of Prohistoria Ediciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, I approach one of the first discursive constructions of the history of the New Spain, the poem Nuevo mundo y conquista, written by Francisco de Terrazas, a creole, in the late sixteenth century. For this, I outline the creation of a creole class, heir to the feeling of nobility of the first conquerors of America, and then I analyze the writting of Nuevo mundo y conquista in the context of these considerations. [ABSTRACT FROM AUTHOR]

Luis de Miranda, member of Pedro de Mendoza's fleet, wrote, probably around 1540, a composition in verse that is now known as Elegy Romance or simply Romance. Ricardo Rojas considered the poem to be the first literary composition of the Rio de la Plata in the early twentieth century. Since then, critics have read the Romance exclusively as a literary text. This paper proposes to read it taking into account its documentary context: the letter that Miranda himself sent to the King in 1545 and the Relación that Francisco Ortiz de Vergara sent to the Council of the Indies, at the end of which the Romance is copied. This reading, without excluding the literary dimension of the text, allows us to consider it integrating a discursive constellation whose purpose is eminently political. [ABSTRACT FROM AUTHOR]

The aim of this paper is to address the neobaroque poetry of Rio de la Plata. In this regard, I have selected the work of Susana Cella and Eduardo Espina. The cultures of the two banks of the great river produce semiotic representations and different deconstructions, where the river is vestige and joyful shine of the history of the South. [ABSTRACT FROM AUTHOR]