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No es un río, by Argentinian writer Selva Almada, demonstrates a significant shift into her narrative that deals with new languages, spaces, and genres. A revision of her previous texts allows to identify the most important elements of her aesthetic project, characterized by provincial sceneries. In that regard, No es un río can be conceived as part of the developing of a "province narrative" that moves away from standard Spanish spoken in Buenos Aires and expresses infrequent topics in "Argentinian literature". Therefore, this essay will aim to analyze the construction of language, the representation of spaces and subjects, and the uses of literary genres in the novel. [ABSTRACT FROM AUTHOR]

During his exile at Venezuela, Ángel Rama runs Biblioteca Ayacucho, a project aiming to compile, reassess and divulge classical texts of Latin American literature and thinking. The article explores how Rama visualizes and establishes the publishing house through the investigation of different archival materials, such as letters, essays, interviews and unpublished presentations. The development of the collection is gradual, difficult and conflictive. This research demonstrates that the Uruguayan critic designed and built Biblioteca Ayacucho as an instrument of cultural integration, a network of Latin American exiled intellectuals and a collective review of the regional history and identity. [ABSTRACT FROM AUTHOR]

The article discusses the challenges and the history of the first years of the Ayacucho Library, the publishing house of Venezuelan state that compiles the classics of literature of Latin American. It notes that it is possible to access the testimony of one of his main architects, the Venezuelan poet. It adds that the contribution of Pacheco and Guevara is essential to investigate the Library Ayacucho.

Over time, the critical discourse of Ángel Rama experiences a number of complex inflections, a product of the combination of the permanent dialogue with new theoretical vocabulary and participation in debates regarding the study of Latin American literature. This shift can be reconstructed through the comparison of the different meanings and uses that Rama gives to three of the most important concepts in his readings: the reading public, the social class and culture. By studying the use of the prepositional phrase “de/para los pobres", which appears in three of the author's texts, it is possible to demonstrate how Rama's thinking has been revised and reformulated. [ABSTRACT FROM AUTHOR]

Pedro Páramo (1955), by Juan Rulfo, and Los Sangurimas (1934), by José De la Cuadra, unusually rephrase topics and formal elements of the Latin-American regionalism. The presence of the complexity about some items that are related with orality, the passage and the creation of a mythic atmosphere with characters and with an own history in Los Sangurimas allows to relate De la Cuadra's pursue with the narrative procedures and the aesthetic interest in Rulfo's novel. In view of the their common challenge of representing a traditional community in the course of modernization, each work tries out a particular resolution which allows to read different inflections to the regionalist representation modes. This connection makes a double critic procedure possible: the updating of Pedro Páramo reading by framing it in a large process of preceding aesthetic searches and the revision of Los Sangurimas in Latin-American literature history. [ABSTRACT FROM AUTHOR]

We present a science popularization proposal called Geological Urban Tour (GUT) designed mainly for adults and intended to promoting reflection on the importance and implications of the use of rocks in a city. The GUT will be promoted under the name Stories of Stones, and includes three phases to be developed in 3 hours. The first phase includes a discussion of basic concepts about rocks and leads to the proposal of hypotheses about which rocks could be found in the city. The second phase consists of the GUT itself, following a route designed so that the participants can: a) test the hypotheses, and b) recognize the distribution and variety of rocks in the city. The third phase consists of the completion of an assessment sheet by means of which participants can evaluate their experience. In addition, the GUT will promote reflection on the methodology applied and the social responsibility of producers and users of rocks. [ABSTRACT FROM AUTHOR]