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Visual narratives, such as graphic novels and comic books, are powerful forms of literature that use verbal and pictorial modes, in intersemiotic complementarity, making them an effective tool to tackle social issues, namely to explore hidden or sensitive topics in a thought-provoking, entertaining, and inspiring way. This is the case in the last graphic novel published by a young Portuguese writer and illustrator for children and young adults, Joana Estrela, the recipient of numerous prestigious awards. In this study, then, we intend to focus on Raquel, the protagonist in Pardalita, who takes her future into her hands and ventures to navigate the waters of self-discovery, crossing prejudice and challenging gender role stereotypes. Through her theatre group, she enters a third space that promotes inclusivity and empowers individuals regardless of gender. By analysing the multimodality that characterises this book, we come to realise the synergistic and transformative potential that visual narratives hold. [ABSTRACT FROM AUTHOR]

Este trabajo da noticia de la correspondencia encontrada en los materiales del archivo personal de la escritora María Luisa Mendoza. Se esboza, a su vez, el papel que ocupa la escritura privada en torno a la obra tanto de la destinataria como de cada uno de los remitentes entre los que se encuentra Carlos Fuentes, Carlos Monsiváis, José Carlos Becerra, Elena Poniatowska, Hugo Gutiérrez Vega y Sergio Pitol; para señalar algunas coordenadas de lectura de esta cartografía epistolar.

El relato “La llovizna” (1952), de Juan de la Cabada, lleva al extremo las posibilidades del desdoblamiento de la voz narrativa en la enunciación en primera persona; así como la viabilidad de nombrar lo íntimo a partir de la ficción. El narrador, tras breves reticencias, se propone contar un cuento: un domingo en la noche, en medio de la llovizna, les da “aventón” a unos indios que vienen de enterrar a una niñita; desde entonces, la llovizna le recuerda a su propia hija muerta. Dado que el narrador se desdobla en un yo-narrador y un yo-personaje, su relato deviene metarrelato, al tiempo que, contando lo universal –la muerte de otra niña–, logra contar lo íntimo –la muerte de su hija–. En este trabajo se analiza, a partir de nociones narratológicas, las implicaciones del uso de la homodiégesis en la percepción de la ficción misma

Este artículo toma como caso de estudio al escritor cubano José Lezama Lima quien, en su intención de forjar un sistema poético del mundo, enunció conceptos que el discurso científico sólo alcanzaría a desarrollar décadas más tarde a través de las Ciencias de la Complejidad, la Teoría General de Sistemas y la hermenéutica de Paul Ricoeur. La búsqueda bibliográfica y la comparación con teorías científicas correspondientes a la época en que Lezama vivió (o un poco posterior) revelan en el escritor cubano una comprensión de la realidad en muchos casos visionaria con respecto a la ciencia de su tiempo.

El artículo pretende actualizar el Humanismo Crítico que su autor encuentra en el legado de la Escuela de Frankfurt. En una primera parte argumenta que la “abolición del ser humano” es una tendencia que acompaña a nuestras sociedades desde hace tiempo (1) y que esta tendencia se hace más visible a través de una crítica comprometida de la “modernidad neoliberal” (2). En la segunda parte el ensayo explica lo que se entiende aquí por “Humanismo Crítico”, tratando primero de distanciarse de una de las propuestas más actuales por definir este concepto (3), para después indicar que el concepto, tal como es usado aquí, se orienta en las obras de la Escuela de Frankfurt, de las cuales se discuten por razones de espacio solamente las de Max Horkheimer (4) y de Theodor W. Adorno (5). El argumento central del artículo es que desde la perspectiva de la Escuela de Frankfurt el compromiso con el Humanismo Crítico obliga a la práctica de la investigación social crítica.

Este artículo es una breve exposición de la formación discursiva de la biopolítica propuesta por Michel Foucault en la década de los setenta. El propósito es presentar el estatuto teórico original del concepto como una tecnología de doble faz, establecida en los siglos XVII, XVIII y XIX que interviene y establece controles regulado-res sobre la vida biológica en dos formas que no son antitéticas. La primera se centra en el cuerpo como máquina: anatomopolítica del cuerpo humano. La segunda se enfoca en el cuerpo-especie: es la biopolítica de la población. La metodología utilizada es un análisis de tipo documental que agrupó los cursos: Defender la sociedad; Seguridad, territorio y población y Nacimiento de la biopolítica, así como el libro Historia de la sexualidad 1, para conocer de manera sintética y reflexionar la idea y el sentido primigenio del término como un mecanismo de conducción de conductas individuales y colectivas.

Este ensayo explora el papel crucial de la experiencia en la interpretación arqueológica y su relevancia en la investigación científica del pasado. Destaco el análisis detallado de esta noción, a menudo pasada por alto en las discusiones filosóficas sobre el cono-cimiento arqueológico. La tesis principal sostiene que la experiencia, concebida como una acción que progresa a través de etapas de actos constitutivos controlados, desempeña un papel fundamental. El argumento central distingue la experiencia según la lógica de la investigación empírica de Dewey de las perspectivas pragmáticas en arqueología. Subrayo la necesidad de considerar la investigación arqueológica como una actividad dinámica y controlada en constante crecimiento. Expongo argumentos basados en el pensamiento de Dewey, destacando la importancia de regresar al pragmatismo clásico para obtener una comprensión más profunda del papel de la experiencia en la investigación arqueológica y su contribución al entendimiento del pasado.

Reseña del libro coordinado por Andreas Kurz, Más allá de la torre de marfil. Relaciones entre literatura y sociedad en México y Chile, México, Universidad de Guanajuato, 2022.

Naomi Rincón Gallardo (Carolina de Norte, 1979) realizó la Trilogía de la cuevas, un ciclo de video musical y performances compuesta por El viaje del formol (2017), Sangre pesada (2018) y Resiliencia tlacuache (2019). A partir de investigaciones llevadas a cabo entre Zacatecas y Oaxaca, Rincón Gallardo propone una forma de narración ficcional dedicada a mostrar subjetividades no normativas e historias enmarcadas en disputas socio-ambientales. Ante el despojo, la violencia y los neoexractivismos que enmarcan a la minería, esta artista interdisciplinar exhibe una alternativa construida a partir del mito para la pensar y escribir una serie de contrahistorias, al especular sobre una idea de futuro que ha sido negada. Este trabajo contrapone distintos modelos de paisaje, desde las escenas revolucionarias de Francisco Goitia hasta investigaciones artísticas paralelas dedicadas a la minería, con el fin de enfatizar las estrategias de Rincón Gallardo.

Este trabajo se propone analizar el fenómeno del videoensayismo filosófico y pensarlo como un giro audiovisual que tiene la potencialidad de motorizar una transformación del campo. Para hacerlo, ofrece un mapa de producciones audiovisuales que pueden inscribirse en el campo de la filosofía, agrupándolas según tres regiones de origen, a saber, las instituciones académicas, que comienzan a permitir la experimentación con el soporte audiovisual, el circuito artístico, que aloja formas de reflexión híbridas, y el ensayismo audiovisual de circulación masiva en YouTube, que desafía la cerrazón de las academias e inserta los desarrollos de la disciplina en el debate público.

La literatura occidental, de acuerdo con Harold Bloom, tiene un par de pilares: tanto las obras homéricas como la tradición judeocristiana, en específico, la recogida en la Biblia. Esta herencia es indeleble incluso en pleno siglo XXI. Al día de hoy, estamos inmersos en un mundo en el que las redes sociales son parte de nuestra cotidianidad, por esa razón, en este artículo me interesa mostrar tres series de minificciones que se encuentran en Museo de nimiedades (2022) de José Juan Aboytia, así como el tratamiento que este autor les da. Dichas series son las siguientes: lo bíblico, lo literario y las redes sociales. Aunque éstas no son las únicas que se hallan en el volumen, las destaco por los distintos elementos que aportan para el estudio de la minificción: la brevedad, el humor, el des-género que señala Violeta Rojo, la intertextualidad, la crítica social y las posibilidades de lectura que obligan al lector a ser un participante activo

Los análisis sobre crónica periodística se basan en concepciones amplias, atemporales e inasibles que no consideran factores como la historización de los textos, las particularidades de sus autores, así como las coyunturas a las que deben responder sus temáticas en tanto trabajos periodísticos. Por ello proponemos estudiar la crónica como un producto cultural e histórico que se redefine al ser estudiado dentro del contexto en que se origina, valorarlo en tanto producto textual y después ponerlo en diálogo con su autor y su sociabilidad. Para profundizar en ello, tomamos como ejemplo tres crónicas de autoras mexicanas contemporáneas (Magali Tercero, Marcela Turati y Lydiette Carrión) y las sometemos a la metodología propuesta.

Verónica Gerber Bicecci se define como “artista visual que escribe”, por lo que no asombra que en su obra se tematicen las relaciones de texto e imagen. Es posible también reconocer en su trabajo el interés sostenido que tiene en el sonido y la enunciación. Este artículo propone un recorrido en el que se parte del silencio, para pasar a la representación de la voz, hasta llegar a sus performances más recientes. Además de los recursos intermediales, en el presente análisis se reconoce el diálogo que la autora establece con artistas y obras contemporáneas a través de distintas estrategias de reapropiación y de comentario. Todo ello como parte de sus procesos creativos, donde es posible observar su postura estética y aun ideológica.

Reseña del libro "José Vasconcelos: Ideario de acción. Discursos, artículos, cartas, documentos 1920-1924". Selección e introducción de Raúl Trejo Villalobos, Cámara de Diputados, México, 2022.

Reseña del libro Das verletzbare Selbst. Trauma und Ethik, de von Werner Theobald

This paper examines Ralph Ellison's Invisible Man through the lens of invisibility's multifaceted nature. The core question is whether invisibility serves as a tool for the narrator to conceal his past or forge a new identity. The analysis suggests that invisibility acts as a catalyst for both concealment and reinvention, functioning as a postcolonial strategy and an epistemological stance. By employing Homi Bhabha's concept of hybridization, the narrator resists marginalization and constructs a counter-narrative. Ellison disrupts clear-cut distinctions between oppressor and oppressed, highlighting the intricate interplay between the two. The protagonist's diasporic condition creates an impasse, characterized by an epistemological and postcolonial aporia –a fundamental uncertainty that extends beyond the postcolonial context. This impasse, the study argues, is a fundamental human condition. Ultimately, the protagonist's diasporic existence compels him on a quest to discover his authentic self and sense of belonging.

In Giannuzzi's poetry we witness an inadvertent divorce between poetry and poem. This split generates consequences in the distribution of the spaces of his writing through which beings and objects parade. The hypothesis of this work is that the possible and effective articulation between poetry and poem is given by the idea of adventure. Starting from this concept, I propose a rereading of different poems by Giannuzzi with the aim of analyzing the textual consequences that arise as a product of this symbolic reorganization.

This essay addresses the question of faith as an act of language that gives birth to every adventure. It states that the coincidence of language and event that takes place in any adventure constitutes the passion of a voice, its attachment to the incontrovertible intensity of a zone of existence.

The article aims to analyse the ways in which some of the poetic voices of Fernanda Laguna and her heteronym, Dalia Rosetti, enter and leave the lover`s discourse, considering certain Barthesian figures together with areas of literary tradition. Since love is a form of venture, the figures that emerge from it, such as waiting, obsession, identification, suffering, magic and the unspeakable, will be addressed. Within this framework, the condition of the experience of the lover subject will be studied in the plaquettes No quiero manipularte con este cuento (2008) and desearía (2007) signed by Laguna together with the plaquette Hice todo porque me mires (2008) signed by Rosetti. In these poems, the voices in love lose control of themselves and of everyday certainties in order to surrender, instead, to the possibility of deviating and straying both from the known routine and from their own selves.

In Adventures among birds (1913) the Anglo-Argentine writer and naturalist William Henry Hudson narrates his encounters with the birdlife of the English landscape, threatened by hunters and collectors at a time of accelerated modernization and industrialization. First of all, we will analyze how Hudson reformulates here the idea of “adventure”, which he himself experienced in his youth and developed in his previous books: hunting, collecting and exploring in an imperial-like fashion. Secondly, we will observe that the contemplation of wild birds experienced by the writer in this and other essays is close to the medieval sense of the term “adventure” (Agamben) as an “event” of what happens at the center of life (and no longer on its margins, according to the modern conception that Simmel points out). As such, ornithological contemplation as an adventure of thought and perception among birds commits the writer to operations of risk and intensity: translation, gloss, exchange of perspectives, regressions and transformations. Finally, we will investigate the contemporaneity of naturalistic adventure in the Argentine literary scene, particularly around the collection of poems Aventuras de pájaro (2021) by Laura Forchetti and Alejandra Correa.

In addition to the problems related to its generic classification, Latin American testimony has had to face other conflicts such as the presence and use of aesthetic values in said stories, the complex conception of truth that these scriptural expressions assume and the language-trauma relationship manifested in the testimonies of the post-dictatorship. This article proposes a brief and limited genealogical route with the purpose of locating and reordering those foundations addressed by literary criticism that have attempted to design a typology of the genre without reaching a univocal criterion. This, in order to trace the elements that have outlined the testimonial production of the last century related to the stories of memory (post-dictatorial or concentrationary). The work assumes a theoretical-critical perspective and addresses, among others, the following items: process of “institutionalization” and re-institutionalization of testimony taking into account the variations that gender experiences during these periods; central problems associated with testimony and the memory paradigm; and the possibilities of literary creation in the construction of a concentrationary testimonial story (Su paso, by Carlos Bischoff) in the face of the problems associated with the strategies of representation of trauma in this type of narratives.

This text studies the role of the house as a key space to understand the contemporary individual in two Colombian novels of the second decade of the twenty-first century: Casablanca la bella (2013)by Fernando Vallejo and Una casa en Bogotá (2014) by Santiago Gamboa. First, a historical revision of the role of this space in Latin American literature is presented. Later on, through the concept of “Autofiction” and the perspective that Gaston Bachelard and other authors offer regarding the link between houses and inner life, the article characterizes the use that Gamboa and Vallejo give to the house as a resource that organizes the plot and defines the narrator-protagonist through the analogy between it and the spaces he inhabits. Finally, the article analyzes how in these two works of literature the house is reconfigured as a location that promotes nostalgia and functions as an illusory shelter from outside reality. Thus, these two novels provide a new role for the house within the evolution of Latin American literature, since they integrate the inner world of the individual with the social reality of its country through the use of the space of home.

Reseña bibliográfica del libro de Paula Bruno y Sven Schuster (dir.), Mapamundis culturales: América Latina y las exposiciones universales 1867-1939. Rosario: Prohistoria ediciones, 2023, 308 pp.

Este dossier se propone como una interrogación acerca de las formas y sentidos que asume la aventura en las escrituras de los siglos XX y XXI. La idea de aventura ― con una larga tradición en la teoría literaria y en la filosofía, y ahora como parte de una nueva constelación de conceptos ― permite pensar sobre las formas y géneros que narran las experiencias de lo incierto y lo extraordinario en la trama de la vida. Ya sea como acontecimiento o peripecia del relato, la aventura supone, para el sujeto amoroso, el viajero o el aprendiz ― que responde a su “llamada” ― un desplazamiento (en el espacio y del yo respecto de sí); una prueba; la experiencia de una transformación.

This paper aims to discuss the implications of the idea of "adventure" (based on Giorgio Agamben's formulations of the concept in Childhood and History (2004 [1978]), The Adventure (2018 [2015]) and Pinocchio (2023 [2021]) for a theory of life as a "form of forms" (Gailus 2020). We are interested in attending to the ways in which this event that constitutes the adventure is introduced as an initiatory event in biographical writing and, particularly, in reading the meanings of this initiation in two autobiographical texts by Agamben himself: Self-Portrait in the Studio (2018 [2017]) and What I Saw, Heard Learned ... (2023).

The article proposes an analysis of the deficient archival situation of the work of Benito Lynch (1880-1951). Within the framework of current studies on archiving and genetic criticism, the performance of the different actors who participated in the study of the publication, circulation and dissemination of their work is evaluated.The important editorial development of the first decades of the 20th century in Argentina is also analyzed in close relationship with Lynch's work and the existence of a document on his personal archive that has not been worked on by critics.

How many times do we fall in love? Is there only one love and that is that of adolescence because it has the intensity of the first time? Does a love last a lifetime? These are the questions that Sergio Bizzio throws up when he tells the story of a teenage love triangle between Lisa, Bruno and Lalo in a summer in Ramallo. The hypothesis I would follow is that each of the three characters of the nouvelle figures an idea of love and that the triangle provides a theoretical approach to the love affair. Friendship, violence, reciprocity, asymmetry, falling in love, couple are some of the notions common to an ambiguous territory as a way of narrating love.

Editorial note from the Co-Director of the Journal.

Interview with Nara Mansur.

The main purpose of this text is to show how complex and long the disciplination or disciplinary practice of an anthropologist conducting his fieldwork in non-European areas can be. In the first part, the text is very much retrospective. I focus on my long formative period, during which my ideas about becoming a full-time ethnologist were born in a kind of unconscious vacuum. I revisit my first field entry among the Tarahumara (Rarámuri) people of northwestern Mexico and attempt to bring the reader up to speed on my determined efforts to reach out to native communities and my chaotic actions during this first field experience in a non-European setting as a then third-year ethnology student. This will be followed by a reflection on my next two field researches among the Tarahumara in 1996 and 2001, the first of which resulted in an M. A. thesis and the second in a dissertation. In this section, I try to show a certain shift in the approach to fieldwork, which was no longer mere chaos, but led to a more systematic organization of fieldwork findings and their elaboration into a more extensive qualifying thesis and several technical studies. While in the first part I go back into the deep past in order to show the complexities that a budding ethnologist can or must deal with if he wants to penetrate a completely different environment from his own, in the second part I discuss some of the methods of field research that I have not been familiar with in the past, or have used unconsciously or without better understanding of them. These I find useful in current and forthcoming return research among the Tarahumara. They resonate strongly in contemporary anthropology, and are constantly being refined. In this section I will also outline, with respect to methodological horizons, my current planned research project focusing on the human relationship to biodiversity in the context of environmental and climate change, which is increasingly impacting (not only) Tarahumara communities.

Report

This study focuses on the issue of the Spanish Communist exile in state socialist Czechoslovakia. It analyses the everyday resistance of the heterodox Spanish political emigrant José Valledor, which was carried out in the form of consentful contention – a tactic, through which a subordinate actor contests the government’s decisions whilst performing the role of a dutiful citizen. Valledor was able, with his petitions to the state organs while appealing to the regime’s own legitimating value system, to threaten the Czechoslovak authorities with the loss of the regime’s international prestige.

Ethnographic researchers enter their field with already existing preconceptions which inevitably arise from their own personal and professional histories and training. This article focuses on the researcher’s subjectivity, reflexivity, and possible sources of bias. After sharing her own experience with bias during field-research, the author invites the reader to think critically over their own research designs. This paper introduces three practical approaches towards reflexivity in social science: searching for the potential sources of our bias; questioning ourselves throughout the research process; and a collective approach.

“Closing the water” is a ritual connected to the agrarian cycle and belongs to a set of rituals which are performed for the purpose of securing an abundant harvest of maize and other crops. This case study is based on fieldwork conducted by the author in Hueyapan, a Nahua community situated in the Highlands of Morelos on the southern slopes of the Popocatepetl volcano in Central Mexico. It consists of two parts: the first provides a description of the ritual; that is, it presents the ritual itself and the sequence of its parts. The second represents an analysis and explanation of the ritual from an anthropological point of view. Since the ritual of “Closing the water” belongs to a millennial tradition of Mesoamerica related to a ritual landscape, sacred mountains and agrarian cycle, the paper shows how this tradition and this ritual were incorporated into Catholicism in a process of religious syncretism.

Maya crosses have always inspired a sense of wonder in the modern observer, because they have been considered animate persons with whom people establish and maintain intersubjective relationships and whom they cherish and nurture. In this study, drawing on my ethnography of “dressing the cross”, an Easter ceremony, I suggest that what separates Maya traditionalism from globalizing modern Maya Spirituality is a particular form of “hierarchical animism”.

Book review on Carles Brasó, Los médicos errantes. De las Brigadas Internacionales y la revolución china a la guerra fría [The Wandering Doctors. From the International Brigades and the Chinese Revolution to the Cold War], Barcelona: Crítica, 2022, 415 pp. ISBN 978-84-9199-375-9

Book review on Jonathan Rosa, Looking Like a Language, Sounding Like a Race. Raciolinguistic Ideologies and the Learning of Latinidad, New York: Oxford University Press, 2019, 286 pp. ISBN 978-01-9063-473-5

Introducción de dossier número 34

Reseña bibliográfica del libro de Beatriz Sánchez Hita y María Román López (Eds.). La prensa en Andalucía en el siglo XIX. Cultura, política y negocio del Romanticismo al Regionalismo. Madrid: Iberoamericana Vervuert, 2022, 235 pp.

Book review on Carolina Alonso Bejarano, Lucia López Juárez, Mirian A. Mijangos García, Daniel M. Goldstein, Decolonizing Ethnography: Undocumented Immigrants and New Directions in Social Science, Durham: Duke University Press, 2019, 208 pp. Paper ISBN: 978-1-4780-0395-3, Cloth ISBN: 978-1-4780-0362-5

The present study analyzes the representation of the anomaly in Oscar de profundis by Catherine Mavrikakis. This inexplicable event is paradoxically ever-present and completely absent in end of world literature. In particular, we will examine the role of ruins in the portrayal of the post-catastrophe scenario. This paper argues that the anomaly invites the reader to investigate further. However, they will only find ruins which are a constant reminder of what was lost and not an explanation of how these memories were erased from the collective conscience. The concept of depicting the anomaly through ruins will allow us to better understand how end of world literature may propose a critique of contemporary society.

In this paper we show that the conversion of Durtal appears in its epistemological dimension. For the hero, this dimension can be observed in his almost haunting attempt to understand his spiritual journey in the face of the unfathomable will of God. The analysis of his monologues explicitly demonstrates that, despite his conversion, Durtal sank into spiritual stagnation. Consequently, even spiritual accompaniment becomes for him only a palliative. For the Huysmansian hero, conversion has another dimension – this is a spiritual emancipation which is realized only in the contemplation of divine perfection to the detriment of all community rules imposed by the Church or by contemporary society.

The current article aims to present the woman’s destiny, which was expressed by the poets of French symbolism in the symbols that create the aquatic universe of 19th century, consisting of both female mythological characters and water itself as an element, which has been endowed with characteristics appropriate for mothers. The historical-literary and comparative method permit to present the figure of the mother as a woman’s destiny glorified in the epoch. Its main elements that emerge from the poems are fertility, providing nutrition, peace and safety. In addition, it can be concluded that the poetic image corresponds to the social vision, responding to the needs of the contemporary society.

The labyrinth motif appears regularly in Christian Grenier's novels. In diegesis, it is always linked to myth and the fates of Daedalus, Theseus and Ariadne. It is also a diegetic motif that structures the setting, organizes the characters' quest and generates suspense. But this motif is above all a metadiscursive metaphor that theorizes the author's writing. In particular, he evokes the meandering construction of police intrigues. It also represents the referential games developed by Christian Grenier: By mixing the words of other writers with his own, offers his readers the opportunity to enter a kind of intertextual labyrinth.

This article focuses on the modern image of the labyrinth-rhizome in Maylis de Kerangal’s novels. Basing on the analyses of Gilles Deleuze and Felix Guattari (introduction to Mille plateaux), we explain the characteristics of this strange labyrinth, always in recomposition, and show how it fascinates the novelist. In a second step, we take the example of the labyrinth model which appears in Réparer les vivants : we formulate the hypothesis that it could represent the operation of the Cristal computer application used by health professionals for the organ transplantation procedure. Thus, the labyrinth ceases to be a place of perdition, it can save lifes.

In ideal Topography for a characterized aggression, Rachid Boudjedra represents an illiterate emigrant lost in the maze of the Parisian subway. The reader follows the errance of this emigrant in search of his drop point writing on a bit of paper. At the end of long odyssée, it is found mortally attacked by a group of racists in exit of the subway. Our analysis based on works of Gilbert Durand, Umberto Eco, Deleuze and Guattari, Ethnocritic and urban semiotics, wants to be a description of this allegory of the modern world represented by the Parisian subway. An allegory that the writing that us of labyrinthian practised by the author also represents at the scriptural level.

This Research paper examines how Tolkien's novels, "The Hobbit" and "The Lord of the Rings," incorporate labyrinthine elements into their fictional worlds. In these literary works, events primarily unfold in open landscapes, but there are elements that evoke complex and dangerous mazes, where certain heroes assume roles similar to that of Theseus. Thus, this analysis explores the representations of the Labyrinth myth through Tolkien's writing, highlighting both the similarities and differences between these structures in the two contexts, while emphasizing the symbolism of the subterranean world, akin to a cave, as a site of transformation where heroes emerge metamorphosed, invoking both death and rebirth. The paper suggests the use of mythocriticism to analyze the reiterations and variations of Labyrinth mythemes in these novels.

Hercules Oetaeus (Hercules on Oeta) is one of the tragedies written by Seneca, which main subject is the death and the apotheosis of the great hero Hercules. The prologue of the senecan tragedy is composed by 103 stanzas through which Hercules, speakingin first person, tries to persuade Zeus, his father and the father of all gods, to provide him the power of immortality. Our article aims to present the pleadings of the hero on the prologue of the tragedy Hercules Oetaeus, along with the translation and comments about the stanzas in which the hero lists the glorious achievements conducted by himself. We understand that the role of Hercules serves as na example through which the principles of the stoic-senecan teachings can be demonstrated and, especially, disseminated. As a main text, we will use the edition signed by Fitch (2004); and, to assist us with the simbolism of the myths, we will use the researches done by Brandão (2010; 2012); and the philosophical books written by Seneca will be used as a guideline to our observations.

This article aims to discuss the intersemiotic translation of the Colombian novel Rosario Tijeras, by Jorge Franco, into the homonymous feature film directed by Emilio Maillé. An examination of the novel's structure and some expressive elements of the film is made. The study uses the trichotomy of firstness, secondness and thirdness from Peircean Semiotics to problematize the redefinition of five signs: the narration, the character Rosario, sexual violence, religiosity, and the triadic relationship among Antonio, Rosario, and Emilio. The results demonstrate that the expressive elements of cinema, such as the plane, cut, camera movement, and music resignify or reaffirm interpretations about the compositional units of the novel in the creation of a new work of art.

This paper analyzes the game Elsinore, developed by the group Golden Glitch in 2019, as an example of a postcolonial adaptation of Shakespeare's literary classic Hamlet. Through the work of Hutcheon (2013) and Stam (2008), the paper argues that adapting goes beyond a supposed fidelity to the adapted text and can also be a political expression that highlights the perspectives of marginalized characters. In the game, the protagonist, Ophelia, is a young mixed-race noblewoman trapped in a time loop that the player must unravel. The analysis of Elsinore contributes to discussing issues of racialization and social belonging from the perspective of coloniality studies. In addition, it also helps to integrate these debates in the gaming context, thus contributing to adaptation studies. Finally, it concludes that Elsinore is a work that has aesthetic and political value. However, it still lacks deeper discussions about its value as a decolonial production.