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El presente trabajo propone una diferenciación de los términos «realismo mágico» y «real maravilloso» para, a partir de esta, realizar un comentario crítico de la pertinencia de ambos términos como representativos de la realidad latinoamericana. Se concluye que la posibilidad de la maravilla no es más que una interpretación estética de la realidad latinoamericana percibida por ciertos autores y que considerarla parte fundamental de dicha realidad responde a un distanciamiento enajenante.

The article consists of two parts: theory and artistic practice. The first part examines the history of the concept of Latin American Neo-Baroque. It begins in European art history, first, when J. Burkhard characterized the Baroque as a certain period in the development of art; then, when G. Wölfflin presented the Baroque as a kind of “great style” and singled out its constitutive features; finally, when E. d’Ors formulated the theory of “eternal” styles, “classical” and “non-classical” (baroque) cyclically replacing each other. D’Ors’ concept was accepted and developed by Cuban writers J. Lezama Lima, A. Carpentier and S. Sarduy. Two factors led to the formation of the theory of Latin American Neo-Baroque. The first one is the richest layer of colonial art that developed in the Baroque style; the second one is the peculiarity of Latin American imago mundi, which from the very beginning was the opposite to rationality, system, order. The peculiarity of this imago mundi is revealed in the section “Artistic Practice. Motives”. The citations show that in Latin American literature are embodied such constants of Latin American imago mundi as chaos, predominance of curved lines, violation of European norms and mystery. The final part of the article presents an analysis of the four famous Latin American Neo-Baroque novels that reveal the poetics of this literary current on the level of imagery and motives and, most expressively, in style.

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A partir de los conceptos sobre hipertextualidad como una de las formas de la transtextualidad, planteados por Gérard Genette, se analiza la novela Concierto barroco de Alejo Carpentier, desde los textos de partida, o hipertextos, que los originaron hasta los textos de llegada o hipotextos; e incluso las melodías que también la inspiraron, mediante otra modalidad de la hipertextualidad denominada transmodalización. Lo novedoso en este artículo es la profundización en la hipertextualidad, como forma específica de la intertextualidad.

Mitral regurgitation is the second-most frequent valvular heart disease in Europe after degenerative aortic stenosis. It is associated with significant morbidity and mortality, and its prevalence is expected to increase with population aging. Echocardiography is the first diagnostic approach to assess its severity, constituting a challenging process in which a multimodality evaluation, integrating quantitative, semiquantitative and qualitative methods, as well as a detailed evaluation of the morphology and function of both left ventricle and atria is the key. In this review, we would like to provide a practical diagnosis approach on the mitral valve regurgitation mechanism, severity quantification, and planning of future therapeutic options. [ABSTRACT FROM AUTHOR]

Este artículo explora el modo en que Alejo Carpentier (1994), en su novela El arpa y la sombra, cuenta la historia de Colón desde la ironía y la parodia, ayudado por la investigación histórica del siglo xx y por los intertextos a los que acude con regularidad. Se resalta la hermenéutica de Colón que transforma los textos antiguos al hacerlos contemporáneos a su entorno. Este aparece como como un hombre medieval y renacentista, enraizado en el catolicismo e impulsado por la osadía y la creencia de la tierra que está hecha por Dios para ser dominada por el hombre.

Por su naturaleza, la novela histórica constituye una herramienta interdisciplinar, puesto que en ella converge un conjunto de saberes que tocan de cerca distintas áreas del conocimiento y como tal, juega un papel importantísimo en los Estudios Generales. Esta propuesta se circunscribe específicamente en el ámbito de los estudios Generales tomando en cuenta que desde ellos se promueve “la inter y la transdisciplinariedad”. El objetivo que se persigue a través de este estudio es promover la novela histórica como herramienta interdisciplinar para la articulación de diferentes áreas del conocimiento. El carácter expositivo y argumentativo de este trabajo parte de la investigación, lectura, análisis y consulta de diferentes fuentes bibliográficas que corroboran el valor educativo de la literatura como escenario del que forma parte la novela histórica, así como de los beneficios específicos que ofrece trabajar con este género, por lo que este ensayo se apoya en la ejemplificación y explicitación de los saberes implícitos en la novela histórica a partir de una en específico: El reino de este mundo de Alejo Carpentier. Para valorar el impacto de haber trabajado esta novela en el aula, se tomó en cuenta la implementación de actividades en las que se articulan todos los saberes implícitos en ella y un conjunto de instrumentos para la sistematización del progreso de los estudiantes en relación con las aspiraciones de un enfoque interdisciplinar. Dentro de los instrumentos de evaluación, se privilegiaron las rúbricas, escalas estimativas y listas de cotejo. En síntesis, este artículo permitirá acercarnos a la novela histórica y a la literatura desde una perspectiva diferente: recursos a través de los que se puede articular conocimientos desde las distintas áreas convergentes en ellas.

The problem of Afro-Cuban representation must be one of the issues that generated the most debate among the members of the Cuban Grupo minorista at the end of the twenties. One of the places where this issue is most lucidly addressed is in a libretto that Carpentier wrote for a ballet by Amadeo Roldán during the year 1927. Carpentier and Roldán think against the hyperinflationary tendency of Hollywood cinema and the members of the Creole elite who present African identity in a stereotyped manner. What particularly makes this ballet stand out is that it captures in its plot a paradox: in it is represented the impossibility of representation, the impossibility of the genuine symbolisation of the Afro-Cuban. [ABSTRACT FROM AUTHOR]

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In thesis IX of the Theses on the Philosophy of History, Walter Benjamin indicates, from the painting "Angelus Novus" by Paul Klee, that the Angel of History has his face turned back, contemplating a catastrophe. He wants to stay, but the great wind of progress is pushing him forward into the future, leaving rubble on its pass. The new historical novel The Kingdom of this World by Alejo Carpentier narrates the long and tortuous process of the Haitian Revolution and beyond. At the end of the novel, there is a great green wind that sweeps across the Northern Plain and the ruins of the old sugar mill. In Carpentier's novel, there is a "wet vulture", which I will call the Vulture of History, which is thrown over Bois Caïman, the sacred space where the revolution originated. My purpose in this essay is to explore the Vulture of History as a baroque allegory of the Haitian Revolution. Unlike the angel from Benjamin's thesis, who wants to go back to the past to reconstruct history, Carpentier's vulture is an angel of death who feeds on the detritus of history. [ABSTRACT FROM AUTHOR]

Mitral regurgitation is the second-most frequent valvular heart disease in Europe after degenerative aortic stenosis. It is associated with significant morbidity and mortality, and its prevalence is expected to increase with population aging. Echocardiography is the first diagnostic approach to assess its severity, constituting a challenging process in which a multimodality evaluation, integrating quantitative, semiquantitative and qualitative methods, as well as a detailed evaluation of the morphology and function of both left ventricle and atria is the key. In this review, we would like to provide a practical diagnosis approach on the mitral valve regurgitation mechanism, severity quantification, and planning of future therapeutic options.

En este trabajo pretendemos poner de relieve que la fugacidad de la revista Imán, que apareció en París en 1931, editada por la argentina Elvira de Alvear (1907-1959) no mermó su capacidad en cuanto a los objetivos literarios que se había propuesto. Imánacertó cuando difundió fragmentos de obras de quienes formarían parte de la renovación de la prosa latinoamericana del siglo XX: Alejo Carpentier, Miguel Ángel Asturias y Arturo Uslar Pietri.

The following reflection aims to bring into the spotlight one of Alejo Carpentier's lesser‐known musical essays: “Del folklorismo musical”. Published along with other writings in the 1966 volume Tientos y diferencias, Carpentier's essay is a brief piece of just fifteen pages which nevertheless manages to lay out with real clarity the central ideas around which the author's theoretical proposal revolves. Due to its conciseness and the depth of its insight, it succeeds in synthesizing the key ideas of other less accessible texts, such as La música en Cuba, and furthermore reveals the limitations and aporias that Carpentier left unresolved in his attempt to redirect the anthropology of Fernando Ortiz and the musical theories of Sánchez de Fuentes towards a less essentialist musicology. Throughout this piece I will trace the course of this process to show that the path taken by Carpentier was hopelessly aporetic, perhaps because he unconsciously assumed the register of his forerunners or, perhaps, because he had not, deep down, rid himself of the assumptions about what it means to be Cuban that first found expression within the Grupo Minorista at the end of the 1920s in Cuba. [ABSTRACT FROM AUTHOR]

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Objectives: Ebstein anomaly can be managed by single ventricular, bi-ventricular and one and a half ventricular repairs. We present midterm results of Comprehensive Tricuspid Valve repair (CTVR) with bi-directional cavo-pulmonary shunt (BCPS). Methods: In this prospective observational study (Jan2012–July2018), 69 patients underwent surgery for Ebstein anomaly. In Group I (n = 48; 69.6%), all patients got CTVR and a BCPS (one and a half ventricle repair). Group II (n = 15; 21.8%) consisted of a similar repair without BCPS (bi-ventricle repair). All patients were echocardiographed at six monthly intervals. Results: Median age of the cohort was 17 years (range 1–68). 12 (17.4%) patients were Carpentier type B, 51 (73.9%) were type C and 6 (8.7%) were type D. There were two early mortalities (2.89%). At a mean follow up of 3.2 ± 1.2 years, there were no late deaths and one delayed repair-failure in each group. Group I had significantly lower mean TR grade (1.2 ± 0.4vs1.6 ± 0.5, p = 0.03) as compared to Group II without a significant difference in the mean gradients (1.5 ± 0.5vs1.6 ± 0.6, p = 0.4). Mean indexed TAPSE (15.0 ± 6.7vs.16.6 ± 5.6 mm/m2, p = 0.21), NYHA class (1.2 ± 0.4vs1.3 ± 0.4) and six-minute walk distance (506 vs 507 m, p = 0.7) was similar in both groups. Conclusion: One and a half ventricle repair of Ebstein anomaly gives a more functionally competent, non-stenotic and durable tricuspid valve as compared to a two-ventricle repair. BCPS doesn't result in facial swelling or AV malformations. Preload reduction by BCPS may allow the myopathic ventricle to remodel. [ABSTRACT FROM AUTHOR]

The study highlights the associations present in Alejo Carpentier's fiction and his musicological essays. His musicological essays precede the body of his most important works and they underline techniques, narrative resources and writing characteristics, which contributed to his fiction production. The systematic value of this model was expounded by the author in an unknown essay called Tristán e Isolda en Tierra Firme (1949). In this research work, I will illustrate the theoretical development of this model, its filiations and its aesthetic realisation as a generational poetic, which determined the work of some central writers of the Latin American Boom. [ABSTRACT FROM AUTHOR]

Este artículo discute la representación del espiritismo mezclado con creencias sincréticas en Cuba en la primera novela de Alejo Carpentier ¡Écue-Yamba-Ó!, publicada en España en 1933. El objetivo es destacar los dispositivos que pone en funcionamiento el narrador para representar estas reuniones, las personas que asistían y los objetos que utilizaban. Dos de estos mecanismos, propongo, son la sexualidad y la tecnificación que funcionan a manera de códigos superpuestos que traducen estas escenas y desacralizan la experiencia religiosa, reduciendo los sujetos y objetos a caricaturas de lo divino.

Este artículo discute la representación del espiritismo mezclado con creencias sincréticas en Cuba en la primera novela de Alejo Carpentier ¡Écue-Yamba-Ó!. El objetivo es destacar los dispositivos que utiliza el narrador para representar estas reuniones, las personas que asistían y los objetos de culto que utilizaban. Dos de estos mecanismos son la sexualidad y la tecnificación que funcionan a manera de códigos superpuestos que traducen y desacralizan la experiencia religiosa. [ABSTRACT FROM AUTHOR]

The two works the Lost Steps and Kon-Tiki, which are by the famous writers Alejo Carpentier and Thor Heyerdahl. Carpentier, (born 1904 in Cuba and died in Paris in 1980), themes with topics about races and experiences gained from life. In his famous work The Lost Steps, which costs to bring musical instruments from a forest located in Venezuela. Carpentier was interested in African-Cuban music. Carpentier described everything real in the literary magic he created himself: "I was the harshest land where thousands of men awakened to freedom believed in the power of superstition to become MacDonald *, on the verge that this group spoke a miracle on the day of execution ... At every step I find reality amazing. "He used the Baroque style in many of his writings, noting that freedom is desired by all. Thor Hirdal was born in Norway in 1914 and died in Italy in 2002, crossing the Atlantic Ocean in a wooden boat, saying: "Limits, I never found any limit, but I heard it was in the minds of some people." Known for his work Kon-TiKi in 1947, for the discovery of the Inca tribes and the ancient inhabitants of some areas of Polynesia who worship the sun god kon-tiki...* A person who is likely to originate from Senegal, Mali or Guinea, arrived in the French colony as a slave, sentenced to death in the year 1758 for several reasons. His personality turned into mythology. [ABSTRACT FROM AUTHOR]

The present article reveals the existing filiation between the narrative production of Alejo Carpentier and his literary essays. Carpentier’s literary essay, a late genre in the chronology of his whole corpus, plays an exegetical role and illuminates techniques, narratological resources, and Scriptural traits which were the breeding ground of the authorial novel. From a structural perspective, Carpentier’s novel crystalizes in a model reconfigured from the chronicle of the Indies that allows a broadening of history and its re-reading from different viewpoints. Re-writing the past allows, according to the author, to intervene in history from an ethical and epistemic angle, which resolves itself in a reconfiguring of the sociopolitical imagery. With my research I will illustrate the theoretical development of this model, whose systematic value was highlighted by the author in the conference «The social role of the novelist», while I shall functionally follow the trail of its aesthetic realization in the novel "Concierto barroco.

Este trabajo analiza la última novela de Alejo Carpentier, El arpa y la sombra (1979) y su traducción al inglés por Thomas y Carol Christensen (The Harp and the Shadow, 1990). Se pone de relieve que esta novela está atravesada por la traducción de diferentes maneras. Por un lado, Carpentier, al referirse a la historia de Cristóbal Colón, alude a las dificultades de los conquistadores que intentaron narrar el nuevo mundo, una operación de traducción de carácter primigenio. Por otro lado, el autor intenta desmitificar la figura de Colón y para ello recurre a intertextos, como los diarios de Colón y la Biblia, ‘traduciéndolos’ y haciendo un uso irónico de los mismos para poner al descubierto los mecanismos por los cuales un texto puede ser manipulado para un cierto fin. Al mismo tiempo, se hace referencia al esquema musical de sinfonía que Carpentier quiso darle a la novela. La musicalidad no solo se percibe a nivel de la estructura sino también del ritmo de la prosa. El aspecto sonoro es algo ineludible a tener en cuenta en la traducción de esta novela y el análisis del mismo será el eje central de este trabajo. La propuesta es, entonces, repasar los momentos musicales que dan el marco a esta novela para así cotejarlos con lo que se produce en la traducción al inglés.

This work analyzes the transfigurations of the odysseous journey in the novels Los pasos perdidos, by Alejo Carpentier, and Los detectives salvajes, by Roberto Bolaño. After exploring the most relevant appropriations of the figure of Ulysses in the universal tradition, it is argued that in these two novels there is a disjunction between the journey as a symbolic process that gives meaning to the itinerary and the journey as mere wandering that constitutes an end in itself. [ABSTRACT FROM AUTHOR]

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This article develops a framework for reading the maroon in literature, drawing on the maroon’s historical and contemporary significance in the Caribbean, as well as its continuing resonance for writers and thinkers. The maroon’s separateness or withdrawal, I argue, is characterized by a spatial distance that also engenders a challenge to the authority and temporality of the colonial regime or the apartheid state. I turn to Alejo Carpentier and J.M. Coetzee to offer readings of their novels through the lens of marronage, analyzing their protagonists’ flight, labor, and “idleness” as newly legible dimensions of resistive waiting. The strategies of marronage encourage new readings of the formulations of freedom and unfreedom, resistance and refusal in the literary texts, and create a “line of flight” between the Caribbean and South Africa. [ABSTRACT FROM AUTHOR]

Una reflexión sobre la interpretación de John Cage de dos piezas para percusión del compositor cubano Amadeo Roldán en el Museo de Arte Moderno de Nueva York en 1943. La interpretación de Cage lleva a cuestionar la relación entre la experimentación musical y el ritmo en la historia racializada de dos piezas afrocubanistas de Roldán: las Rítmicas V y VI (1930), en el contexto de una reflexión más amplia sobre los intraducibles del cosmopolitismo divergente y la circulación mundial de la música afrocubana.

El estudio de las críticas sobre artes visuales en la obra de Alejo Carpentier (1904-1980), de José Lezama Lima (1910-1976) y de Severo Sarduy (1937-1993) nos permite analizar los cruces interartísticos dentro del campo cultural cubano del siglo XX y el interés de estos tres escritores cubanos sobre el arte visual al cual consideran un productivo ámbito de experimentación y novedad afín a sus indagaciones estéticas.

This article aims to outline aspects concerning the Latin American literary concepts of Magic realism and Marvellous realism, as well as to compare the latter with the concept of Animist Realism. The work of Cuban writer Alejo Carpentier, The Kingdom of this World, concerning the Haitian Revolution, and the book by Angolan writer Pepetela, A geração da utopia, which addresses the Angolan War of Independence, will be used as examples, since they showcase some of the literary assumptions of their authors in regard to the Marvellous and Animist realism.

Alejo Carpentier se dio a conocer como crítico de arte y de música: desde sus trabajos en periódicos y revistas habaneras, siendo miembro activo del grupo ”Minorista”; posteriormente, desde París (1928), en su exilio voluntario de Caracas (1945), o ya incorporado a la revolución castrista (1959), va convirtiendo la crónica, el ensayo histórico o el relato de ficción en un auténtico telón musical de la vida que retrata, como si de una banda sonora se tratara, siempre con clara y didáctica intencionalidad política. Los matices y herramientas de su discurso dependerán del género que manipula: la pura musicología para la deconstrucción del espacio musical (La Música en Cuba); el relato étnico para la fundamentación del afrocubanismo (¡Écue-yamba-o!); el contrapunto de músicas “revolucionarias” (La consagración de la primavera); la crónica de mundos primitivos (Los pasos perdidos), o el puro humor para caricaturizar una dictadura (El recurso del método). Y, siempre, la crónica diaria, usando como maestro el ejemplo, la cita, o la variación musical, intentando transformar la vida, la sociedad, la estética y las personas.

Hay antes que nada en Carpentier un arte de intitular. Los títulos de sus cuentos y novelas provocan, incitan, intrigan, cuando no desconciertan. Se puede pensar, por ejemplo, en El siglo de las luces, que irritaba a los editores porque sugería más la densidad de un tratado histórico que el placer que ofrece una buena novela.

Carpentier's narrative has had an extensive echo in the literary critique. However, an analysis of his musical essay has not been carried out yet by the Academy. In the present essay, I attempt to present the symphonic microcosm's topic, which characterize, as a source for defining identity, an important part of Carpentier's novels and musical essays. In addition, my contribution can be considered the state of the question or the theoretical framework so as to present the carpenterian essay La música en Cuba. [ABSTRACT FROM AUTHOR]

This article aims to outline aspects concerning the Latin American literary concepts of Magic realism and Marvellous realism, as well as to compare the latter with the concept of Animist Realism. The work of Cuban writer Alejo Carpentier, The Kingdom of this World, concerning the Haitian Revolution, and the book by Angolan writer Pepetela, A geração da utopia, which addresses the Angolan War of Independence, will be used as examples, since they showcase some of the literary assumptions of their authors in regard to the Marvellous and Animist realism. [ABSTRACT FROM AUTHOR]

Haiti e Cuba não apenas compartilham múltiplas traços históricos, literários, antropológicos que marcam uma fraternidade necessária e apontam para a solidaridade ou integração desejáveis. Ambos países possuim uma experiência revolucionária comum mas, de significação muito específica para cada um: No caso de Haiti existiram motivos aprofundados para iniciar um processo revolucionário que impactou às conciências históricas coletivas, e no de Cuba, aconteceram fatos relevantes que sirviram de exemplo até o ponto de manter uma posição de resistência enfrentando a realidade geopolítica continental. O nosso artigo não pretende tergiversar a História das Antilhas, mas focalizar na obra de Alejo Carpentier, o romancista que provocou a conciência de um momento chave da historia do Caribe. Ambientada nas ondas da Revolução Francesa, El Siglo de las Luces é um dos romances históricos mais comentados do grande romancista cubano. Porém, a crítica não focalizou suficente, como pretendemos demonstrarlo, na função do corpo nos processos de toma de consciência histórica e revolucionária dos protagonistas. O contato sensual e romanesco entre Sofía e Víctor Hugues oculta, em uma primeira leitura, muito sedutora, um contato mais problemâtico e decissivo entre outros corpos. Sofía, filha da alta burguesia crioulha da Havana, lhe corresponde (literalmente) decidir se vai confiar a saúde física de um membro do corpo familiar a um médico, sim, mas negro: Ogé. Palavras-chave: Cuba. Haiti. Carpentier. El Siglo de las Luces Resumen Haití y Cuba no sólo comparten múltiples rasgos, históricos, culturales, literarios, antropológicos que señalan una fraternidad necesaria y apuntan a la solidaridad o integración deseables. Ambos países tienen una experiencia revolucionaria común pero de significación muy específica para cada uno: En el caso de Haití existieron motivos hondos para iniciar un proceso revolucionario que impactó a las conciencias históricas colectivas, y en Cuba ocurrieron hechos relevantes que sirivieron de ejemplo hasta el punto de sostener una posición de resistencia enfrentando la realidad geopolítica continental. Nuestro artículo no pretende tergiversar la escritura de la historia de las Antillas, sino enfocar en la obra de Alejo Carpentier, el novelista que provocó la conciencia de un momento clave de la historia del Caribe. Ambientada en las ondas apremiantes de la Revolución francesa, El Siglo de las Luces es una de las novelas históricas más comentadas del gran novelista cubano. Sin embargo, la crítica no enfocó bastante, como pretendemos demostrarlo, en la función del cuerpo en los procesos de toma de conciencia histórica y revolucionaria de los protagonistas. El contacto sensual y novelesco entre Sofía y Víctor Hugues oculta, en una primera lectura, muy seductora, un contacto más problemático y decisivo entre otros cuerpos. Sofía, hija de la alta burguesía criolla de La Habana, le toca (literalmente) decidir si confiará la salud física de un miembro del cuerpo familiar a un médico, sí, pero negro: Ogé. Palabras claves: Cuba, Haiti. Carpentier. El Siglo de las Luces Abstract Haiti and Cuba obviously share many historical, cultural, literary and anthropological features, pointing to a necessary fraternity and suggesting that solidarity and integration are desirable. Both these countries experienced a revolution, but each with specific meanings. In the case of Haiti, the revolutionary process that had such an influence on collective consciousnesses has underlying causes. In Cuba, circumstances helped the craved independence and revolution to come about, and actually supported a position of resistance that was regarded as exemplary in the geopolitical reality and continental memory. Our purpose is not to investigate the writing of Caribbean history, but to bring to light in the works of Alejo Carpentier – the novelist who raised the awareness of a turning point in that history – the forms of contemporary historical consciousness. Set in the remote context of the Caribbean where echos of the French Revolution are being heard, El siglo de las luces is one of the most written about historical novels of the great Cuban author. Criticism has not dwelt enough, as we propose to show, on the function of the body in the process leading to the historical and revolutionary awakening of the protagonists.The sensuality of the contact between Sofia and Victor Hugues, though appealing on the first reading, in fact obscures a more problematic and decisive contact between bodies. An heiress of the Havanan upper class, Sofia has to decide whether she will entrust the physical health of a member of the family circle to one who, although a member of the medical profession, is also a black man. Key words: Cuba Haiti. Carpentier. El Siglo de las Luces

Our critical proposal seeks to compare the historical time condensation in The harp and the shadow, last novel ever published by Alejo Carpentier, with the melancholic angel drawn by Walter Benjamin's Theses on the concept of history. The carnivalistic and messianic perspective adopted by the novel holds within a merger of past, present and future time, which helps to abolish the progressive conception of time implied in traditional historiography in order to assume a dialectic perspective where events are presented as flashing ruins without prevailing one above the other and where past is lead into its own destruction by the simbolic desintegration of Columbus's ghost. [ABSTRACT FROM AUTHOR]

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The popularization of essays and theories that deal with Carpentier took place throughout the 80's and early 90's. However, after a smooth fever about Carpentier in the recent years of the last century, the number of such interdisciplinary approaches, which have already been made to the musical essays of the author, is, by far, poor and meagre. With this essay we proceed, on the one hand, to dissect, analyse and present Carpentier's musical work La música en Cuba, the importance of which, as a significant part of the general essays by the Cuban author, has so far devalued by the members of the critical apparatus; and to examine, on the other hand, how the musical essay is used by the author as a programmatical theory for the consolidation of his subsequent narrative. [ABSTRACT FROM AUTHOR]

From the perspective of comparative literature, this paper explores the reinterpretation of Greek tragedy, specifically of myth and ritual of the Bacchae through the topic of music, in "Las Ménades", a tale by Julio Cortázar, and El acoso, a novel by Alejo Carpentier, in order to analyze the patterns of literary reworking and thematic innovation in the referred literary works. [ABSTRACT FROM AUTHOR]

Este artigo tenciona analisar a relação entre pensamento estético e escrita da história nas conferências do escritor latino-americano Alejo Carpentier. Argumenta-se que as considerações de Carpentier acerca do papel do romancista são sintomas do esgotamento do esteticismo que orientava a produção literária cubana, fruto da percepção de que a arte, na modernidade, encontra-se desviada de seu destino, que é de ser a base da vida dos homens em sociedade. Carpentier percebe a necessidade de construção de um novo “espaço de experiências”, capaz de orientar a América Latina em seu destino, alicerçado em um processo de tradução capaz de gerar novas formas de identificação coletiva, e que tem no passado o elemento primordial de edificação da identidade latino-americana, parte integrante da sua forma de imaginar a nação.