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The article is devoted to the history of the German writers’ emigration during the Second World War in Mexico. Mexico was not a major center of German emigration like the Soviet Union or the United States, but the Mexican government supported anti-fascist émigrés who were in France before its occupation. The Mexican consulate in Marseille issued visas to many German writers, but only Anna Seghers was able to move from France to Mexico. Bodo Uhse and Ludwig Renn went there from the United States, Alfred Kantorovicz and Hans Marchwitza had to stay in the United States, because transit through the USA became impossible since 1941. German writers maintained constant contact with the Soviet Writers’ Union. Correspondence often did not reach the addressees, but before the establishment of diplomatic relations between the USSR and Mexico, this was the only way to exchange information. The small German colony in Mexico was engaged in active antifascist activities. The movement “Free Germany” (“Freies Deutschland”) was organized in Mexico a year and a half earlier than the National Committee “Free Germany” in the USSR. Although it seemed that they were two branches of the same organization, in fact they were two different entities with different goals and with the same name. At this moment an internal conflict among the German Communists became apparent; years later it had tragic consequences. After the surrender of Germany, German writers were not able to go directly to their homeland, since the American law prohibiting transit through the United States was still in force. In 1946–1948 German writers were leaving Mexico on Soviet cargo ships: they could get to Germany only through the Soviet Union.

The paper examines early Soviet reception of Ernest Hemingway's works. The research is based on the readers’ letters to Goslitizdat (State Publishing House) from the funds of the Russian State Archive of Literature and Arts (RGALI). A small collection of letters (1935–1936) shows readers’ reaction to the first Hemingway’s Soviet book editions: a short story collection Death in the Afternoon (1934) and Fiesta (1935). The readers unanimously condemn Hemingway for his “decadent” prose and Goslitizdat for publishing such “absurd” and “harmful” books. The only exception is a short positive review of the novel A Farewell to Arms (1936) sent to Goslitizdat in 1937. To uncover the reasons for the negative readers’ reception one should turn to the literary criticism of the 1934–1935, especially the essays by Ivan Kashkin who introduced the new author to the Soviet reading audience. A comparative analysis of readers’ feedback and critical discourse shows that the ambivalent and even contradictory image of the writer created by the critics made the readers think of Hemingway’s works as “decadent”, “bourgeois” and alien to Soviet people. Another reason was the innovative nature of Hemingway’s modernist prose which seemed obscure, confusing and unintelligible; the Soviet reader obviously preferred “clarity” and “simplicity” of Erskine Caldwell’s or Theodore Dreiser’s realistic writings. The situation changed by the 1937, when Hemingway was praised by both Soviet critics and readers as an anti-fascist writer, a heroic defender of the Spanish Republic.

The article is devoted to the formation of Harriet Tubman's image in the US literature. Two books belonging to the spread of Afrocentrism and the second wave of feminism — A. Petrie's non-fiction novel A Girl Called Moses: The Story of Harriet Tubman and M. Heidish's novel A Woman Called Moses — are chosen as the material for analysis. The article analyzes the main qualitative characteristics identified as early as in S. Bradford's book Harriet, Moses of Her People that form the discourse of race and gender in the mentioned narratives about Tubman, and identifies the main transformations of these characteristics. Thus, the work of African-American author A. Petrie reflects to a greater extent the sentiments of all her fellow women in the 1950s-60s Black Civil Rights Movement in the United States: while remaining within the generally accepted gender framework of feminine virtues, at the same time, the black woman was stepping out of her allotted racial limits. Furthermore, she shows that slavery is a cultural trauma that still defines how the African American community sees itself and its place in the society and how slavery is remembered as a means of self-identification within the African American community. Created by the white writer M. Heidish in the mid-1970s, during the rise of the second wave of the feminist movement, the novel reflects the very sentiments that characterized this movement and shows the view of a sympathetic Other on the issue of race. Thus, the article establishes the fact that Harriet Tubman plays a very important role in the African-American and women's discourse in the United States as an image that is given the necessary functions and qualities for its time based on the socio-cultural context contemporary to the interpreter.

The article concerns with the plays An Octoroon and Gloria by contemporary American playwright Branden Jacobs-Jenkins. The dramaturgy of one of the most notable authors, writing for the US theatre at the present time, is thematically varied; besides, it includes both Jacobs-Jenkins’ original works (e.g., Gloria, 2015) and his adaptations of plays by other authors and/or other epochs. Among the adaptations there is the most famous of Jacobs-Jenkins' plays so far — An Octoroon (2014), which is the author's treatment of 19th century melodrama The Octoroon (1859) by Anglo-Irish dramatist Dion Boucicault. Working with the play of the 19th century, which reveals the problems of slavery in a simplified, melodramatic form, allows the contemporary playwright to actualize the consideration of racial conflicts and to reconstruct/deconstruct the generic model of melodrama. The author of the article draws attention to the reception of the minstrel tradition in the play An Octoroon, both at the level of interaction of D. Boucicault's work with American minstrel show coinciding with it in time, and in connection with the comprehension and overcoming of the “minstrel archetypes” by B. Jacobs-Jenkins. The question of casting is very important to Jacobs-Jenkins, the playwright puts forward his requirements for ethnic conformity between actors and roles in his plays, and this brings together An Octoroon and Gloria, though the works are diverse in genre and subject matter. The cultural context for the works of the American playwright is, first of all, the drama and theater of the United States throughout their development. For further studies it also seems interesting to consider B. Jacobs-Jenkins’ plays in connection with folklore traditions or, e.g., in the context of sacred genres.

The article focuses on American fiction and detective thrillers where the writer and his double feature as central characters. Such a combination has not previously received special attention. The divided mind provides a wide range of possibilities for fascination and exploring the fundamental fears of fragmentation and potential destruction of the Self. In Stephen King’s novella “Secret Window, Secret Garden” (1990), crime, duplicity, madness and dissociative amnesia are integrated into the story of the writer's block. The present article, among other things, analyzes the adaptation of the novella — David Koepp’s Secret Window, 2004. Besides, it highlights the changes that the script underwent. Koepp came up with his own ending that was radically different from the Epilogue of King's story. Alongside with madness proper, King's horror and Koepp's film deconstruct the writer’s block as the result of unresolved traumas and the cause of a whole bunch of pathologies, as well as the fear of breakdown. The novella and its screen version are, in fact, phenomenological studies of mental disorders. A close comparative analysis shows that the film offers a rare example of the superiority of adaptation over the original. A particular attention in the article is paid to the imagery of ears of corn in the film, functioning both as a cannibalistic grotesque and as a visual metaphor of success.

The article considers the specific poetry of one of the largest poets of Chile of the 20th century — Pablo de Rokha in relation to the poetry of his compatriot and contemporary Pablo Neruda. Both poets belonged to Latin American avant-garde aesthetics, both of whom enjoyed great fame and shared common ideological views, but were diametrically opposed in both human and artistic dimensions. Pablo Neruda was a great collector of things of the world; Pablo de Rokha (his pseudonym and the word “stone” sounds the same), unlike Neruda, who collected neither stones, nor any other elements of earthly existence. At the same time his poetry is filled with the smell of steppe herbs, smoke of night fires, it is very material. The difference between the two “materialistic” Pablos is that de Rokha is not only calling their names – he is busy with creating, naming, making of the new world. That is why his poetic material it is so heavy, rude, and rough – earthly, stony words that he unwinds without any concern for beauty and clarity. If Pablo Neruda poeticizes every spiritual movement, every random thought, however insignificant it may be, making them objects of artistic expression, de Rokha does not let his emotions pass through the aesthetic filter – they come from the gut and he turns them in his poetic material, rude and primitive. The main thing that distinguishes de Rokha from Neruda is de Rokha’s tragic worldview expressed in his poetic writing. A coеmparison of the two poets leads to the conclusion that Pablo Neruda and Pablo de Rokha are two opposite versions of the same type of creative personality, extremely similar in their dissimilarity.

L.N. Tolstoy’s works, having been introduced to the English-reading audience, immediately became an issue of active critical discussions. British and American readers got acquainted with them differently than Russian ones —publications didn’t follow the chronological order, his fictional and philosophical books appeared simultaneously; the process of cultural transfer inevitably fragmented his work, took it out of context, and the readers in Britain and the USA perceived Tolstoy’s works in accordance with his image formed at the turn of the 19th–20th centuries. Besides the linguistic cultural barriers (it was necessary to work with Russian realities, facts of Russian life, make them clearer for foreign readers), translators and critics faced with other challenges — for example, they were to bring Tolstoy’s work into the circle of topics and subjects familiar to the English — reading public. Tolstoy entered the English speaking culture as a symbol of realism, which however didn’t mean hard naturalism, but rather ethical and psychological realistic writing, especially taking into account the ongoing discussion on Zola’s novels. Tolstoy’s realism was treated as a universal one, based on the well-known cultural and spiritual values and therefore especially significant in spite of the exotic subject matter of his works. The didactic nature of his work, its powerful moral appeal was obvious and strongly sought for in the period of heated argument about the social system, the problems of the industrial society, gender relations, etc., — despite the fact that some episodes were incompatible with Victorian or Puritan attitudes and tastes of his English-speaking readers.

The article discusses possible sources of Yesenin’s acquaintance with Nikolay Chernyshevsky’s novel What Is to Be Done? and its critical evaluation. Deep comprehension of the the novel on a subconscious level could lead to the fact that the poet’s personal life began to resemble the fate of literary heroes. Yesenin's trip with Isadora Duncan through Western Europe and the United States of America is to some extent reminiscent of Chernyshevsky's characters’ travels abroad; descriptions of their travels in the novel influenced the poet’s attitude to the way of life in different countries. In his autobiographies, Yesenin mentions his trips to America and Western Europe – the fact that emphasizes the importance of these continents in his biography and work; letters from different countries indicating geographic places of stay find parallels with the toponymy in Chernyshevsky’s novel. There is a certain similarity the names in Chernyshevsky’s novel and in Yesenin’s works: Charles and Charin, Jim. Mentioning Ryazan and Tambovskaya guberniia in connection with Lopukhov-Beaumont should have attracted Yesenin’s attention, who was a native of Ryazan region that he praised in his poems; he also wrote about the neighboring Tambov province. Political and economic questions of America raised by Chernyshevsky, Yesenin considered in his Iron Mirgorod.

The article analyzes production Tobacco Road based on the play by Jack Kirkland, a stage version of Erskine Caldwell’s novel. Staged at the height of the Great Depression, this production had been run on stage for nine years until 1947, remaining the highest-grossing production in the history of the American Theatre. Critics' reviews ranged from delight to rejection, and the authorities of many states opposed its run as an obscene and blasphemous production. The article examines the peculiarities of the play, created by Jack Kirkland, who turned with novel social significance into a slapstick comedy. The play, where the crackers kneaded real dirt on stage and vividly exchanged comic lines, contained a physical score of gags. The actors — the leading character, Jeeter Lester, stood out among them — performed in an eccentric mode. Such things that frightened Americans during the era of an unprecedented economic crisis as poverty, hunger, early marriage, cruelty and promiscuity, being taken to an absurd extreme, evoked during performance not fear but laughter. Photographs of the production, critical reviews and the text of the play allow to reconstruct Tabacco Road and also to compare it with the film adaptation (1941), which had become a response to the unprecedented success of the production. The huge contrast in the type of comic — the sentimental comedy by John Ford and the slapstick comedy/farce staged by Anthony Brown — makes it possible to detect the difference between cinema, restrained by the Hays censorship code, and the theater. Allowing one to laugh at the most monstrous social phenomena, the “dirty” production (such was its reputation) had become a kind of therapy for millions of spectators in the 1930s.

A vivid illustration of the successes of U.S.–Soviet diplomacy during the period of allied relations was the magazine Amerika, published in the United States in Russian and distributed in the USSR. The magazine was intended to inform Soviet citizens about real American life, familiarize them with the achievements of the United States in science and culture. It was important to present American literature on the pages of the magazine: authors new to Soviet readers and stories by well-known writers translated into Russian for the first time. The article concludes that, along with the rest of the magazine's content, its literary section sought to demonstrate American prosperity and emphasize the closeness of American and Russian cultures. After the war, however, relations between the two countries went into decline again. The USSR continued to translate, censor, and distribute Amerika, but at the same time launched a campaign against the magazine in the Soviet press. In 1952, the symbol of US — Soviet alliance of 1941–1945 ceased to exist. The canceled project was restarted however four years later. The history of the magazine is reconstructed on the basis of Soviet press and archival materials, including transcripts of conversations, Agitprop reports, correspondence between the U.S. Ambassador to the USSR W.A. Harriman and V.M. Molotov, the First Deputy Minister of Foreign Affairs of the USSR A.A. Gromyko and the U.S. Charge d'Affaires in the USSR W. Barbour.

Analyzing Gertrude Stein's early short story “The Good Anna”, included in the trilogy Three Lives (1909), the article examines the dialogical process of the formation of the author's poetics at the intersection of various discourses dealing with the concept of habituality. Written under the influence of the ideas of W. James and the aesthetic principles of G. Flaubert and P. Cézanne, the story can be read as a “space” within which scientific and aesthetic representation of ordinary interact. I argue that we can treat this juxtapositions of names (Stein, James, Flaubert and Cézanne), not as a result of individual circumstances and personal preferences, but as a manилиifestation of certain zeitgeist. Particular attention is paid to the comparative reading of “The Good Anna” as created under the powerful influence of Flaubert’s “A Simple Heart.” On the one hand, the recognition of Flaubert's influence on the writer is commonplace in Stein scholarship. On the other hand, it has not attracted close attention, paradoxically remaining a frequently mentioned but underexplored issue. The article proves that through her dialogue with Flaubert, Stein develops a special mode of defamiliarization, revealing the complex relationship between the extraliterary automatically emerging speech of everydayness and the literary experimental discourse. The discussion of Flaubert's influence on Stein's development as a modernist author implies, in principle, the need to look at this dialogue from a broader perspective, without reducing it to a special case of apprenticeship with the greats and without forgetting the two-way direction of this contact of texts.

In this article, we will begin with two almost simultaneously written paradoxes of modernism / avant-garde. The first paradox is Gertrude Stein’s miniature “Sacred Emily”, a one-line poem that reads “Rose is a rose is a rose”. The second paradox is Alexey Kruchenykh’s abstract poem “Dyr byl schyl”. Both texts suggest a transition from a negative emotional state to a positive one, creating a complex aesthetic experience. At the heart of this experience is a re-evaluation of the poetic code as a meaningful and symbolic system, a source of meaning and knowledge. The reader interacts with this code as a collaborator and co-creator, adapting it to their own reality and giving it new meaning. These texts reflect the global artistic trends of the era, which were characterized by a shift towards a different type of representation, one that emphasizes the transmission of feelings and impressions. This vector is inherent in the creative works of both Gertrude Stein and Aleksey Kruchenykh. The artist's task is to induce a complex range of reactions in the recipient, which form a cognitive and creative experience, resulting in an epistemological reconfiguration. Focusing on a new approach to imitation (imitating an experience of reality, not reality itself), both Stein and Kruchenykh sought to accomplish a cognitive recalibration of the reader's mind through experimentation with language. Both Gertrude Stein and Alexey Kruchenykh identify peripheral and associative aspects of experience, create a complex of experiences based on these elements, and recreate them through language. This process is made possible by the suggestive, associative, and connotative power of language and artistic form.

The article is devoted to the poetics of contemporary American writer Lyn Hejinian (1941–2024), considered one of the most consistent successors of Gertrude Stein's experimentalism in Anglophone literary writing. The study encompasses all stages of Hejinian’s poetic creativity: from early experiences of “language writing” in the 1960–70s, autobiographical texts and collective works of the 1980–90s, to theoretical and poetic quests in the first decades of the 21st century. The writer's main interest is the persistence and impermanence of memory and the subject, as well as the role of writing in their preservation and transformation. Descriptions of the writing process as a driving force of memory and experience come to the fore here. Syntax acts as the materialization of temporality in writing. Texts in a variety of formats explore natural and cultural worlds brought to life by language. Many of Hejinian's texts, both theoretical and artistic, explore the problem of language as a social space, as a philosophical search and as political pragmatics, as well as the problem of the relationship of time to language and language to time. The book The Language of Inquiry has become a kind of manifesto for poetic language, which is the “language of inquiry.” A special place in the book is occupied by essays about Gertrude Stein, which actualize the writing practices of the great American modernist in the contemporary context of language-oriented poetics. In her work of the recent years, Hejinian increasingly turns to social themes, never ceasing to experiment with the boundaries of the poetic. She puts forward a theory of so-called “allegorical activism,” which is understood as “artistic and political practice in the service of activating creative potential in everyday life.”

Published in 2021, both monographs on Tennessee Williams — Stanley Gontarski’s Tennessee Williams, T-shirt Modernism and the Refashionings of Theater and Laura Michiels’ The Metatheater of Tennessee Williams: Tracing the Artistic Process Through Seven Plays perform the dual task of offering new perspectives on the playwright’s wellstudied plays and elaborating on the lesser-known material with its non-obvious cultural functions. Researchers show the complexity of Williams’ late oeuvre, demonstrating how his plays of the 1960s and early 1980s continue theatrical experiments of the second half of the 20th century. Developing the themes of his earlier period (theatricality of life and experience, the vulnerability of beauty and artistry, the fragility of memory, and the conflicts between the strong and the weak), Williams has enriched both poetic and naturalistic theater styles through absurdist aesthetics, his use of stylistic excess and an emphasis on metatheatre — spectacles about spectacles. Gontarski's book discusses Williams' influence on subsequent popular culture and its representation of the images of masculinity. Gontarski shows how Williams' success across the Atlantic depended on censorship (“The Lord Chamberlain’s Blue Pencil” being an intriguing part of Chapter 2) or greater stage freedom (Sweden). Late plays (In the Bar of a Tokyo Hotel, Two-Character Play, Clothes for a Summer Hotel) allow the author to take a closer look at Williams’ absurdist poetics and the intriguing process of “becoming Beckett,” which the American playwright reenacts. Laura Michiels explores different types of metatheater in Williams’s work: “mythical” (Orpheus Descending), “esoteric” (Two-Character Play), “marauding” (Clothes for the Summer Hotel), “multiplying" and “negotiating” (Sweet Bird of Youth, Something Cloudy, Something Clear). Michiels shows how Williams' dramas open up to issues important for contemporary interdisciplinary studies: the audience’s emotional and affective responsiveness, the work of memory, and intermedial dialogism. Michiels’ book offers a wide range of tools for unpacking metatheatricality of the 20th-century drama.

The book by Vladimir Feshchenko, a Russian researcher of the language of poetry and a publisher of avant-garde literature, is devoted to Russian and American poetry of the language experiment in the 20th and early 21st century. Using examples from Andrei Bely, Russian futurists, Alexander Vvedensky, Ezra Pound, Gertrude Stein, E.E. Cummings to the American poets of “language writing” and modern Russian-speaking young poets, the similarity of the philosophical and linguistic foundations of the language experiment, the convergence and differences of literatures, the personal interaction of authors from both countries are considered in the book. The analysis of a number of American and Russian poems from the point of view of the language of poetry is given. V. Feshchenko's book is of interest to researchers of Russian and American poetry, the avant-garde, the language of poetry, and the interaction of literatures.

A Vertical Art. On Poetry is a collection of essays in literary criticism by Simon Armitage, Poet Laureate of Great Britain, who based them on a series of his lectures delivered as Oxford Professor of Poetry. The framework of the book is a practice-oriented theory of poetry as a “vertical art” applied to reading a wide range of British and American authors mostly from the mid-20th century up to the present day, but reaching from time to time into the literary past. “Verticality” is a quality of poetic form that is actively engaging reader’s imagination and perception. It implies a demand for inner organization resisting the formlessness of a white page and self-restraining while choosing its own means. The result is a rhythmic pattern, both aural and visual, much unlike the “horizontalness” of extensively growing prose. The rhythmic pattern here is a broad definition covering an interplay between the lucid and the indirect, the sound and the silence, the sign and the gap on various levels. Discussing poetry in the book also involves literary institutions, in particular the contemporary Americanised model of interaction between the poet and the academia through creative writing courses. Apart from the canonical figures of American Renaissance (W. Whitman, E. Dickinson), Armitage’s perspective on American poetry includes E. Bishop, R. Lowell, A.R. Ammons, W.H. Auden, Thom Gunn, Bob Dylan, J. Wright, F. Wright, M. Donaghy, K. Young.

This article is focused on the reconstruction of major stage productions based on Eugene O’Neill’s autobiographical play Long Day’s Journey into Night (1941). The author reviews the American tragedy staged by Latin American directors Jose Quintero (Helen Hayes Theatre, New York, 1956) and Luciano Suardi (Teatro San Martin, Buenos Aires, 2023). Special attention is paid to the first screen version of the play (directed by Sidney Lumet, USA, 1962) and its last staging on Broadway (directed by Jonathan Kent, American Airlines Theatre, New York, 2016). Also under scrutiny are Eugene O’Neill’s private correspondence with the Spanish translator of his plays Leon Mirlas and the negotiations held between director Elia Kazan and playwright’s widow Carlotta Monterey O’Neill. For the first time in the history of Russian theatre studies we see an attempt to identify the causes for a failed U.S. Premiere of O’Neill’s tragedy in 1956 under Kazan’s direction.

The review is devoted to the main topics and events of the international conference organized by the Department of Ibero-Roman Linguistics at the Faculty of Philology of Moscow State University — “The Second Latin American Readings” (November 23–24, 2023). The work of the conference took place in two plenary sessions and four panels, one of which was devoted exclusively to the literature of Latin America. A total of 52 papers were presented, covering a wide scope of problems of Latin American studies, including linguistic, literary, cultural, art, and historical aspects. The plenary sessions included reports on significant phenomena and general trends in the development of Latin American culture, such as the characteristics of the Latin American world view formation in literature, the emergence of a national school of artistic translation in Mexico, and the genesis and formation of abolitionist prose in Cuba. The panels shed light on specific aspects of the continent's literature: issues of individual poetics, the history of individual works, artistic types and genres, as well as illuminating examples of cultural ties between our country and Latin America. The papers were chiefly accompanied by vivid presentations, and the meeting ended with a concert of Latin American music.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1994.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1994.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1994.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1994.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1994.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1994.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1996. Esta información es parte del repositorio institucional UASB-Digital, de la Universidad Andina Simón Bolívar, Sede Ecuador.