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Review Otro Lunes. Revista hispanoamericana de cultura

Pandora (Saint-Denis)

Review Panorámica Latinoamericana

Year: 2009 n. 9

Arrué, Michèle. Aux marges de l'empire espagnol: une captivité heureuse longtemps ignorée. "Cautiverio feliz de Francisco Núñez Pineda y Bascuñán" (Chili, XVIIe siècle).  / En los márgenes del imperio español: una cautividad feliz siempre ignorada. "Cautiverio Feliz Francisco Núñez Pineda y Bascuñán" (Chile, siglo XVII) p. 119-130 Chile
Siglo XVII

Summary

Francisco Núñez Pineda y Bascuñán's narrative, Cautiverio feliz, offers a different perspective from what early travellers to colonial America and captive soldiers' narratives usually convey. Francisco Núñez Pineda y Bascuñán was imprisoned in 1629 and spent seven months with native Mapuche Indians in Araucania, a territory located in the south of the Bio Bio river which Spaniards never managed to conquer. There, the close relationship the captive author developped with natives - who, at the time, were not considered as full human beings - enabled him to write a critique of the colonial administration's political plan to wage a war against Mapuche Indians : a war he considered unjust, useless and impossible to win. His writing is an emerging Criollo discourse which subtly points out who the real barbarians are. It interestingly acknowledges the existence of Mapuche Indians who, as a group, have consistently been denied throughout history. They still are in contemporarory Chile.

Lavoie, Sophie M. Périphérie historique et portée contemporaine d´un personnage: Itzá de "La mujer habitada" de Gioconda Belli.  / Periferia histórica e intervalo contemporáneo de un personaje: Itzá de "La mujer habitada" de Gioconda Belli p. 131-148 Nicaragua

Summary

Soul of an indigenous woman warrior, Itzá is a metaphysical character in the narrative reality of Nicaraguan author Gioconda Belli's first novel, The Inhabited Woman. A multifaceted character constructed on the margins of the exegesis' reality, Itzá transcends the limits of linear time and the unveiling of her life story - and her empowerment or awakening- take place parallel to the narration of the contemporary protagonist's life, punctuating the story. Gioconda Belli creates a counterpoint to traditional History, despite the story's fictional nature. Narrated by a woman and centered on her own preoccupations and interests, this peripheral narration breaks completely with all the previous stories and testimonials on indigenous rituals and constructs a system of contemporary consequences for past events. Just like pre-Columbian history, the exegesis' present space comes to be riddled with marginal interjections, creating an audacious and dynamic exchange.

Mullaly, Lawrence. La (est)ética del margen en el cine de Adrián Caetano. p. 149-162 Argentina
Nuevo cine argentino, márgenes, Adrián Caetano

Summary

Depuis le milieu des années 90, l'Argentine a subi une crise économique et politique aux profondes répercussions sur les plans institutionnel, culturel et social. Paradoxalement, alors que le pays est exsangue, le cinéma indépendant, encouragé par la critique nationale et très bien accueilli dans les festivals internationaux, connaît un regain sans précédent. Adrián Caetano est devenu en une décennie une figure emblématique du Nouveau Cinéma Argentin. Expérimentant les productions indépendantes, renouvelant les mini-séries télévisées, ou bénéficiant de co-productions internationales, ses films proposent une cartographie des marges sociales inhabituelle dans le panorama du cinéma industriel de divertissement. Le décalage qu'il opère en plaçant au coeur de ses récits les déclassés, les exclus, les fragiles, les discriminés,etc. constitue une forme d'engagement inédite. Adrián Caetano renouvelle l'(ésth)étique de la marge et offre à la société désagrégée un miroir où se retrouver et se reconnaître.

Brochard, Cécile. Marge(s) et dictature dans Yo el Supremo d'Augusto Roa Bastos.  / Márgen(es) y dictadura en Yo el Supremo de Augusto Roa Bastos p. 273-284 Paraguay

Summary

Since dictatorship can be defined as the tension towards a center, it seems to be deeply opposed to the notion of border: the fringe are considered as dangerous elements standing in the way of unity and truth, embodied in the image of the dictator himself. Yo el Supremo written by Augusto Roa Bastos is the monologue of a Paraguayan dictator: how could the border appear in the middle of the center? Is there a marginal discourse at the center of the dictatorial text? Far from being the intermediary of only the dictator¿s voice, the novel contains a multitude of voices, not only in marginal notes which complete and criticize the main discourse, but also at the core of the main discourse itself. If the frontiers between the edge and the center tend to fade, what could possibly be the consequences of this confusion?

Pandora (Saint-Denis)
Paper | Free numerical version | Anual | France Pandora: revue d'études hispaniques
Print ISSN: 1632-0514
Online ISSN: 2108-7210
Year of creation: 2001


Address: Saint-Denis, Département d'études hispaniques et hispano-américaines, Université Paris 8

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