scholarly journals El imaginario de la nación desde el exilio en la obra y en la correspondencia de Clorinda Matto de Turner

Letrônica ◽  
2020 ◽  
Vol 13 (1) ◽  
pp. 36347
Author(s):  
Fanny Arango-Keeth

Clorinda Matto de Turner parte al exilio desde Lima, Perú el día 25 de abril de 1895. La autora de la novela indigenista Aves sin nido llega y se instala en Buenos Aires, Argentina, ciudad en la que reside hasta el año de su muerte en 1909. A pesar de haber sido separada de la “fraternidad nacional”, Matto de Turner sigue imaginando la nación y dando testimonio sobre ella tanto en su obra paraliteraria como en su correspondencia epistolar. En este artículo analizaremos la nación imaginada por Clorinda Matto de Turner en sus libros Boreales, miniaturas y porcelanas, Viaje de recreo y en las cartas de la escritora a Ricardo Palma.***O imaginário da nação do exílio na obra e correspondência de Clorinda Matto de Turner***Clorinda Matto de Turner deixa Lima, Peru, em 25 de abril de 1895 para o exílio. A autora do romance indígena Aves sin nido chega e se muda para Buenos Aires, Argentina, onde vive até o ano de sua morte em 1909. Apesar de ter sido separada da “fraternidade nacional”, Matto de Turner continua imaginando a nação e testemunhando sobre ela tanto em seu trabalho paraliterário quanto em sua correspondência. Neste artigo, analisaremos a nação imaginada por Clorinda Matto de Turner em seus livros, Boreales, miniaturas y porcelanas, Viaje de recreo e nas cartas do escritor a Ricardo Palma.

Author(s):  
Ena Mercedes Matienzo León

El siguiente documento tiene como finalidad dar a conocer una carta que la escritora peruana Clorinda Matto de Turner dirigió desde Buenos Aires en 1906 al antropólogo físico y etnólogo Robert Lehmann-Nitsche. La misiva, que está escrita a mano, y en la que se halla la firma de la polígrafa cusqueña, se encuentra guardada en la biblioteca del Instituto Ibero-Americano de la ciudad de Berlín en la sección de legados, autógrafos, dibujos y otras documentaciones fotográficas. Este breve estudio es una primera pesquisa sobre un amplio registro epistolar que posiblemente dirigió Matto de Turner a personalidades académicas, políticas y religiosas. La publicación de esta primera carta ofrece información sobre los espacios en los que se movilizó la escritora peruana a inicios del siglo XX.


1982 ◽  
Vol 99 ◽  
pp. 605-613
Author(s):  
P. S. Conti

Conti: One of the main conclusions of the Wolf-Rayet symposium in Buenos Aires was that Wolf-Rayet stars are evolutionary products of massive objects. Some questions:–Do hot helium-rich stars, that are not Wolf-Rayet stars, exist?–What about the stability of helium rich stars of large mass? We know a helium rich star of ∼40 MO. Has the stability something to do with the wind?–Ring nebulae and bubbles : this seems to be a much more common phenomenon than we thought of some years age.–What is the origin of the subtypes? This is important to find a possible matching of scenarios to subtypes.


1998 ◽  
Vol 26 (152) ◽  
pp. 576
Author(s):  
Oscar H. del Brutto Perrone ◽  
José Antonio Bueri ◽  
Antonio Culebras ◽  
Jordi Matías-Guiu Guía ◽  
Marco Tulio Medina Hernández ◽  
...  
Keyword(s):  

2018 ◽  
Vol 36 (2) ◽  
pp. 173-197
Author(s):  
Juliet McMains

This paper interrogates the history of same-sex dancing among women in Buenos Aires' tango scene, focusing on its increasing visibility since 2005. Two overlapping communities of women are invoked. Queer tangueras are queer-identified female tango dancers and their allies who dance tango in a way that attempts to de-link tango's two roles from gender. Rebellious wallflowers are women who practice, teach, perform, and dance with other women in predominantly straight environments. It is argued that the growing acceptance of same-sex dancing in Argentina is due to the confluence of four developments: 1) the rise of tango commerce, 2) innovations of tango nuevo, 3) changing laws and social norms around lesbian, gay, bisexual, and transgender rights, and 4) synergy between queer tango dancers and heterosexual women who are frustrated by the limits of tango's gender matrix. The author advocates for increased alliances between rebellious wallflowers and queer tangueras, who are often segregated from each other in Buenos Aires' commercial tango industry.


2017 ◽  
Vol 12 (2) ◽  
pp. 198-225
Author(s):  
Patricia Novillo-Corvalán

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.


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