Cortázar-Heker (1978-1981). Polémica elidida/genocidio negado

I discuss in this text the well-known “controversy” between Liliana Heker and Julio Cortázar from a little traveled perspective, linked to the analysis of social discourses, with attention to the traces left in them by the genocide of the forced disappearance of people carried out by the civic dictatorship -Army military (1976-1983). I point out as a working hypothesis the impossibility of the controversy presented by Heker, based on the tear, under the conditions of the dictatorial context, of the prevailing “reading contract” in the cultural interaction of the Latin American and Argentine left during the 1960s-70s. I analyze the “emotion / exaggeration” categories, and some of their associated terms, as a critical resource used by Heker against certain statements by Cortázar. I thus seek to approximate a critical reflection on what I call “genocide denied” as a condition accepted in Heker's speech to carry out his “controversy”.

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Julio Cortazar: New Readings. Ed. Carlos J. Alonso. Cambridge: Cambridge University Press (Cambridge Studies in Latin American and Iberian Literature 13), 1998. x+260 pp. 40/$69{middle dot}95. ISBN 0-521-45210-4.

Forum for Modern Language Studies ◽

10.1093/fmls/36.3.334-a ◽

2000 ◽

Vol 36 (3) ◽

pp. 334-334

Keyword(s):

Latin American ◽

Julio Cortazar ◽

Cambridge University ◽

Julio Cortázar

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Blow-Up: A Reconsideration of Antonioni's Infidelity to Cortázar

PMLA ◽

10.2307/461971 ◽

1979 ◽

Vol 94 (5) ◽

pp. 887-893 ◽

Cited By ~ 5

Author(s):

Terry J. Peavler

Keyword(s):

Blow Up ◽

A Priori ◽

Julio Cortazar ◽

International Recognition ◽

Close Analysis ◽

The 1960S ◽

The Relationship ◽

Julio Cortázar

Antonioni’s Blow-Up is one of the most significant and controversial films of the 1960s. Its success brought increased international recognition not only to its director but to Julio Cortázar, the author of the story that inspired the film. Because of the extreme complexity and ambiguity of both Blow-Up and its source, “Las babas del diablo,” critics have been unable to agree in their interpretations of either work, and they agree even less on the extent of Cortázar’s influence on Antonioni. A close analysis of the two works, with careful focus on the relationship between the creators and their protagonists and on the tension between the narratives and their self-conscious forms, reveals that many of the difficulties in interpretation are due to a priori assumptions of readers and viewers alike and that the similarities between the film and the story are far greater than has been supposed.

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The New Inter-American Poetry

10.1093/oso/9780190682002.003.0005 ◽

2017 ◽

Author(s):

Harris Feinsod

Keyword(s):

American Poetry ◽

Julio Cortazar ◽

Pablo Neruda ◽

New American Poetry ◽

The 1960S ◽

Julio Cortázar ◽

Blind Spots

This chapter shows how revolutionary enthusiasms, experimental magazines, and translation fueled inter-American relations in the 1960s on the countercultural left. Previous critics note the Boom, but most US accounts of the period’s poetry center on the intra-national polarities (“margin versus mainstream” or “raw versus cooked”) inflamed by Donald Allen’s The New American Poetry (1960). The chapter instead describes a larger formation called “the new inter-American poetry,” recovering dialogues best emblematized by the hemispheric little magazine El Corno Emplumado, and the reciprocations engendered between the works of rebellious Beats and revolutionary Cuban barbudos, Paul Blackburn and Julio Cortázar, Clayton Eshleman and Javier Heraud, Pablo Neruda among his English translators, and others. These exchanges were not without their blind spots, and the chapter concludes by comparing the communities imagined by Frank O’Hara’s Lunch Poems (1964) to poems by contemporaneous visitors to Manhattan such as Mario Benedetti (Uruguay) and Alcides Iznaga (Cuba).

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“Tercer mundo global”: as várias identidades dos Secos & Molhados (1974)

Revista Discente Ofícios de Clio ◽

10.15210/clio.v4i6.14065 ◽

2019 ◽

Vol 4 (6) ◽

pp. 192

Author(s):

Thales Reis Alecrim

Keyword(s):

Latin America ◽

Present Article ◽

Latin American ◽

Third World ◽

Julio Cortazar ◽

The World ◽

The Face ◽

Complex Picture ◽

America Latina ◽

Julio Cortázar

O presente artigo objetiva compreender as várias identidades sobrepostas, por vezes contraditórias ou confluentes, na canção Tercer Mundo do conjunto Secos & Molhados. A canção é a primeira faixa do lado A do disco Secos & Molhados II (1974). A letra é um fragmento da Prosa del Observatório (1972) do escritor Julio Cortázar. A prosa trata, no plano metafórico, da insuficiência da razão para compreendermos o mundo. A canção, no rastro das ideias da prosa, mobilizou referências que se alinhavam a essa perspectiva, mesclando elementos estético-ideológicos de ideias que previam uma união latino-americana, ibérica, terceiro mundista e ligada à contracultura. Dessa forma, diante desse quadro complexo, seguimos um caminho de análise que visa identificar o público consumidor e como essas identidades se configuravam e, dependendo do caso, se uniam ou excluíam.Palavras-chave: América latina. Terceiro mundo. Canção. Contracultura. Identidade.AbstractThe present article aims to understand the various identities, sometimes contradictory or confluent, in the song Tercer Mundo by the group Secos & Molhados. The song is the first track on side A of the album Secos & Molhados II (1974). The lyrics are a fragment of the Prosa del Observatorio (1972) by the writer Julio Cortázar. At the metaphorical level, the prose deals with the insufficiency of the rationalist paradigm to understand the world. The song, in the vein of prose ideas, mobilized references that aligned with this perspective, mixing aesthetic-ideological elements of ideas that foresaw a Latin American, Iberian, third wordlist, and linked to the counterculture union. Thus, in the face of this complex picture, we follow a path of analysis that aims to identify the consumer public and how these identities were configured and, depending on the case, were united or excluded.Keywords: Latin America. Third World. Song. Counterculture. Identity.

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Introduction to Julio Cortázar,The Situation of the Latin American Intellectual

Journal of Latin American Cultural Studies ◽

10.1080/13569325.2010.528899 ◽

2010 ◽

Vol 19 (3) ◽

pp. 335-339

Author(s):

Michelle Clayton

Keyword(s):

Latin American ◽

Julio Cortazar ◽

American Intellectual ◽

Julio Cortázar

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Challenges and Distortions of Translating Grammatical Gender in Literary Texts: Julio Cortázar Translated into Various European Languages

The Bulletin of Hispanic Studies ◽

10.3828/bhs.2021.40 ◽

2021 ◽

Vol 98 (7) ◽

pp. 679-691

Author(s):

UWE KJÆR NISSEN

Keyword(s):

Short Stories ◽

Latin American ◽

Short Story ◽

Grammatical Gender ◽

Literary Texts ◽

Julio Cortazar ◽

Relevant Question ◽

European Languages ◽

Biological Gender ◽

Julio Cortázar

With a focus on various translations of the short story ‘Historia con migalas’ by one of the most renowned Latin American writers, the Argentinian author Julio Cortázar, this article describes and exemplifies numerous translational problems with respect to grammatical gender. In spite of the difficulties in Spanish of entirely avoiding gender/ sex references, Cortázar deliberately endeavours (successfully) to hide the gender of the protagonist couple by tricking the reader into a heterosexual, stereotypical mindset until, at the end of the story, he reveals that the couple consists of two women, forcing the reader to reanalyse and reinterpret the entire story. As this article shows, not all translators seem to be aware of Cortázar’s subtle play with grammatical gender, and vice versa - in this case - biological gender and, therefore, entirely miss the quintessence of the story. A relevant question that arises is whether it is possible in the languages under consideration to translate this playing with gender at all, or whether constraints as to the structure of the languages impede it (for example, differences between grammatical gender and natural gender languages). Finally, some evidence is brought forward to address the question of how the (mis)translated short stories were received by reviewers.

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Saúl Yurkievich en la “nueva crítica” latinoamericana

Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas Universidad Autónoma de Colombia ◽

10.26564/16926250.662 ◽

2016 ◽

Vol 13 (1) ◽

pp. 168

Author(s):

Libertad Garzón Hurtado

Keyword(s):

Latin American ◽

Jorge Luis Borges ◽

Literary Work ◽

Octavio Paz ◽

Julio Cortazar ◽

Severo Sarduy ◽

Jose Lezama Lima ◽

America Latina ◽

Siglo Xx ◽

Julio Cortázar

Resumen: Saúl Yurkievich pertenece a una larga tradición de escritores y poetas que se dedican también a la lectura experta de las obras literarias. En América Latina, Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima y Severo Sarduy continúan en la segunda mitad del siglo XX la tradición iniciada por los poetas modernistas. Saúl Yurkievich es heredero directo de esta generación de escritores-críticos y quizás uno de los más radicales exponentes de lo que, apropiándonos de la expresión de Paz, podríamos denominar la poesía vista desde la poesía. Este artículo presenta una primera aproximación a la obra crítica de Yurkiévich en el marco de lo que Guillermo Sucre denominó la tradición de la “nueva crítica” latinoamericana.Palabras Clave: Saúl Yurkiévich, ensayo crítico literario, Guillermo Sucre, la nueva crítica.************************************************************************Saúl Yurkievich in Latin American “new critique”Abstract: Saul Yurkiévich makes part of a long tradition of writers and poets devoted also to the expert reading of pieces of literary work. Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima, and Severo Sarduy in Latin America continue in the second half of the XXth Century the tradition pioneered by the modernist poets. Saul Yurkievich is a direct heir of this generation of writers and critics, and is perhaps one of the most radical examples of what, taking the expression of Paz, we could called poetry seen from poetry. This article presents a first approach to the critical work of Yurkiévich within the frame of what Guillermo Sucre called Latin American “new critique.”Key words: Saúl Yurkievich, literary critical essay, Guillermo Sucre, new critique.************************************************************************Saul Yurkievich na nova critica Latino-AmericanaResumoPertence Saul Yurkievich a uma longa tradição de escritores e poetas que se dedicam também à leitura atenta das obras literárias. Na América Latina Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima e Severo Sarduy continuam a busca na segunda metade do século XX da tradição começada pelos poetas modernistas. Saul Yurkievich é herdeiro direto de esta geração de escritores-críticos e tal vez um dos mais radicais expoentes do que, nos apropriando da expressão de Paz poderíamos denominar a poesia vista desde a poesia. Este artigo apresenta uma primeira aproximação à obra crítica de Yurkiévich no marco do que Guillermo Sucre denominou a tradição da nova crítica latino-americana.Palavras chave: Saul Yurkiévich, ensaio crítico latino-americano, Guillermo Sucre, a nova crítica.

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