Los [dos] cartuchos de Nellie Campobello

In 1931, Nellie Campobello published Cartucho. Nine years later, in 1940, a second edition appeared, about which not much has been said. With the exception that it is usually mentioned to assert that Campobello modified it under the influence of the author of El águila y la serpiente, the 1940 edition was left somewhat erased by the third edition (1960), in the same way that each edition’s corresponding characteristics were also erased. This piece reviews some of the features that characterize both editions, with the intention of showing what was already present in the first edition, and what the author added or enhanced afterward. It also presents the context in which the second edition emerged (Campobello’s interest in history, her relationship with Austreberta Rentería, the publication of her book Las manos de mamá), and it questions the author’s motives to propose Cartucho (1940) as a set of “true tales” in opposition to the revolutionary “legend” stated in official history. In the conducted analysis, we can appreciate the expansion of some of the literary strategies present in the first edition (the multiplicity of testimonial voices and the contribution of women as witnesses to the facts) and the permanence of others that appeared in 1931 (the infantile narrative voice, the poetic images associated to the war and to the infantilization of the men that fought in the Mexican Revolution). The premise in this article is that both editions defy the concepts of truth, history, and fiction, in the way we usually conceive them, but that in 1940, Campobello expanded some of the literary strategies that she used in 1931 as a function of the emphasis that she put in the testimonials of a multitude of women and men that lived the civil war in the North and to whom, in the process of officialization and institutionalization of the Mexican Revolution, the truth of their own history had been denied, according to the author.

Adendas a la bibliografía de Horacio Quiroga

The written Work of Horacio Quiroga (1878-1937) includes novels, poetry, dramaturgy, journalistic texts, and, fundamentally, stories, and was published first and foremost in the various illustrated magazines of the early twentieth century where the Uruguayan author collaborated. Only a part was collected in books by Quiroga himself. Since 1955 an accurate list of all his collaborations has been made and, also, a large part of his work has been published in various anthologies and in different complete works projects. Our research adds to this repertoire some bibliographic findings: the existence of two short stories, not belonging to any bibliographic list or to any compilation of their narrative writings; “Una carta de amor” and “La cacería”; the appearance of his first journalistic film “note”, “El Teatro Mudo: elogio del cinematógrafo”, which is not part of any list or of the compilations of Quiroga’s cinematographic texts; and, finally, the existence of the editio princeps of Cuentos de la Selva, one of his best known books. The three texts found, which are from 1917, as well as the illustrated editio princeps of Cuentos de la Selva from 1918 must be included in Horacio Quiroga’s bibliographic repertoire and must form part of the new editions of his complete work.

Prácticas filológicas en la edición de textos del siglo XX: experiencias de un grupo de investigación

In this article, we intend to show how critical editing of texts has changed over time and how philologist-editors have taken different critique, politic and social attitudes in the task of editing texts, taking into account their interests regarding the editorial project to be developed, the idiosyncrasies of the materials that make up the archive corpus, the commitment to the text and the reading that will circulate at another point in our history (literary and dramaturgical), among other aspects arising from the examined textual situations. We briefly discuss editorial theories and methodologies, seeking to show how the ecdotic method was transformed from the 19th to the 21st century, outlining contemporary philological practice in two aspects: platonic (teleological) and pragmatic (sociological) in paper and electronic support. To illustrate and comment on the editorial practice of 20th-century texts, poems, short stories, and above all censored theatrical texts, we bring a synthesis of the work developed within the Institute of Letters from Federal University of Bahia, in the research group that I coordinate, considering the editorial models adopted (digital facsimile, synoptic-critique, interpretive, critique, genetics, critical-genetics, electronic/digital [hypertextual archive or hyperEditing]), according to the critical, philological, genetic and sociological approaches. Also, we consider that critical-philological studies point to a particular theme selected by the philologist for weave comments and criticism.

Rescate editorial. Nunca es tarde cuando la dicha es buena (1858) de Tomás Gutiérrez

This editorial rescue presents and contextualizes, within Nineteenth-Century Argentine literature, the sentimental brief novel or “novelita”, entitled Nunca es tarde cuando la dicha es buena, originally published in Las Violetas. Ensayos Literarios in 1858, by the unknown author Tomás Gutiérrez. This novel, mentioned by Hebe Molina and Myron Lichtblau in their studies of Argentine literary history of the 19th century, has remained unknown since the last decades of the 19th century, until now, when it is rescued from a single copy found in the Argentine Academy of Letters. Its re-edition is framed within a study of the sentimental literature of the 1850s and 1880s and contributes to the understanding of this literature, apparently only passatist and innocent, as a key discourse in the construction of subjectivities, roles of gender, sexual behaviors and forms of intimacy in the decades after Rosismo and before the consolidation of the Nation State in 1880. The moral character, the intertextuality with Christian resonance and its condition, at the same time, of first literary commodity (Velázquez, 2017) converge in the formation of this hybridized cultural device full of rich social implications. Also, the question of love marriage vs. forced marriage appears, both here and in other sentimental novels of the time, shows some of the topics that, around the sentimental sociability of the time, had created generational, racial and social class controversies.

Hacia una edición crítica y estudio de los cuentos de Mauricio Magdaleno: El ardiente verano y otros cuentos

Currently, a complete critical edition must not only be accompanied by a rigorous textual criticism but also by a genetic edition that considers all the testimonies. In this sense, this work analyzes some of the problems that could occur if we publish a critical edition the entirety of Mauricio Magdaleno’s short stories. There would be two important problems: first, the fact that most of the stories, as we know them today, had previous versions published in periodical sources, which would oblige us to make an exhaustive investigation and to gather and collate the texts from the varied hemerographic testimonies; second, the decision of any criterion that allows overcoming the generic border between a story written from a personal anecdote and a short story that can be included in our edition. Thus, both problems have as a common root: Magdaleno was a journalist and supplemented his journalistic career with other activities that served as material support. A critical edition of Mauricio Magdaleno’s short stories would be a good reading of his work, and we could know about the author’s creative process, which would help to overcome the anachronistic criticism that has been published on the topic. Finally, and based on the current status, we propose a table with the versions of the short stories found and another table with a proposal supported by a possible index of the short stories that would make up the critical edition.

Carducci y Gutiérrez Nájera: dos ejemplos de lectura de Horacio en la tradición clásica del siglo XIX

Manuel Gutiérrez Nájera and Giosuè Carducci are two of the most important authors of Mexico and Italy respectively. Both were inspired by the French poetry of their time and shared a literary ideal of definition and construction of their national identity. Among the different ways to do this work, the use of Classical tradition, and specifically in the presence of Horace, allows us to recognize the differences and similarities of the nineteenth-century ideas of both authors.

Panorama general de la base de datos “Relaciones de comedias en la Nueva España, siglos XVI y XVII”

This paper aims to present to desing of the database: “Relación de comedias en la Nueva España, siglos XVI y XVII”. This digital tool aims to deepen the studies of narrative discurse known as relación; in adition, it itends to serve as a repository that will bring together integral relaciones from various Golden plays that have or haven´t a modern edition. On one hand, the paper points out the dramatic strategy’s importance in the Golden theatre; on the other hand, aims to familiarize future users whith the information provided by this digital tool so that they can use it as a potencial instrument for future research. The interest of the article lies in showing that the relación is a dramatic strategy that can be studied as a discursive genre inseparable from the dramatic play to wich is belongs, whose function goes beyond the limits that have been indicated so far.