Julio Cortazar Research Articles

Um Rumor no Quarto ao Lado: subjetividade e pós-colonialismo em “Dancing Girls” e “The Man from Mars” de Margaret Atwood.

Este trabalho tem por objetivo estabelecer uma discussão a partir de dois contos da coletânea Dancing Girls and Other Stories (1977) de Margaret Atwood: “The Man from Mars” e “Dancing Girls”. Levando-se em consideração a crescente relevância dos estudos ligados a este gênero literário, bem como à pertinência da teoria pós-colonial e de gênero, esta investigação mostrará como a autora se utiliza desta estrutura na elaboração de uma crítica a partir da constituição de subjetividades subalternas, as quais estão inseridas em um ambiente já demarcado por uma consciência do Outro, fenômeno que as leva a um constante exercício de auto-correção, reforçando aquilo que pretensamente evitam. Trabalhos de Julio Cortázar, Ricardo Piglia, Gayatri Spivak e Edward Said responderão teoricamente a esta proposta.

Cortázar, Fuentes y Molina en los confines de lo humano: tres cuentos de vampiros

La figura del vampiro en la literatura hispanoamericana constituye una constante. Su permanencia a través de los siglos dentro de las letras del subcontinente americano invita a preguntarse por el lugar que ocupa este arquetipo gótico en el imaginario de los escritores latinoamericanos contemporáneos. El presente trabajo tiene por objeto de estudio la figura del vampiro en los cuentos de “Reunión con un círculo rojo” (Julio Cortázar, 1977) “Vlad” (Carlos Fuentes, 2004) y “La máscara del dios vampiro” (Mauricio Molina, 2006). A través del análisis de estos relatos se lleva a cabo un análisis de la representación de la figura del vampiro en la literatura hispanoamericana contemporánea. Asimismo, se examinan las estrategias textuales utilizadas por cada uno de estos autores para plasmar su visión del mismo, así como la significación que el mito vampírico reviste para cada uno de ellos. En último término, se postulan algunas de las posibles claves que explicarían su preeminencia en la cultura contemporánea.

Para una poética del espacio (la casa) en el cuento latinoamericano de los 60 a nuestros días: Julio Ramón Ribeyro, Julio Cortázar y Cecilia Eudave

El estudio de la simbología del espacio sigue siendo un eje de especial relevancia por su potencial para arrojar luz sobre los derroteros de la literatura. La selección de tres cuentos paradigmáticos en la construcción del espacio de una casa, vs. el espacio exterior –“Casa tomada” (1946) de Julio Cortázar, “Los gallinazos sin plumas” (1954) de Julio Ramón Ribeyro, y “Eva entró por la ventana” (2010) de Cecilia Eudave– en relación a la cuestión existencial e identitaria, resulta un ejemplo revelador para estudiar desde este ángulo el proceso evolutivo del cuento hispanoamericano desde los años 60 a nuestros días. Desde Argentina, Perú y México, y distanciados por medio siglo en los años de publicación de los mismos –los de Cortázar y Ribeyro con respecto al de Eudave–, estos cuentos son significativos del diálogo que se establece desde la actualidad con la tradición cuentística hispanoamericana, en concreto con dos de sus exponentes más destacados en la segunda mitad del siglo XX.

La batalla de las ideas y las emociones en América Latina

The long and labyrinthine process that Latin America has undergone in its way towards democracy has been marked by the same confrontations and quarrels present throughout the Western intellectual history, which have sometimes been expressed as a fight between “ideas and emotions.” In Latin America, this intellectual quarrel may be described in Julio Cortazar's terms, as a struggle between “Baroque cronopios” versus “Gothic fames” or as a war between two cultures: “that of blood and that of ink,” echoing the erosion of the great theories and traditional ideologies. Thus, in the wake of the political and cultural developments resulting from globalization, the Latin American democratic transitions, and the fall of the socialist bloc, we know that we are witnessing the end of an era, but we cannot yet define the new age. This article ponders, thus, what the revival of romantic views and emotions may mean at the beginning of the 21st century. Mexico, in particular, faces a major political and cultural challenge, resulting from the fact that the Mexican society is still immersed in the culture of the Revolution's nationalism. The perennial struggle between ideas and emotions has become manifest again in the form of a dilemma between attaching to an identity in crisis and trying to reconstruct it, or rather looking ahead with the aim of creating a new democratic civic culture.

Sobre la relación entre texto e imagen. Una aproximación semio-fenomenológica a "Fin de etapa", de Julio Cortázar

In this paper, I address the semiotic question concerning the relationship between written text and visual image, from a phenomenological point of view. First, I identify the phenomenological structure shared by both kinds of sign, and then proceed to specify some of the differences between them. Then, I analyze Julio Cortazar’s Fin de etapa, trying to describe and capture, within a phenomenological framework, the fantastic turn it proposes.

A escrita rubiana e o conto como forma: reflexões a partir de “Marina, a Intangível”

O presente artigo analisa a escolha de Murilo Rubião pelo conto como forma exclusiva em sua produção literária. Tal reflexão é estabelecida a partir de anotações pessoais do autor consultadas no Acervo dos Escritores Mineiros, da Universidade Federal de Minas Gerais (UFMG), da análise do conto “Marina, a Intangível” e da aproximação do escritor com autores como Edgar Allan Poe, Julio Cortázar e Horacio Quiroga.

A tradição latino-americana da alteridade em Passageiro do fim do dia, de Rubens Figueiredo

Este artigo procura demonstrar de que maneira o romance Passageiro do fim do dia, de Rubens Figueiredo, está em diálogo com a construção do discurso literário da alteridade, tão presente na obra de grandes escritos latino-americanos, como Gabriel García Márquez e Julio Cortázar. Para tanto, Rubens põe em confronto a perspectiva de personagens que vivem na cidade do Rio de Janeiro, mas que se entendem como diferentes entre si, porque a cidade em que vivem é cindida, e seus círculos sociais não gozam de interação cotidiana.

História, política e literatura na escrita epistolar de Júlio Cortázar

O objetivo do trabalho é mostrar como a prática epistolar de Júlio Cortázar pode ser compreendida como um espaço de criação de redes de sociabilidades intelectuais que permitem relacioná-las com a criação de espaços de discussão sobre projetos literários e editoriais e para reflexões político-culturais. As correspondências de Cortázar são importantes meios de veiculação de suas ideias políticas no período mais intenso de sua militância: as décadas de 1960 e 1970. Em suas cartas, Cortázar revela sua compreensão sobre o fazer literário, a função social da literatura, o papel do intelectual e ainda reflete sobre sua atividade literária, defende as revoluções e o socialismo e condena as ditaduras militares na América Latina. Enfim, suas cartas revelam um escritor comprometido com as grandes transformações literárias e políticas de seu tempo. Para compreendermos a correspondência de Cortázar como meio de construção de sociabilidades político-intelectuais, analisamos parte das correspondências compiladas nos três volumes organizados por Aurora Bernárdez e editados pela Alfaguara em 2000, são eles: Volume I (Cartas, 1937-1963); Volume II (Cartas, 1964-1968); e Volume III (Cartas, 1969-1983).Palavras-chave: Júlio Cortázar; correspondências; sociabilidades intelectuais; política; literatura

Edward King , Virtual Orientalism in Brazilian Culture (London and New York: Palgrave Macmillan, 2015), pp. x + 214, £60.00, hb.

O Oriental Religions in Latin American Literature Ignacio Lo´pez-Calvo School of Social Sciences, Humanities and Arts, University of California, Merced, Merced CA, USA Keywords Eastern religions; Latin American Literature; Buddhism; Shinto; Confucianism; Taoism; Hin- duism; Theosophy; Chinese religions; Oriental- ism; Vicente Fatone; Alejandro Korn; Pablo Neruda; Octavio Paz; Jorge Luis Borges; Julio Cortazar; Ce´sar Aira; Juan Jose´ Tablada; Augusto Higa; Enrique Go´mez Carrillo; Bernardo Carvalho; Severo Sarduy; Zoe´ Valde´s; Antonio Chuffat Latour. Regino Pedroso; Mayra Montero; Leonardo Padura Fuentes; Rube´n Dari´o; Leopoldo Lugones; Amado Nervo; Gabriela Mistral; Ricardo Rojas; Arturo Capdevila; Ricardo Guiraldes Part of the information included in this essay was taken from my books Dragons in the Land of the Condor: Writing Tusan in Peru (U of Arizona P, 2014); The Affinity of the Eye: Writing Nikkei in Peru (U of Arizona P, 2013); and Imaging the Chinese in Cuban Literature and Culture (UP of Florida, 2008). Definition Theosophy and eastern religions and creeds such as Hinduism, Buddhism, Shinto, Confucianism, and Taoism have influenced Latin American lit- erature since the Modernistas. Canonical authors such as Neruda, Borges, Cortazar, Paz, and Sarduy have addressed these eastern beliefs in different ways. While for the Modernista they were an escapist tool and Neruda openly rejects them, other authors such as Tablada and Paz resort to them to try to understand their own countries or to find the keys of eroticism (the case of Paz and Sarduy). In turn, for Borges, eastern religions are a metaphor for infinite time, fantasy, and utopia and for Sarduy a path to personal enlightenment. Introduction Given the wealth of authors and works, the topic of the presence of Eastern religions in Latin American literature would be more appropriate for a book than for a short essay. In any case, in the next pages I will summarize what has already been studied and will suggest the analysis of other Latin American works whose dialogue with east- ern religions has not been studied in so much depth yet indicating, whenever possible, the rea- sons for the authors’ attraction to or rejection of these creeds. # Springer International Publishing Switzerland 2015 H. P. P. Gooren (ed.), Encyclopedia of Latin American Religions, DOI 10.1007/978-3-319-08956-0_159-1

Modernism: Keywords by Melba Cuddy-Keane, Adam Hammond, and Alexandra Peat

Melba Cuddy-Keane, Adam Hammond, and Alexandra Peat. Modernism: Keywords. Oxford: Wiley Blackwell, 2014. xviii, 266. $112.95. Modernism: Keywords opens with a direct gesture to its predecessor, Raymond Williams's 1976 Keywords: A Vocabulary of Culture and Society, while also marking out its principal differences: the narrower focus on modernism, the integration of digital technologies used in a manner loosely akin to Moretti's distant reading, and a rich hyperlinking (in print) of the thematic nodes of each alphabetized entry. That is, the print book adopts the curatorial and editorial elucidation of each topic that would be expected from a tertiary source while drawing inspiration from the humanities computing scenarios in which alternate relations might emerge through digital technologies. The accomplishment here is akin to the prospects of the Linked Modernisms project that is being developed from the metadata of the Routledge Encyclopedia of Modernism. The comparison is not opportunistic. It points to the most valuable element of Modernism: Keywords: the relational work it is likely to provoke as readers follow its various suggested connections through overlapping keywords across the book. The prospect of a modernist choose your own adventure scenario seems too good to be true, and the invitation to the reader's agency calls back to later works like Lawrence Durrell's Alexandria Quartet or Julio Cortazar's Rayuela--again, it is not an opportunistic comparison, pointing as it does to readerly organization of narrative and complex interpretive responsibilities that shape the relations among the texts. The reader may move across the volume or dip into specific keyword entries, but in each entry there are gestures to further work through the specific invitations to follow more deeply into the scholarly references or across to other entries. For example, the keyword entry on Sentimental, Sentimentality points in its closing to other linked entries, most productively to Form, Formalism and Woman, New Woman but also in its references out to other important relationships to the Harlem Renaissance through Alain Locke's Enter the New Negro and the High Modernists via E.M. Forster, Virginia Woolf, and D.H. Lawrence. An additional benefit of this associative method, or what Henry Miller would have called spiral form (yet again, a purposive gesture), is that it draws in a cast of figures too often sidelined from the New Modernist Studies. While Ezra Pound, H.G. Wells, Woolf, James Joyce, Joseph Conrad, Forster, and T.S. Eliot are ubiquitous across the entries, there are also passing inclusions of the too often overlooked H.D. in Reality, Realism; John Cowper Powys in Queer, Gay and Shock, Shell Shock; and Mulk Raj Anand in Personality, Impersonality. More extensive recuperations across several entries occur for Eugene Jolas, Robert Graves, Zora Neale Hurston, W.E.B. Du Bois, Laura Riding, and Jean Toomer while Rebecca West, Dorothy Richardson, I.A. Richards, and Mina Loy are as extensively integrated across the volume as any of the High Modernists. Cuddy-Keane, Hammond, and Peat describe the method for developing each quasi-encyclopedic keyword entry by recognizing Research on such a grand scale depends on massive (xv) such as online digital repositories of primary texts such as digitized book projects (ranging from Project Gutenberg through Internet Archive), historical periodical collections in proprietary and open access resources (JSTOR to the Modernist Journals Project and beyond), and the expected scholarly resources of bibliographies, repositories of secondary scholarship, and traditional print library holdings. The implications are akin to Moretti's distant reading in that searches across such a large pool of resources can enable connections and understandings unavailable to a single reader in a lifetime of reading, but the forms of distant reading through digital technologies for which Moretti's project has garnered wide attention do not play the same kind of role here. …

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Testimonio y literatura. Algunas reflexiones y tres realizaciones en la narrativa argentina: Walsh, Urondo, Cortázar (1957-1974)

The relation between testimony and literature is as complex as the always debated definition of literature itself. In fact, the discussion about what was and had to be literature, in the context of a revolutionary Latin America, gave room to the institutionalization of testimonio as a literary genre in the early 1970s. This paper raises that discussion. Firstly, we introduce certain theoretical implications of the testimonial literature phenomenon. In such sense, we argue that the problem is inseparably linked to the constitutive ambiguity of literature, which is clearly showed in the case of testimonio, as the genre includes “non-literary” texts than appear as literature in certain conditions of the literary field. Secondly, we postulate the conceptual basis which supports the conformation of a testimonial literature corpus of analysis. Thirdly, we analyze a testimonial literature corpus , which integrates works of three Argentine authors, Rodolfo Walsh, Francisco Urondo and Julio Cortazar, written between 1957 and 1974. The analysis exhibits different narrative realizations of the relation between testimony and literature, and furthermore, shows different ways of dealing with the constitutive tension of such link, within the field of literary practice.

Choosing is not an option (but a necessity)

This article deals with experimental novels that offer paradigmatic narrative material on a formal level. It focuses on the reader’s task to choose certain reading paths, and lists a typology of various formats which authors of contemporary literature have deployed (forking-paths-narrations, typo- and topographical layout, double-sided books, loose orders and serial writing). Mark Z. Danielewski’s novel Only Revolutions (2006) serves as an example for a many-sided book which asks the reader to engage in continuous operations of turning, whereas chapter 34 from Julio Cortazar’s novel Rayuela (1963) [Hopscotch] is a model for investigating intra- and intertextual interferences in analogy with the double-slit-experiment familiar from physics. Finally, the article proposes a rethinking of the term ‘experimental novel’ and suggests instead the term ‘actualistic literature’, coined by Susan Strehle in 1992, in order to acknowledge the structural outcome of these novels as a new aesthetic form of realism.

Schizoanalysis of desire and fantastic literature

Fantastic literature has been analysed as a literary genre in which the fissures of reason become visible. It has often been interpreted as a transcendental reversal of reality, a hidden place which the subject can access . However, following the proposal of schizoanalysis given by Gilles Deleuze and Felix Guattari, we can read the fantastic as the place of delirious liberation of desire, where word becomes action. We focus particularly on the short stories « Lejana » and « Axolotl » by Julio Cortazar and the novel O homem duplicado of Jose Saramago. In these works that deal with the theme of the double, the deleuzian becoming-other is represented in the text by some subjectivities that seek in otherness the exit of their own identity jail .

El signo que cura. Sobre la homeopatía y otros remedios fantásticos en la narrativa de Julio Cortázar

In light of recent studies in field of semiotics, esthesic-sensory dimension of literary texts, my interest turned to dissect with these new tools, body narrative of some key texts by Argentine writer Julio Cortazar, in which inability to translate varied experience of illness and physical pain it gives rise to a therapeutic narrative of fantastic charactersymptom that violates the order of discourse medical. Using code of symptoms of homeopathic medicine, Cortazar metaphorizes code language, both being regulated, in semiotic terms, by ratio facilis (Eco, 1979). The Human language for writer has proved obsolete interoceptive to express world of each individual, imprisoned in a body unable to communicate its meanings.

Representación de las Bacantes en Cortázar y Carpentier: la relectura de un mito griego

Desde la perspectiva de la literatura comparada, en este artículo se explora la relectura de la tragedia griega, específicamente del mito y del rito de las Bacantes a través del tópico de la música, en “Las Ménades”, cuento de Julio Cortázar, y en El acoso, novela de Alejo Carpentier, con la finalidad de analizar las pautas de reelaboración literaria y de innovación temática en los relatos referidos.

«Dejarse caer para después poder quizá levantarse ...» o el tema mitológico del descenso a los infiernos en Rayuela de Julio Cortázar*

En la novela Rayuela, definida por Luis Harss (81978, 269) como «una obra terapéutica», el autor, Julio Cortázar, pone en la boca de Traveler, el amigo y el segundo yo del protagonista Horacio Oliveira, el consejo siguiente:Lo malo en vos – dijo Traveler – es que cualquier problema lo retrotraés a la infancia. Ya estoy harto de decirte que leas un poco a Jung, che (41: 391)1.

«Dejarse caer para después poder quizá levantarse ...» o el tema mitológico del descenso a los infiernos en Rayuela de Julio Cortázar*

En la novela Rayuela, definida por Luis Harss (81978, 269) como «una obra terapéutica», el autor, Julio Cortázar, pone en la boca de Traveler, el amigo y el segundo yo del protagonista Horacio Oliveira, el consejo siguiente:Lo malo en vos – dijo Traveler – es que cualquier problema lo retrotraés a la infancia. Ya estoy harto de decirte que leas un poco a Jung, che (41: 391)1.

Octavio Paz, Julio Cortázar: dos centenarios

Este texto presenta un acercamiento a la trayectoria de vida de estos grandes en la literatura. Octavio Paz, de México, y Julio Cortazar, de Argentina son contemporáneos y su trayectoria tuvo corrientes similares, tales como el surrealismo, y gustos, como la pintura, a pesar de sus discrepancias políticas. Este texto abarca las diferentes obras, pequeños fragmentos de ellas y una descripción de sus afinidades, en un cierto paralelismo, al ubicarlos en un contexto similar en la literatura y en la vida latinoamericana.

Desde los márgenes: Los detectives salvajes, novela transnacional

Es el objetivo de este ensayo interpretar y analizar las propuestas literarias, artísticas y estéticas que el desaparecido escritor chileno Roberto Bolaño (1953 - 2003) plantea en su novela Los detectives salvajes. Se trata esta, de la obra que lo dio a conocer internacionalmente y que reveló a un escritor amante del nomadismo y los desplazamientos no tradicionales, no siempre guiado por la comodidad sino más bien por las condiciones críticas que obligaban a tales tránsitos. En plena época de globalización, en un mundo influenciado por la ideología neoliberal, en que el mercado es visto como un tótem, que todo lo define, Bolaño se nos aparece como un escritor capaz de enfrentar precisamente este panorama frío y calculador al que nos ha conducido la etapa más avanzada del capitalismo que intenta quebrar cualquier barrera.