Anuario de Letras Modernas

7-8

Authors: Rosalba Lendo Fuentes

Presentación del número.

28-43

Authors: Nicolas Piedade

This article analyzes the transgression of narrative thresholds in Alfred Jarry’s novel Gestes et opinions du docteur Faustroll, pataphysicien (1911), which expounds the principles of pataphysics, a parodic science dedicated to exceptions and exploring the potentialities of imagination. The hypothesis developed in this reflection is therefore based on the observation that the innovative assessment of Jarry’s work exceeds the corpus to which it is commonly reduced. Through the subjective account of its narrating character, the pataphysical initiation represented in the novel shapes representational paths paying attention to potential and unexpected projections of significance hitherto prohibited by the realistic or naturalistic interpretations of reality. This article interrogates the mechanisms used in the construction of a fictional matrix conceived as a pragmatic support for illustration and experimentation of the principles of pataphysics. Thanks to Vincent Jouve’s methodology for analyzing the reception of the character, this work first examines the nature of the signifying mechanisms used by Alfred Jarry in the conception of doctor Faustroll as the initiator of the pataphysical science. The instability of his composition thus appears depending on a displaced fiction-al practice, playing with processes of fragmentation and refraction of meaning. The metalepsis, a narrative figure examined by Gérard Genette, then turns out to be a particularly fruitful entry for a narratological analysis of the narrative transgressions established by the pataphysical writing regime.

58-77

Authors: Nair Anaya Ferreira

Ama Ata Aidoo is known for openly questioning the legacy of British colonialism in Africa, and this constitutes the main subject-matter of her large narrative, poetic and dramatic oeuvre. In her first novel, Our Sister Killjoy (1977), Aidoo defies the European representational models which deny the history of the continent and continues to perpetuate racial stereotypes as means of exclusion. The aim of this article is to examine the ways in which thanks to a poignant and masterly use of irony and satire Aidoo destabi-lizes three important European genres: travel narratives, the novel of formation, and the epistolary novel. I contend that the presence of a narrative voice deeply rooted on African oral traditions and that irreverently interrogates the contradictions of a universalist colonial discourse opens a satirical space in which the protagonist can only adopt an ethical and moral stance against the purported superiority of European culture. Using the trope of the squint, an out-of-focus gaze which inverts and subverts European values, Aidoo poignantly identifies the paradoxes underlying the postcolonial condition.

90-104

Authors: Imelda A. Ojinaga

Due to the technological evolution in which we are immersed, we increasingly incorporate technology into didactic work. In recent months, many teachers have become familiar with the use of different interactive platforms, podcasts, and web pages. However, there are tools that are part of the daily life of students and that we can take advantage of to achieve educational objectives in class. The following article aims to show that the use of the social network Instagram as a teaching tool in foreign language classes is effective and useful. The dynamics of social networks create an optimal collaborative environment for the acquisition of knowledge, mainly on culture and language. As a preamble to the techniques used in language classes at the School of Philosophy and Literature of the National Autonomous University of Mexico (unam), two studies from foreign universities are addressed, where there seems to be no common context, and which, nevertheless, yield similar results and recommend the use of Instagram in class, as it has proven to be a tool to improve motivation, language acquisition, and progress. Finally, some techniques and activities carried out in the new virtual context are shown in which the student-teacher dynamic currently arises and develops. Each of the activities is explained and justified; in the same way, the results and the changes that the use of the social network produced in the students of the second semester of the BA program in Italian Studies at unam are presented.

110-113

Authors: Berenice Ortega Villela

RIVERA GARZA, Cristina. (2021). El invencible verano de Liliana. Literatura Random House.

7-9

Authors: Ute Seydel

Presentación del número.

30-43

Authors: José Luis Gómez Vázquez

This article outlines a particular reading of Viagens na Minha Terra, by the Portuguese writer Almeida Garrett. It focuses on the need for a critical perspective of the Portuguese situation in the middle of the 19th century, placed in a European context of great political upheaval and industrial development. This reading highlights the peculiarity of the journey that originated the book—i.e., a journey into the Portuguese territory that appears as an inversion of the traditional national journey narratives related to overseas discoveries and expeditions. On the other hand, this reading heeds on the symbolical value of the city visited, Santarém, where Garrett’s vision of a Portuguese national becoming takes place. As a result of this vision, Garrett pointed out a direction for the country’s development and its self-representations. Among them, the recognition of the loss of a central place in the modern world’s dynamics appears, implying a new peripheral position for the country. From there, Portugal would strive to build a self-image having to choose between traditional representations and a modern self-image that is to be projected towards the outside world through its historical heritage and its integration into a still-budding tourist industry.

61-73

Authors: Monique Landais

This article undertakes a chosen journey through the various avant-garde manifestations that flourished since the end of the 19th century to the 60s. The reasons for their emergence and the excesses of their creations constitutes the axes of this essay. Starting from the fanciful imaginary of Alfred Jarry incarnated by King Ubu,we will arrive at the sarcasms of Boris Vian singing La Java des bombes atomiques, to end with the convulsive beauty of Paul Éluard. By proclaiming themselves as the defenders of anti-art, they reject reason and rely on the absurd. They are characterized by chaos and imperfection, which leads them to sometimes commit destructive acts of mythical works whose sacred value is rooted in popular opinion. In turn, they advocate non-signification and contradiction as the guiding principles of their creation. Consistent with their aspirations for total independence and in whatever fields, including politics, they experience absolute creation freedom. Provocation, transgression, and subversion animate these texts eager to open new poetic horizons of writing and reading. From a double approach, theoretical and critical, we will try to forge a renewed vision of this disconcerting creation through contemporary expectations.

87-102

Authors: Montserrat Mira Mosso

At times, when one assesses whether a translation is apt or not so much, the evaluation criteria are limited to its legibility or fluency, or else, to its foreignizing or domesticating nature. Nevertheless, following Jiří Levý’s The Art of Translation and his ideas about literary translation, in this work I consider it more fruitful not only to establish the evident characteristics of the text as a starting point, but, above all, the poetics of its writer. For this research I will focus on the Italian poet Umberto Saba (Trieste 1883 – Gorizia 1957) and his most important ideas about poetry and a poet’s craft, especially on his essay “Quello che resta da fare ai poeti,” in which the author asserts that, for poets, the only thing that remains is to write honest poetry. Using Saba’s poetics of “honest poetry” as a starting point, I will try to determine if some of the poetic principles exposed by Saba can be recognized in his poems even after a translation process. For my analysis I will use “La capra”, one of the Italian poet’s most emblematic works, to later present and compare the Spanish translations by Antonio Colinas (1977), Ana María del Re (1989) and Guillermo Fernández (2006).

108-111

Authors: Jorge Alcázar

REID, Susan. (2019). D. H. Lawrence, Music and Modernism. Cham: Palgrave Macmillan-Springer Nature.