Anales de Literatura Hispanoamericana (ISSN 0210-4547, ISSN-e 1988-2351) is an annual journal that publishes studies specialising in Spanish-American Literature. This journal is divided into several sections, with some focussing on a specific topic and other dealing with miscellaneous works. Every issue contains a section on Modernism an Spanish-American Literature from the end of the twentieth known as the Ruben Dario Archive. Books are reviewed at the end of the publication. It is one of the few Spanish University journals that focusses exclusively on Spanish-American Literature.
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The worldview of trauma in the work of Carmen Berenguer and Lina Meruane
This work raises the relationship between memory and trauma in the work of Carmen Beren-guer and Lina Meruane. Both authors evoke the image of the confrontation of Chilean youth against political domination during the social outbreak of 2019, which questions the paradigm of the prevailing order. The repression and blindness of the protesters responds to a police strategy reiterated in Latin America, which causes the disarticulation of the social body and leads to the rethinking of the eyes of memory in the narrative.
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Sartre y la América Latina comprometida. Apropiaciones, desvíos y cuestionamientos en el campo literario
Copyright (c) 2026 Anales de Literatura Hispanoamericana
Sartre's theatre in Buenos Aires: Dirty Hands, stage version by Eva Halac (Teatro San Martín, 2022)
The following paper explores the latest reception of Jean-Paul Sartre's plays in Buenos Aires, based on Eva Halac's stage version of Dirty Hands at the Teatro San Martín (2022). Its interest lies in its proximity in time (which implies a position on the validity of Sartre's text in the 21st century), the singular politics of difference implemented by the director, and the positive significance it has had in contemporary theatre in Buenos Aires, particularly among spectators and specialised critics.
This essay attempts to offer a glimpse of the way in which existentialist ideas arrived in Mexico and the conditions of reception of the Mexican circumstance. It mentions the most representative themes and thinkers. It talks about a writer close to Dostoyevsky and existentialism, José Revuelta, and how Sartrean ideas became interwoven with education after the student movements of 1968.
Sartre's Role in the Cuban Revolution (1960): A Textual Journey from Enthusiasm to Disillusionment
In early 1960, Sartre and Beauvoir traveled to Cuba at the invitation of the newspaper Revolución. During their stay—accompanied by an entourage of drivers, journalists, translators, and other assistants—they toured the island, mingled with the people, and met with the leaders of the Cuban revolution (Fidel Castro, Ernesto Guevara, Carlos Franqui, Enrique Oltuski, etc.) with the aim of gaining a deep understanding of the reality of the country. Sartre's report was published in a series of articles in French in a French newspaper, although it was translated into Spanish and published with other texts under the title Sartre visita a Cuba. Sartre's words are complemented by those of Beauvoir and other Cuban authors who engaged in dialogue with the French intellectual's text.
A New Ethics of Criticism: What Is Literature? by J.P. Sartre and the Generation of the 1950s in Peru
This essay focuses on the possible reception path of Jean-Paul Sartre's ideas in his essay "What is Literature?" as a presentation of a series of fundamental theoretical categories for thinking about literature and the role of the writer in relation to the historical and social context in which the Generation of the 1950s in Peru was inscribed. To this end, we will emphasize the interpretation of these ideas by Sara María Larrabure and, to a greater extent, Eduardo Zavaleta, since, based on their reflections on the notion of commitment and literary form, we can observe the outline of a novel morality of criticism that emerges from the ways of reading Sartre's essay and whose pregnance can be observed in the interpretive strategies put into operation by intellectuals in the magazines of the time.
Sartre's presence in Buenos Aires literary magazines (1945-1981), a panoramic approach
This article provides a panoramic and diachronic review of Sartre's influence in Buenos Aires journals between 1945 and 1981. To this end, it is divided into three chronological stages: 1945-1959, that is, the beginning of the Cold War until the outbreak of the Cuban Revolution, a period in which the magazines Sur, Capricornio and Contorno gained prominence; 1960-1975, that is, when Cuba acquired political and cultural centrality for the new left that was emerging in Argentina; and, more briefly, 1976-1981, when the Argentine dictatorship necessarily conditioned the circulation of political ideas in the cultural magazines.
Engaging with Total Reality. The Third Anachronistic Importation of Sartrean Ideas and Their Infiltration into Argentine Surrealism (1958-1967)
The introduction of Sartrean thought into Argentina exemplifies a case of cultural importation that illustrates how ideas transform upon contact with a new cultural landscape and discursive universe. Having occurred in distinct stages characterized by varying conditions of both the reception context and the philosopher's own evolving notions and positions, it activated different spheres of this interaction. This study focuses on the specific period when Sartre's ideas became “popularized” among the Argentinean intelligentsia and infiltrated the discourse of Argentinean surrealists between the late 1950s and the 1960s. To achieve this, the paper first examines the concept of cultural importation, providing a reflective framework. Then it analyzes how these ideas originated and coexisted within their original French context to better comprehend the anachronisms and displacements resulting from their importation. Finally, the study scrutinizes three short-lived journals associated with the Argentinean surrealist group, which demonstrate the convergence of these ideas and the discursive environment in which they circulated: Boa (1958-1960), Cero (1964-1967), and La Rueda(1967).
The first Sartre and the Generation of '45. Atmosphere and existentialist literature in Uruguayan cultural magazines (1945-1952
This article deals with the reception of Jean-Paul Sartre's work in the Uruguayan cultural field between 1945 and 1952 through its circulation in translations, bibliographical reviews and interpretation essays published in magazines operated by authors of the Generation of '45. We begin by analyzing the factors that influenced the reception of Sartrean existentialism as a sign of the immediate postwar period and a phenomenon of intellectual latency of regional character, to then reconstruct the channels of circulation and the contribution of literary critics in the first readings of the figure and work of the French intellectual. The analysis of newspapers and cultural magazines allows us to reveal a first reception of Sartre as an expansive wave, strongly literary and immersed in the existentialist atmosphere, and one that we can differentiate from his later political reception. The work also sheds light on the discursive and critical operations around Sartre and the processes of intellectual validation among Uruguayan critics from the defense of a direct approach to the original works in French; the ability to differentiate the existentialist phenomenon of fashion from the Sartrean intellectual background and a critical review of the Sartrean reception as a differentiating element among intellectuals.
Jean-Paul Sartre and Latin American narrative Boom
Jean-Paul Sartre's influence on twentieth-century Latin American narrative has a special chapter in what was the boom of that narrative in the sixties and, within it, it should be highlighted the decisive influence on authors as different from each other as Ernesto Sabato or Mario Vargas Llosa, as well as on the criticism that legitimized the phenomenon. In addition, although the theories of What is literature? had repercussions since the fifties, the triumph of the Cuban Revolution and the new publishing diffusion forced novelists and critics to update and revise the relations between literature and political praxis. Added to this was the importance of Sartre as a public figure, which also had consequences at the Latin American level in those years.
The Name of the Affection: Julián del Casal
This article examines the work of Julián del Casal and the various approaches that literary and academic critics have taken toward him and his body of work throughout the 20th century.
Nietzsche in Spanish American modernism: Rubén Darío (“Lo fatal” and “Nocturno”)
This article presents a strategic review of the reception of Friedrich Nietzsche's thought in Latin America and in the work of Rubén Darío, considering its insertion in the context of Latin American modernism. It explores the German author's philosophical and aesthetic appropriation, mediated by fin-de-siècle French culture and by the tensions between secularisation, Christian tradition and the desire for cultural renewal. The study begins with a review of the general contextualisation of Nietzsche's presence in Latin America, with attention to figures such as José Enrique Rodó, before focusing on the ambiguous figure of Darío as a reader of the philosopher. Through a comparative analysis of the poems “Lo fatal” and “Nocturno”, it examines how the poet manifests a torn attitude influenced by Nietzsche. The figure of Nietzsche appears as an emblem of broken modernity, which Darío assumes in a tragic rather than affirmative key.
Los peregrinos inmóviles (1944) by Gregorio López y fuentes in the context of the political-ideological debate on “national unity”
Los peregrinos inmóviles (1944) by López y Fuentes has often been considered an indigenous novel, even though it radically departs from the canonical model. In reality, the novelist proposes a mythical review of the country's history, in which internal conflicts and civil wars have prevailed, leaving it in a position of weakness in the face of attacks by foreign nations. However, the novelist raises the possibility of overcoming the differences that have hampered its development, especially ethnic ones, through a racial mixing that does not renounce indigenous roots and the integration of all its social components that establish nationality, in accordance with the policy of "National Unity" defended by the presidency of Ávila Camacho.
Do not touch, danger! Strange and sinister objects in Silvina Ocampo's stories.
The short stories of Argentine writer Silvina Ocampo (190-1993) are characterized by a grotesque expression of everyday reality, which often includes elements of the fantastic, supernatural, and mysterious. Her characters, frequently children, servants, and women, live in a world where anything is possible. It is a world of cruelty and humour, but above all a world where conventions are broken, values and meanings are questioned, where, in short, things happen that should not happen (as Sylvia Molloy states, “what we would expect to read occurs alongside what we would not expect to read”; 1978: 244). One of the key elements through which the strange enters her fictional world is banal, everyday objects, which nevertheless have properties and abilities that also alter the established order. This article will analyze several of these stories to see how Silvina Ocampo handles the strange in relation to the most normal: photographs, dresses, mirrors, etc.
Cervantes Studies and Novel Theory in Sergio Ramírez’s Crime Trilogy
This article examines the coherence between Sergio Ramírez’s literary theory and practice (strongly influenced by Cervantes’s poetics) in the author’s crime trilogy, which embodies narrative concepts such as verisimilitude, neutrality, metafiction, and intertextuality. Through his works, Sergio Ramírez offers an original, hybrid form of crime fiction, halfway between the neo-detective novel (rational and morally committed) and the anti-detective novel (playful and self-reflective). This fusion takes shape in a multifaceted realism, clearly comparable to the Cervantesian paradigm, which the Nicaraguan writer revisits and renews.
The Narrator’s Role and the Metafictional Dimension in the Novel: La distancia que nos separa by Renato Cisneros
The aim of this article is to examine the concept of autofiction and identify the metafictional techniques employed in Renato Cisneros’s Peruvian novel *La distancia que nos separa*. Our ultimate goal is to determine whether this is an autofictional novel and to identify the assumptions and conditions from which the author proceeds in constructing his text.
El ecofeminismo, el entredós ecológico y feminista, hermana la opresión del cuerpo femenino y la explotación del cuerpo natural por la misma infraestructura ahogadora del tecnocapitalismo. Teóricas como D’Eaubonne, Shiva, Plumwood o Warren revelan que la histórica vulneración de la mujer y la vigente crisis medioambiental comparten una circularidad opresiva, una similar matriz de acoso, dominación y acumulación propia del patriarcado tecnocapitalista. De este modo, el cuerpo femenino y el cuerpo natural se convierten en territorios políticos y escenarios económicos e ideológicos, pues ambas ya zonas de combates sufren, de modo parecido, inscripciones simbólicas inferiorizantes por parte del consumerismo hiperantropocéntrico. Al develar estas conexiones aplastadoras de ambas corporalidades, surge el ecofeminismo como crítica radical e impulsa alternativas que se centren en combatir toda opresión, sea cual fuere y esté donde esté. En parecido contexto de crisis ambiental, esta reflexión investiga cómo el poder tecnocapitalista marca simbólica y similarmente ambos cuerpos y revela el ecofeminismo como herramienta crítica imprescindible para la fundación de sociedades ecosostenibles y posthumanistas
Ecofeminism, the ecological and feminist interweaving, links the oppression of the female body and the exploitation of the natural body under the same suffocating infrastructure of technocapitalism. Scholars such as D’Eaubonne, Shiva, Plumwood, and Warren reveal that the historical violation of women and the ongoing environmental crisis share the same oppressive circle, a similar matrix of harassment, domination, and accumulation rooted in technocapitalist patriarchy. In this way, both the female body and the natural body become political territories and economic and ideological battlegrounds, as both, already zones of struggle, endure similar symbolic inferiorisation under hyper-anthropocentric consumerism. By unveiling these crushing connections between both bodies, ecofeminism emerges as a radical critique and drives alternatives that focus on combating all forms of oppression, wherever they exist. Against the backdrop of environmental collapse, this reflection explores how technocapitalist power symbolically and similarly marks both bodies, revealing ecofeminism as an essential critical tool for the foundation of ecosustainable and posthumanist societies.
Nicolás Guillén: Faithful Helmsman of a Paper Boat
This work is a literary analysis of the collection of poems Por el Mar de las Antillas anda un barco de papel written and published by the national poet of Cuba, Nicolás Guillén Batista (1902-1989), better known as Nicolás Guillén. This text is a testimony to Guillen’s poetic talent and his commitment to his land and his people. It was his last work dedicated to children and young people, which is why it is significant in reflecting their social realities in the Caribbean. The collection of poems is rich in symbolism where not only the life of the smallest of the houses is celebrated but also social injustices are criticized and the voice of the poet becomes a symbol of hope. From the results obtained from this work, the literary figures stand out as aesthetic resources and the use of an accessible, cheerful, childlike and often simple language, although loaded with deep meaning with which he managed to transmit complex ideas about identity, suffering and the desires of these peoples for a better future.
The destabilization of desire and the self in José Donoso’s El lugar sin límites
El lugar sin límites is a complex short novel that admits multiple readings. In this paper I focus on three key aspects, and I do so by studying a specific character, la Manuela. First, I delve into the narrative perspective of the “inverted carnival” and the category of the grotesque, with caricatural but also compassionate effects. Secondly, I take on the importance of her queer identity avant la lettre. And thirdly, I explore her masochistic libido, which is tragically complemented by the sadistic tendencies of other male characters. These elements converge in the same phenomenon: the destabilization of desire —which fluctuates between attraction and repulsion, vitalism and violence— and the destabilization of identity —between the controllable and the unclassifiable—.
The construction of an identity-based bodieness and resistance in Daisy Rubieras’s novel Reyita sencillamente
For Black women, the theme of corporeality is presented as a violated territory, but also as a space of power that serves as a means of fighting back against the physical and emotional aggressions of their environment. At times, this body is rejected due to a sense of dissatisfaction that the narrative self feels about her appearance. Throughout the analysis of the novel Reyita sencillamente, it becomes clear that this negative feeling stems from a long process of female socialization within a sociocultural context marked by slavery, discrimination, and racism
Theoretical crime fiction: variations in the concepts of detective, truth and criminal in Los casos del comisario Croce, by Ricardo Piglia
Los casos del comisario Croce, by Ricardo Piglia, introduces several modifications to crime fiction. Therefore, first of all, I analyze the traits of the detective, because Croce, unlike the detective in the classic police novel, a symbol of reason, practices an imaginative method, based on the philosophy of Benedetto Croce, combined with the philosophy of Kant and Wittgenstein. Secondly, Piglia shifts the focus of the crime fiction, because in these stories the revelation of the truth does not occupy the climax, on the contrary, attention shifts to what happens after the truth, which is why the notion of truth, related to the notion of justice, is destabilized in the detective fiction. Finally, I analyze the carácter of the criminal, which Piglia problematizes here, form Marx and Foucault, since Piglia questions the status of this figure in the crime fiction. Because this work studies, both explicitly and implicitly, the problems of the crime fiction, sice it is the theorical problema it tries to answer, I propose to name this work as a theoretical crime fiction.
Faúndez V., Edson. Deseo y realidad. Las novelas de Alberto Blest Gana. Valparaíso: RIL editores, 2024.
Tovar, Juan de. Historia mexicana. Editado por Jaime Marroquín Arredondo y José Luis Nogales Baena, Madrid/Sevilla/Frankfurt: Iberoamericana/Editorial Universidad de Sevilla/Vervuert, 2025
Rodríguez Gutiérrez, Milena, María Lucía Puppo y Alicia Salomone (eds.). “Palabras que duelen”: las múltiples voces de las poetas hispanoamericanas (Metapoéticas. Antología de poetas hispanoamericanas contemporáneas. Valencia: Pre-Textos 2024
El Jaber, Loreley. Motines y traición en el Río de la Plata. Un ensayo sobre la voz de la plebe. Buenos Aires, Tinta Limón Ediciones, 2025
Theatre philosophy, events, autopoiesis and infrascience: the thinking of Mauricio Kartun and Javier Daultehe
The article develops the concept of autopoiesis as conceived by the Philosophy of Theater in relation to the theatrical event. In one of its main lines (the Philosophy of Artistic Praxis, production of knowledge in/from/for theatrical practices), two notable Argentine artist-researchers (Mauricio Kartun and Javier Daulte) reflect on autopoiesis from the self-observation of their dramaturgical and scenic work. An appreciation and analysis of the literature of artist-researchers (vast-volume literature in Latin America, which is beginning to be studied) are proposed as a contribution to Theatrology.
en] Fables of the real. Politics of the self to narrate in times of desolation
The article analyzes textual mechanisms focused on different forms of the representation “autofictional” – the “authorial” image. The interest that this procedure has generated in critics in recent years is partly explained by its presence in the works of some of the most significant authors of the present. My hypothesis thinks autofiction as a space where, in its articulation between the textual and the referential, the link between politics and aesthetics are knotted. This essay considers several Latin American writers of recent generations and focuses especially on the work of Nona Fernández, La dimensión desconocida.
Literary subjects and figurations: the deviant autofiction of Dalia Rosetti
This article sets out to think about the forms of construction of the discursive and fictional subject in the narrative of Dalia Rosetti, narrative heteronym of the Argentine poet Fernanda Laguna. In a sort of socioliterary revision of the death of the Author, Rosetti's novels exemplify the return of the authorial self in current narrative, seeking to resolve in the concrete the inequalities that the traditional concept of authorship, based on the idea of the modern subject, entailed, and that had not been compensated by the abstraction that its dissolution implied. But the returning author in Rosetti's novels deactivates, from many fronts, her alliance with the idea of the self that literature in general (and autofiction in particular) has promoted. The mismatches between the empirical author, the fictional author, the narrator and the characters make these novels an example of deviant autofiction, in which the self gradually fills its initial indefinition with everything that surrounds it, thus making possible the collectivization of the first person, which incorporates into its own narrative event subjectivities and experiences that are literarily underrepresented.
The autopoetics of Cristina Rivera Garza: a writing project
Numerous writers have recently published essays in which they reflect on their literary work and writing practices. Among them is Cristina Rivera Garza, who has two fundamental books for Latin American literature in which she develops an aesthetic proposal that dialogues with her own literary work and with contemporary literature. In this sense, based on the concept of "autopoetics" and its specific methodology, we will study Los muertos indóciles. Necroescrituras y desapropiación and Escrituras geológicas as part of a personal writing project and, consequently, of an "authorial project" that the writer has been consolidating in the contemporary literary scene.
The unsaid, the unauthorised and the non-place in Raúl Zurita. A reflection between philology, poetics and archive
In this article we want trace a brief genealogy of the notion of “poetics”, its singularization in relation to the archive and its implementation in literary studies, especially by authors such as Rocío Badía Fumaz, with the aim of placing it in the context of the new revisions of philology, but above all as a possible and timely tool for scenarios of complex, expanded, tense languages, such as the work of the Chilean poet Raúl Zurita and in particular his essays not published in books nor largely reviewed by the criticism such as Literature, language and society (1973-1983) (1983) and “My testimony” (1985) from which a kind of bioeschatology was founded early on that will cross all of his work to the present.