Suchergebnisse

Prólogo -- 1. El exilio -- 2. Una juventud sacrificada -- 3. La alianza -- 4. «Cuando no éramos nadie» -- 5. De Juanito a Juan Carlos -- 6. ¡Por fin llega a sucesor! -- 7. Un príncipe moderno -- 8. Agobios y tanteos -- 9. El animal político despierta -- 10. Frente al golpismo -- 11. Honores y decadencia -- 12. El juancarlismo. ¿Y después? -- Epílogo -- Agradecimientos -- Fuentes y bibliografía -- Créditos

Juan Carlos Onetti is less known in the English-speaking world than other Latin American authors such as Gabriel Garcia Marquez, Júlio Cortázar or Mario Vargas Llosa. To these writers, however, he is 'the master', affectionately regarded as one of the major founders of modern Latin American literature. Born in Montevideo on 1 July 1909, his first short story was published in 1933, winning the prestigious La Prensa prize. In 1939 he joined the editorial staff of the newly-founded magazine Marcha, working as its literary editor and also writing a regular humorous column. Although he left Uruguay two years later for Argentina, his association with Marcha continued, helping to make it Latin America's foremost cultural publication, the tribune of two generations of writers and intellectuals. Until his return to Montevideo in 1955, Onetti worked in Buenos Aires as a journalist, translator and editor of English-language novels. In 1957 he was appointed Director of Montevideo's Municipal Libraries, and ten years later became a member of the governing body of Uruguay's National Theatre (Comedia Nacional). In 1972, he was chosen as the 'best Uruguayan narrative writer of the last 50 years' by 35 writers and poets interviewed by Marcha. It was his association with Marcha which finally cost Onetti his freedom and his country after the 1973 military takeover. Never an overtly political figure, Onetti had nevertheless given his support to the left-wing Frente Amplio (' Broad Front') electoral coalition, and was highly regarded for his independent, disquieting vision of Uruguayan society. In 1974 he was a member of the jury for the annual Marcha literary competition. The story chosen for the prize, El guarda espaldas ( 'The Henchman') by Mercedes Reiss, was taken by the authorities as an attack on the police. Marcha was closed for good, and several members of its staff, including Onetti, arrested ( see Index on Censorship 4/1974 and 2/1979). After a week in a police cell and four days in a sports stadium, he was held for three months in a psychiatric clinic before being brought to trial. Among the defendants found innocent of any charge, Onetti later left Uruguay, first for Italy, then for Spain, where he now lives.

This article analyzes the short story "Agnieszka en la costa" by Hugo Fontana(included in his book Desaparición de Susana Estévez, 2015) as a sophisticated re-elaborationof several narrative materials (characters, scenes, and topics) from the fictional world ofJuan Carlos Onetti. I aim to reveal the painstaking narrative design of Fontana's work, aswell as the implications on meaning of this literary remaking. Fontana shares with Onetti astrong interest in the detective novel and they both incorporate resources from this genreto their works. However, Fontana shows an additional facet in his use of the detective noveldevices: a critique about the political situation. ; En este trabajo se ofrece un análisis de los préstamos y recreaciones que lleva acabo Hugo Fontana de los materiales narrativos provenientes de la obra de Juan Carlos Onettien su cuento "Agnieszka en la costa" (incluido en Desaparición de Susana Estévez, 2015).Mi objetivo es revelar tanto su esmerada adaptación como las implicancias semánticas queresultan de esa labor. Onetti era lector de novela negra y varios textos suyos recrean losmecanismos narrativos de este género. En Fontana encontramos un interés parecido, perocon una faceta nueva: la denuncia política. ; Este trabalho oferece uma análise dos emprétimos e recriações que Hugo Fontanafaz dos materiais narrativos provinientes da obra de Juan Carlos Onetti em seu conto"Agniezka en la costa" ( incluído em Desaparición de Susana Estévez, 2015). Meu objetivo érevelar tanto sua cuidadosa adaptação como as implicações semânticas que resultam destetrabalho. Onetti era leitor de romance negro e vários textos seus recriam os mecanismosnarrativos deste gênero. Em Fontana encontramos um interesse parecido, porém com umanova faceta: a denúnica política.

Taking advantage of our tenth edition, we once again have a conversation with Juan Carlos Monedero, who was the first interviewee of our magazine. At that time, five years ago, Juan Carlos had the creation of Podemos in his hands, although we did not find out until later. Today, after five years of political upheaval in Spain, with the strong irruption of Podemos in Congress and amidst political scandals by the Spanish government, we have the opportunity to interview Juan Carlos and discuss the political situation in Spain and Latin America. ; Aprovechando nuestra décima edición volvemos a tener una conversación con Juan Carlos Monedero, quien fue el primer entrevistado de nuestra revista. En aquella época, hace ya cinco años, Juan Carlos tenía entre manos la creación de Podemos, aunque no tuvimos conocimiento hasta fechas posteriores. Hoy, después de cinco años de agitación política en España, con la fuerte irrupción de Podemos en el congreso y entre escándalos políticos del gobierno español, tenemos la oportunidad de entrevistar a Juan Carlos y dialogar sobre la situación política en España y América Latina. ; Aproveitando a nossa décima edição, mais uma vez conversamos com Juan Carlos Monedero, que foi o primeiro entrevistado de nossa revista. Naquela época, cinco anos atrás, Juan Carlos tinha a criação do Podemos nas mãos, embora só tenhamos descoberto mais tarde. Hoje, após cinco anos de convulsão política na Espanha, com a forte irrupção do Podemos no Congresso e em meio a escândalos políticos do governo espanhol, temos a oportunidade de entrevistar Juan Carlos e discutir a situação política na Espanha e na América Latina.

Last September Juan Carlos Pugliese (h) passed away, who was the first elected Rector of the National University of the Center of the Province of Buenos Aires (UNCPBA) by the University Assembly of 1986 and reelected in 1989. Associate Professor of Educational Policy and colleague of the Department of Politics and Management until his retirement in 2016, and Associate Researcher of the Nucleus of Educational and Social Studies (NEES) since 2013, at the Faculty of Human Sciences. In this issue of Integración y Ciencia magazine, we don't want to stop paying tribute to a great colleague. ; En el pasado mes de setiembre falleció Juan Carlos Pugliese (h), quien fuera primer Rector electo de la Universidad Nacional del Centro de la Provincia de Buenos Aires (UNCPBA) por la Asamblea Universitaria de 1986 y reelecto en 1989. Profesor Asociado de Política Educativa y colega del Departamento de Política y Gestión hasta su retiro en 2016, e Investigador Asociado del Núcleo de Estudios Educacionales y Sociales (NEES) desde el año 2013, en la Facultad de Ciencias Humanas. En este número de la revista Integración y Conocimiento, no queremos dejar de homenajear a un gran colega. ; Em setembro passado faleceu Juan Carlos Pugliese (h), primeiro Reitor eleito da Universidade Nacional do Centro da Província de Buenos Aires (UNCPBA) pela Assembleia Universitária de 1986 e reeleito em 1989. Professor Associado de Política Educacional e colega do Departamento de Política e Gestão até a aposentadoria em 2016, e Pesquisador Associado do Núcleo de Estudos Educacionais e Sociais (NEES) desde 2013, na Faculdade de Ciências Humanas. Nesta edição da revista Integración y Knowledge, não queremos deixar de homenagear um grande colega.

The author examines "Ella", a story by Uruguayan writer Juan Carlos Onetti, as well as other representations of Eva Peron´s death, by Jorge Luis Borges, David Viñas and Néstor Perlongher. She asserts that in the Argentina of Perón, reality and fiction merged, so all of Eva's biographies would be "a duel of narrative versions between fiction and history or, in any case, a metaphor of history". Rosano claims that in the examined texts, it is reality that a adopts a bizarre appearance. This would be triggered by: decomposition and bad odor as atheme, imposture from the embalmed corpse and the president, an overlapping of political and sexual connotations in the funeral scene, and Eva's image as "a goddess wearing the lace of a small town bride" but also as a suffering and sinister "scarlet zombie". Finally, the author points out the texts' description of the faithful as "thousands of mumbling, mourning necrophiles" submitted to the power of myth. ; La autora reflexiona sobre el relato "Ella", del uruguayo Juan Carlos Onetti, y sobre otras representaciones de la muerte de Eva Perón, escritas por Jorge Luis Borges, David Viñas y Néstor Perlongher. Afirma que en la Argentina de Perón ya confluían realidad y ficción, y que las múltiples biografías de Eva serían "un duelo de versiones narrativas entre la ficción y la historia o, si se prefiere, una metáfora de la historia". Rosano plantea que, en los textos revisados, es la realidad la que adopta contornos fantasmagóricos, disparados por motivos diversos: la descomposición y el tópico del mal olor; la impostura del cuerpo embalsamado y del mandatario; el entrelazamiento entre lo político y lo sexual en la escena del velorio; la imagen de Eva, "una diosa que muestra sus encajes de novia de suburbio" pero también una siniestra y doliente "zombi escarlata". Señala, finalmente, que los textos muestran a los fieles, esos "miles de necrófilos murmurantes y enlutados", sometidos a la potencia del mito.