{"id":1366,"date":"2017-12-24T19:00:28","date_gmt":"2017-12-24T18:00:28","guid":{"rendered":"http:\/\/www.revistaelhipogrifo.com\/?page_id=1366"},"modified":"2024-09-18T08:11:55","modified_gmt":"2024-09-18T07:11:55","slug":"8-2017","status":"publish","type":"page","link":"https:\/\/www.revistaelhipogrifo.com\/?page_id=1366","title":{"rendered":"08 [2017]"},"content":{"rendered":"

 <\/strong><\/span>ISSN 2420-918X <\/strong><\/em><\/span><\/h4>\n

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\/\/\/ MONOGR\u00c1FICA<\/strong><\/span><\/h4>\n

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\u00abLITERATURA E INMIGRACI\u00d3N: UN DESAF\u00cdO PARA LAS LITERATURAS NACIONALES\u00bb<\/strong><\/span><\/h4>\n

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Fernanda Elisa Bravo Herrera y Claudia Garnica de Bertona.<\/strong> <\/span>Presentaci\u00f3n del dossier <\/em>1-6 <\/a><\/span><\/strong><\/span><\/h4>\n

Zulma Palermo.<\/strong><\/span> Diferencia epist\u00e9mica y diferencia colonial. El rol del comparatismo contrastivo y de las hermen\u00e9uticas plurit\u00f3picas <\/em>7-25<\/a><\/span><\/strong><\/span><\/h4>\n

Adriana Crolla. <\/strong><\/span>Leer y ense\u00f1ar la italianidad \u00abotra\u00bb desde el fen\u00f3meno migratorio de la Pampa Gringa <\/em>26-37<\/a><\/span><\/strong><\/span><\/h4>\n

Fernanda Bravo Herrera.<\/strong><\/span> Voces y representaciones de la inmigraci\u00f3n italiana en la literatura argentina <\/em>38-56<\/a><\/span><\/strong><\/span><\/h4>\n

Marcela Beatriz Sosa.<\/strong><\/span> De (in)migrantes y escrituras migrantes en el teatro argentino: identidades y territorialidades en di\u00e1logo <\/em>57-73<\/a><\/span><\/strong><\/span><\/h4>\n

Claudia Garnica. <\/strong><\/span>Literatura de migrantes alemanes y literatura nacional argentina y alemana (o el problema de la invisibilidad) <\/em>74-80<\/a><\/span><\/strong><\/span><\/h4>\n

Ana Ruiz.<\/strong><\/span> Empoderar la migraci\u00f3n: la tertulia literaria El Butac\u00f3n de Hamburgo y su revista \u00abViento Sur\u00bb <\/em>81-92<\/a><\/strong><\/span><\/span><\/h4>\n

Gerson Roberto Neumann.<\/strong><\/span> A literatura em l\u00edngua alem\u00e3 produzida no Brasil. Imigra\u00e7\u00e3o e literatura entre duas culturas <\/em>93-107<\/a><\/strong><\/span><\/span><\/h4>\n

Graciela Caram Catalano.<\/strong><\/span> (E)migraci\u00f3n italiana y exilio. Cruces de fronteras territoriales y culturales provocadas por el exilio: el caso Pavese <\/em>108-128<\/a><\/strong><\/span><\/span><\/h4>\n

Tatiana Navallo.<\/strong><\/span> Los l\u00edmites de la vulnerabilidad en el \u00abArte po\u00e9tica\u00bb de Rosina Conde <\/span><\/em>129-145<\/a><\/span><\/strong><\/h4>\n

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\/\/\/ EL HIPOGRIFO HISP\u00c1NICO<\/strong><\/span> <\/strong><\/h4>\n

Monica Di Girolamo.<\/strong><\/span> Emigrare per dimenticare, emigrare per tornare a vivere:<\/em> Besos de Arena e <\/em>La rosa escondida di Reyes Monforte <\/em>146-156<\/a><\/span><\/strong><\/span><\/h4>\n

Ma. de Lourdes Ortiz S\u00e1nchez.<\/strong><\/span> Amarilis a Belardo: ep\u00edstola de una escritora novohispana a un autor peninsular <\/em>157-168<\/a><\/strong><\/span><\/span><\/h4>\n

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\/\/\/ EL HIPOGRIFO IT\u00c1LICO<\/strong><\/span><\/h4>\n

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Daniel Del Percio.<\/strong><\/span> El orillero en el laberinto: el problema del mal en las po\u00e9ticas de Jorge Luis Borges, Mario Luzi y Roberto Arlt <\/em>169-181<\/a><\/strong><\/span><\/span><\/h4>\n

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\/\/\/ ENTREVISTAS<\/strong><\/span><\/h4>\n

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Graciela Caram Catalano. <\/strong><\/span>Intervista con il professore Antonio Catalfamo, direttore dell\u2019osservatorio permanente sugli studi pavesiani del mondo <\/em>1<\/a><\/span><\/strong>82-190<\/a><\/strong><\/span><\/span><\/h4>\n

Jes\u00fas G\u00f3mez de Tejada. <\/strong><\/span>Entrevista a Graziella Pogolotti, autora de<\/em> Dinosauria soy: memorias (2011) <\/em>191-200<\/a> <\/em><\/span> <\/strong><\/span><\/h4>\n

Natalia Plaza Morales. <\/strong><\/span>El poder de la mirada hecho deseo. <\/em>Entrevista con Ana Clavel <\/em>201-214<\/a><\/strong><\/span><\/span><\/h4>\n

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\/\/\/ MISCEL\u00c1NEA<\/strong> <\/span><\/h4>\n

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Ana Margarita Barandela.<\/strong><\/span> La memoria de las voces silenciadas de las esclavas del Rinc\u00f3n <\/em>215-230<\/a><\/strong><\/span><\/span><\/h4>\n

Al\u00ed Calder\u00f3n. <\/strong><\/span>A la manera de Arqu\u00edloco. El lirismo como fundamento de una escritura constructiva<\/em> 231-251<\/a><\/span><\/strong><\/span><\/span><\/h4>\n

Cynthia Carggiolis Abarza. <\/strong><\/span>Mu\u00f1equita porte\u00f1a<\/em>: E<\/em>l imaginario femenino del tango en la obra de Silvina Ocampo <\/em>252-264<\/a><\/span><\/strong><\/span><\/h4>\n

Alejandra Costas Larreteguy.<\/strong><\/span> Un acercamiento a la po\u00e9tica de Fabi\u00e1n Casas: instant\u00e1neas de lo cotidiano <\/em>265-277<\/a> <\/strong><\/span><\/span><\/h4>\n

Romina Jimena L\u00f3pez.<\/strong><\/span> Literatura de  inmigraci\u00f3n en la Argentina de 1880-1920: la construcci\u00f3n alternativa del inmigrante en las novelas de Adolfo Sald\u00edas, Alberto Gerchunoff y Carlos Mar\u00eda Ocantos <\/em>278-289<\/a><\/strong><\/span><\/span><\/h4>\n

Diana Ram\u00edrez Pedraza.<\/strong><\/span> Lenguaje y mito en <\/em>\u00abSatarsa\u00bb de Julio Cort\u00e1zar <\/em>290-300<\/a><\/strong><\/span><\/span><\/h4>\n

Mar\u00eda Ver\u00f3nica Guti\u00e9rrez.<\/strong><\/span> La ciudad y el fantasma: el M\u00e9xico espectral de Juan Villoro <\/em>301-310<\/a><\/strong><\/span><\/span><\/h4>\n

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\/\/\/ CREACI\u00d3N<\/strong><\/span><\/h4>\n

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Mar\u00eda In\u00e9s Aldao (ARGENTINA).<\/strong> <\/span>Punchaw. Poemas <\/em>311-313<\/a><\/strong><\/span><\/span><\/h4>\n

Carlos Fr\u00fcbeck Moreno (ESPA\u00d1A\/ITALIA).<\/span> <\/strong>Coro de invierno (selecci\u00f3n) <\/em><\/span>314-319<\/a><\/strong><\/span><\/h4>\n

Daniel Calabrese (ARGENTINA\/CHILE). <\/strong><\/span>\u00ab<\/em>El ahogado<\/em>\u00bb<\/em> y otros poemas <\/em>320-324<\/a><\/strong><\/span><\/span><\/h4>\n

Ronald Gerardo Hern\u00e1ndez Campos (COSTA RICA).<\/strong><\/span> \u00ab<\/em>El agua fr\u00eda<\/em>\u00bb<\/em> y otros cuentos <\/em>325-326<\/a><\/strong><\/span><\/span><\/h4>\n

Ulises Ju\u00e1rez Polanco (NICARAGUA).<\/strong><\/span> \u00abAmor interrumpido\u00bb \/ \u00abAmore interrotto\u00bb (traducci\u00f3n de Eleonora Sabatini) <\/em>327-330<\/a><\/span><\/strong><\/span><\/h4>\n

Miguel \u00c1ngel Las Heras (ESPA\u00d1A).<\/strong><\/span> \u00abProhibido enamorarse de una mujer herida\u00bb y otros poemas <\/em>331-333<\/a><\/strong><\/span><\/span><\/h4>\n

Lucas Margarit (ARGENTINA).<\/strong><\/span> Bernat Metge (tercera parte) <\/em>334-337<\/a><\/strong><\/span><\/span><\/h4>\n

Melisa Nungaray (M\u00c9XICO).<\/strong><\/span> \u00ab<\/em>En alg\u00fan lugar descansa el cuerpo<\/em>\u00bb<\/em> y otros poemas <\/em>338-341<\/a><\/strong><\/span><\/span><\/h4>\n

Mar\u00eda de los \u00c1ngeles P\u00e9rez L\u00f3pez (ESPA\u00d1A).<\/strong> <\/span>\u00c1lgebra de los d\u00edas (selecci\u00f3n) <\/em>342-346<\/a><\/strong><\/span><\/span><\/h4>\n

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\/\/\/ RESE\u00d1AS<\/strong><\/span><\/h4>\n

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Alejandro Arteaga Mart\u00ednez.<\/strong><\/span> La s\u00edntesis rara de un siglo loco. Poes\u00eda homoer\u00f3tica en M\u00e9xico, de Sergio T\u00e9llez-Pon <\/em>347-350<\/a> <\/strong><\/span><\/span><\/h4>\n

Fernanda Elisa Bravo Herrera.<\/strong><\/span> En busca de Elena, de Liliana Bellone <\/em>351-354<\/a> <\/strong><\/span><\/span><\/h4>\n

Carlos Garc\u00eda.<\/strong> <\/span>Voces, de Davina Pazos <\/em>355-360<\/a><\/strong><\/span><\/span><\/h4>\n

Sandra Gasparini.<\/strong> <\/span>La casa de los eucaliptus, de Luciano Lamberti <\/em>361-363<\/a> <\/strong><\/span><\/span><\/h4>\n

Lucila Lastero.<\/strong><\/span> Anzoolog\u00eda, de Leopoldo Castilla <\/em>364-366<\/a><\/strong><\/span><\/span><\/h4>\n

Giulia Nuzzo. <\/strong><\/span>In (nessuna) Patagonia, de Mariano B\u00e0ino <\/em>367-372<\/a><\/strong><\/span><\/span><\/h4>\n

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 ISSN 2420-918X  \/\/\/ MONOGR\u00c1FICA \u00abLITERATURA E INMIGRACI\u00d3N: UN DESAF\u00cdO PARA LAS LITERATURAS NACIONALES\u00bb Fernanda Elisa Bravo Herrera y Claudia Garnica de Bertona. Presentaci\u00f3n del dossier 1-6  Zulma Palermo. Diferencia epist\u00e9mica y diferencia colonial. El rol del comparatismo contrastivo y de las hermen\u00e9uticas … Sigue leyendo →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n08 [2017] - Cuadernos del Hipogrifo<\/title>\n<meta name=\"robots\" content=\"index, follow\" \/>\n<meta name=\"googlebot\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta name=\"bingbot\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistaelhipogrifo.com\/?page_id=1366\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"08 [2017] - Cuadernos del Hipogrifo\" \/>\n<meta property=\"og:description\" content=\" ISSN 2420-918X  \/\/\/ MONOGR\u00c1FICA \u00abLITERATURA E INMIGRACI\u00d3N: UN DESAF\u00cdO PARA LAS LITERATURAS NACIONALES\u00bb Fernanda Elisa Bravo Herrera y Claudia Garnica de Bertona. Presentaci\u00f3n del dossier 1-6  Zulma Palermo. Diferencia epist\u00e9mica y diferencia colonial. El rol del comparatismo contrastivo y de las hermen\u00e9uticas … Sigue leyendo →\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revistaelhipogrifo.com\/?page_id=1366\" \/>\n<meta property=\"og:site_name\" content=\"Cuadernos del Hipogrifo\" \/>\n<meta property=\"article:modified_time\" content=\"2024-09-18T07:11:55+00:00\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.revistaelhipogrifo.com\/#website\",\"url\":\"https:\/\/www.revistaelhipogrifo.com\/\",\"name\":\"Cuadernos del Hipogrifo\",\"description\":\"REVISTA SEMESTRAL DE LITERATURA HISPANOAMERICANA Y COMPARADA\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":\"https:\/\/www.revistaelhipogrifo.com\/?s={search_term_string}\",\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"es\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.revistaelhipogrifo.com\/?page_id=1366#webpage\",\"url\":\"https:\/\/www.revistaelhipogrifo.com\/?page_id=1366\",\"name\":\"08 [2017] - Cuadernos del Hipogrifo\",\"isPartOf\":{\"@id\":\"https:\/\/www.revistaelhipogrifo.com\/#website\"},\"datePublished\":\"2017-12-24T18:00:28+00:00\",\"dateModified\":\"2024-09-18T07:11:55+00:00\",\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.revistaelhipogrifo.com\/?page_id=1366\"]}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","_links":{"self":[{"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/pages\/1366"}],"collection":[{"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1366"}],"version-history":[{"count":65,"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/pages\/1366\/revisions"}],"predecessor-version":[{"id":2561,"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/pages\/1366\/revisions\/2561"}],"wp:attachment":[{"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1366"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}