{"id":31,"date":"2013-04-09T23:52:16","date_gmt":"2013-04-09T23:52:16","guid":{"rendered":"http:\/\/revistaelhipogrifo.com\/?page_id=31"},"modified":"2024-09-18T08:07:59","modified_gmt":"2024-09-18T07:07:59","slug":"numero-1","status":"publish","type":"page","link":"https:\/\/www.revistaelhipogrifo.com\/?page_id=31","title":{"rendered":"01 [2014]"},"content":{"rendered":"

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

<\/h4>\n

PRESENTACI\u00d3N DEL N\u00daMERO  <\/strong><\/span>1-6<\/span><\/a><\/strong><\/span><\/p>\n

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

Iliana Olmedo.<\/strong><\/span> Juan Rejano, editor <\/em>de revistas culturales en el exilio  <\/em>7-24<\/span><\/a><\/span><\/strong> <\/em>
\n<\/span><\/a><\/span><\/span><\/h4>\n

Juan Pascual Gay.<\/strong><\/span> Silencio y evidencia, <\/em>dos directrices de las ideas<\/em><\/span><\/h4>\n

          literarias de Tom\u00e1s Segovia  <\/em>25-43<\/span><\/a><\/span><\/strong>
\n<\/span><\/a><\/span><\/span><\/h4>\n

 <\/em><\/span><\/p>\n

ESTUDIOS MARECHALIANOS<\/strong><\/span><\/h4>\n

Mar\u00eda Rosa Lojo.<\/span> <\/span><\/strong>La met\u00e1fora, ruptura de l\u00edmites ontol\u00f3gicos <\/em><\/span><\/h4>\n

           en <\/em>D\u00edas como flechas de Leopoldo Marechal  <\/em>44-56<\/span><\/a><\/span><\/strong> <\/strong> <\/span><\/span><\/h4>\n

Marisa Mart\u00ednez P\u00e9rsico. <\/strong><\/span>Marechal in\u00e9dito: un fragmento <\/em>de <\/em>Polifemo  57-62<\/span><\/a><\/strong><\/span>
\n<\/span><\/span><\/h4>\n

Javier de Navascu\u00e9s.<\/strong><\/span> Alijerandro: una obra rescatada de Leopoldo Marechal  <\/em>63-70<\/span><\/a><\/span><\/strong>
\n<\/span><\/em><\/span><\/h4>\n

Mirko Olivati.<\/span><\/strong><\/span> Dante secondo Marechal: la rinascita <\/em>dei <\/em>Fedeli d’Amore  71-86<\/span><\/a><\/span><\/strong> <\/span><\/span><\/h4>\n

<\/h4>\n

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

Martina Dal Sasso.<\/strong><\/span> Sa\u00fal Ibargoyen Islas e il fronterizo  <\/em>87-103<\/span><\/a><\/strong><\/span>
\n<\/span><\/a><\/span><\/span><\/h4>\n

Alessia Melis.<\/strong><\/span> L\u2019Italia e il R\u00edo della Plata negli anni Venti e Trenta: Poeti <\/i><\/span><\/h4>\n

           della terra <\/i><\/span>orientale. Antologia di poeti uruguayani<\/i>, di Camillo Cardu  104-114<\/span><\/a><\/span><\/strong>
\n<\/span><\/a><\/span><\/span><\/h4>\n

 <\/p>\n

<\/h4>\n

ART\u00cdCULOS MISCEL\u00c1NEOS<\/strong><\/span><\/h4>\n

Mario Aznar P\u00e9rez.<\/strong><\/span> La Teor\u00eda del T\u00fanel en los cuentos de Julio Cort\u00e1zar.<\/em><\/span><\/h4>\n

            Humanismo m\u00e1gico y heroico <\/em> 115-132<\/span><\/a><\/span><\/strong>
\n<\/span><\/a><\/span><\/span><\/h4>\n

Mara Donat.<\/strong><\/span> Iron\u00eda, intertextualidad e intermedialidad <\/i><\/span><\/h4>\n

             en <\/i>La amigdalitis de Tarz\u00e1n, de Alfredo Bryce Echenique  <\/i>133-147<\/span><\/a><\/span><\/strong>
\n<\/span><\/a><\/span><\/span><\/h4>\n

Ver\u00f3nica del Carmen Guti\u00e9rrez.<\/strong><\/span> F<\/em>iccionalizaci\u00f3n <\/em>de la ciudad en <\/em><\/span><\/h4>\n

             Sangra por la herida <\/span>de Mirta Y\u00e1\u00f1ez  <\/em>148-157<\/span><\/a><\/span><\/strong>
\n<\/span><\/a><\/span><\/span><\/h4>\n

Celina Manzoni.<\/strong><\/span> Ciencia, supercher\u00eda y complot en <\/em>Monsieur Pain  158-169<\/span><\/a><\/span><\/strong>
\n<\/span><\/a><\/span><\/span><\/h4>\n

Diego E. Parra S\u00e1nchez.<\/strong><\/span> Del relato de enigma al neopolicial latinoamericano:<\/span><\/h4>\n

             U<\/em>n an\u00e1lisis comparativo <\/em>del policial de Conan Doyle <\/em><\/span><\/h4>\n

             y Paco Ignacio Taibo II  <\/em>170-182<\/span><\/a><\/strong><\/span>
\n<\/a><\/span><\/h4>\n

Asunci\u00f3n Rangel L\u00f3pez.<\/strong><\/span> La mirada derrokhiana sobre la ciudad. Algunas<\/em><\/span><\/h4>\n

             consideraciones sobre la po\u00e9tica de Pablo de Rokha <\/em>183-201<\/span><\/a><\/strong><\/span>
\n<\/span><\/a><\/span><\/h4>\n

Alba Saura Clares.<\/strong><\/span> El Teatro de la Crueldad y el metateatro <\/em>en la obra <\/em><\/span><\/h4>\n

             de Virgilio Pi\u00f1era. <\/em>Dos viejos p\u00e1nicos frente a <\/em>Las criadas<\/span><\/h4>\n

             de Jean Genet <\/em> 202-215<\/span><\/a><\/span><\/strong>
\n<\/a><\/span><\/h4>\n

 <\/strong><\/p>\n

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

Giuseppe Gatti Riccardi.<\/span> <\/span><\/strong>El escritor con plumas en el pa\u00eds de la <\/em>id\u00e9e re\u00e7ue. <\/em><\/span><\/h4>\n

           Un coloquio <\/em><\/span>parisino con el Premio Cervantes Jorge Edwards  <\/em>216-225<\/span><\/a><\/strong><\/span>
\n<\/a><\/em><\/span><\/h4>\n

<\/h4>\n

 <\/p>\n

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

Jos\u00e9 Barnoya Garc\u00eda (GUATEMALA).<\/strong><\/span> Minificci\u00f3n escogida  <\/em>226-227<\/span><\/a><\/strong><\/span>
\n<\/span><\/a><\/span><\/span><\/span><\/h4>\n

Liliana Bellone (ARGENTINA).<\/strong><\/span> Tr\u00edptico del arte y<\/em> Las iniciales 228-241<\/span><\/a><\/span><\/strong><\/span>
\n<\/span><\/h4>\n

Rafael Courtoisie (URUGUAY).<\/strong><\/span>  <\/em>La obra de Louis Groussac 242-247<\/span><\/a><\/span><\/strong> <\/span><\/span>
\n<\/span><\/a><\/span><\/span><\/span><\/h4>\n

Marco Martos (PER\u00da). <\/strong><\/span>11 poemas del libro <\/span><\/em>Caligraf\u00eda china (in\u00e9dito) 248-253<\/span><\/a><\/span><\/strong><\/span>
\n<\/span><\/em><\/span><\/h4>\n

Vicente Robalino (ECUADOR).<\/strong><\/span> Amanece tanto \u00faltimamente y otros poemas<\/em> 254-256<\/span><\/a><\/span><\/strong><\/span><\/span>
\n<\/em><\/span><\/h4>\n

 <\/p>\n

<\/h4>\n

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

Ezequiel Barbosa Vera.<\/span><\/strong><\/span> El traductor<\/span><\/em> de Salvador Benesdra  <\/span>257-261<\/span><\/a><\/strong><\/span> <\/span><\/span>
\n<\/span><\/span><\/span><\/h4>\n

Nicol\u00e1s Cornejo.<\/strong><\/span> <\/span>Cr\u00f3nicas de Londres <\/em>de Gunter Silva Passuni 262-264<\/span><\/a> <\/span><\/strong>
\n<\/span><\/a><\/span><\/span><\/span><\/h4>\n

Katiuscia Darici.<\/strong><\/span> La invenci\u00f3 de l\u2019espai <\/i>de Enric Bou 265-267<\/span><\/a><\/span><\/strong> <\/span>
\n<\/span><\/a><\/span><\/span><\/span><\/h4>\n

Marisa Mart\u00ednez P\u00e9rsico.<\/strong><\/span> Los c\u00e1lices vac\u00edos<\/em> de Delmira Agustini. Edici\u00f3n <\/span><\/span><\/h4>\n

            cr\u00edtica e introducci\u00f3n de Rosa Garc\u00eda Guti\u00e9rrez  268-270<\/span><\/a><\/span><\/strong>
\n<\/span><\/a><\/span><\/span><\/h4>\n","protected":false},"excerpt":{"rendered":"

 ISSN 2420-918X  PRESENTACI\u00d3N DEL N\u00daMERO  1-6 EL HIPOGRIFO HISP\u00c1NICO Iliana Olmedo. Juan Rejano, editor de revistas culturales en el exilio  7-24  Juan Pascual Gay. Silencio y evidencia, dos directrices de las ideas           literarias de Tom\u00e1s Segovia  25-43   ESTUDIOS MARECHALIANOS … 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":"\n01 [2014] - 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=31\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"01 [2014] - Cuadernos del Hipogrifo\" \/>\n<meta property=\"og:description\" content=\" ISSN 2420-918X  PRESENTACI\u00d3N DEL N\u00daMERO  1-6 EL HIPOGRIFO HISP\u00c1NICO Iliana Olmedo. Juan Rejano, editor de revistas culturales en el exilio  7-24  Juan Pascual Gay. Silencio y evidencia, dos directrices de las ideas           literarias de Tom\u00e1s Segovia  25-43   ESTUDIOS MARECHALIANOS … Sigue leyendo →\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revistaelhipogrifo.com\/?page_id=31\" \/>\n<meta property=\"og:site_name\" content=\"Cuadernos del Hipogrifo\" \/>\n<meta property=\"article:modified_time\" content=\"2024-09-18T07:07:59+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=31#webpage\",\"url\":\"https:\/\/www.revistaelhipogrifo.com\/?page_id=31\",\"name\":\"01 [2014] - Cuadernos del Hipogrifo\",\"isPartOf\":{\"@id\":\"https:\/\/www.revistaelhipogrifo.com\/#website\"},\"datePublished\":\"2013-04-09T23:52:16+00:00\",\"dateModified\":\"2024-09-18T07:07:59+00:00\",\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.revistaelhipogrifo.com\/?page_id=31\"]}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","_links":{"self":[{"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/pages\/31"}],"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=31"}],"version-history":[{"count":185,"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/pages\/31\/revisions"}],"predecessor-version":[{"id":2554,"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=\/wp\/v2\/pages\/31\/revisions\/2554"}],"wp:attachment":[{"href":"https:\/\/www.revistaelhipogrifo.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=31"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}