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Journal articles on the topic 'Diamela Eltit'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Buenahora Molina, Giobanna. "Cuerpo y lenguaje para la formulación de una imagen: fragmentos de Lumpérica de Diamela Eltit." La Manzana de la Discordia 10, no. 2 (April 2, 2016): 45. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v10i2.1583.

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Resumen: Lumpérica (1983), novela de la escritorachilena Diamela Eltit, fue concebida y publicadadurante la dictadura de Augusto Pinochet. Este contextopolítico hace que Diamela Eltit cree estrategias parano decir de manera directa lo que se quiere decir. Laobra presenta un estricto cuidado en el uso del lenguaje,en donde el cuerpo de la protagonista, L. Iluminada, eslocus de la escritura que desenmascara la opresión. TodaLumpérica es una crítica a la representación sexual,genérica, cultural, política y literaria.Palabras clave: narrativa femenina latinoamericana,Diamela Eltit, género y literatura, cuerpo y frontera,imagen y mujer.Body and Language for the Formulation of anImage: Fragments of Lumperica, by Diamela EltitAbstract: Lumpérica (1983), a novel by Chileanwriter Diamela Eltit, was conceived and publishedduring the dictatorship of Augusto Pinochet. Thispolitical context makes Diamela Eltit create strategiesfor not saying straightforwardly what she means. Thenovel shows strict care in the use of language, where thebody of protagonist, L. the Illuminated, is locus of writingthat exposes oppression. All Lumpérica is a critique ofrepresentation: sexual, gender, cultural, political andliterary.Key words: Latin American female narrative,Diamela Eltit, gender and literature, body and border,image and women.

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2

Eltit, Diamela, and Guillermo García-Corales. "Entrevista con Diamela Eltit." Chasqui 27, no. 2 (1998): 85. http://dx.doi.org/10.2307/29741439.

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3

Flores, Arturo C., and Leonidas Morales Toro. "Conversaciones con Diamela Eltit." Chasqui 30, no. 2 (2001): 161. http://dx.doi.org/10.2307/29741702.

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4

Blanco, Fernando A. "Diamela Eltit. No hay armazón que la sostenga. Entrevistas a Diamela Eltit." Revista Iberoamericana 85, no. 266 (February 26, 2019): 286–88. http://dx.doi.org/10.5195/reviberoamer.2019.7743.

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5

Pedron, Denise Araújo. "A escrita/performance de Diamela Eltit." Aletria: Revista de Estudos de Literatura 21, no. 1 (April 30, 2011): 53–65. http://dx.doi.org/10.17851/2317-2096.21.1.53-65.

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Resumo: Esse artigo toma o performático e sua disseminação como “uma das vias privilegiadas de materializar os fluxos criativos que atravessam a contextualização contemporânea”;1 e tem como objetivo pensar em que medida a escrita se faz performance, mais especificamente, em que medida a escrita de Diamela Eltit pode ser considerada performática.Palavras-chave: literatura; performance; Diamela Eltit.Resumen: Este artículo considera lo performativo y su difusión como “una vía privilegiada para la realización de los flujos creativos que cruzan el contexto contemporáneo”,44 y tiene como objetivo pensar em que medida la escritura se convierte en performance, más específicamente, en qué medida se puede considerar la escritura de Diamela Eltit performativa.Palabras-clave: literatura; Diamela Eltit; performance.

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6

Austin, Kelly. "About face: Translating Diamela Eltit." Women's Studies 29, no. 1 (January 2000): 71–81. http://dx.doi.org/10.1080/00497878.2000.9979300.

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7

Oliver, Felipe. "Mano de obra. El supermercado por dentro." LA PALABRA, no. 26 (January 15, 2015): 75. http://dx.doi.org/10.19053/01218530.3206.

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En la novela Mano de obra (2002), la elogiada narradora y ensayista chilena Diamela Eltit reflexiona en torno a las formas actuales en las que la ancestral práctica de la represión se ejerce y verifica en nuestros días, en la imposibilidad del obrero contemporáneo de organizarse y resistir la opresión, y finalmente en el vaciamiento de la ideología y la pérdida de la memoria que distingue al capitalismo tardío. Para la consecución de estos objetivos, Diamela Eltit reproduce las prácticas de espacio al interior de un supermercado desde el formato de un realty show permitiendo así una interesante reflexión sobre los dispositivos y los instrumentos desde los cuales se manipula y reprime, hoy, al proletario.Palabras clave: Diamela Eltit; Reality show; Capitalismo tardío; Proletario; Mano de obra.

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8

Solorza, Paola Susana. "EL ESTADO-HOSPITAL: CORPORALIDADES ANÁRQUICAS, BIOPOLÍTICA Y VIOLENCIA EN IMPUESTO A LA CARNE DE DIAMELA ELTIT." RAUDEM. Revista de Estudios de las Mujeres 2 (May 22, 2017): 159. http://dx.doi.org/10.25115/raudem.v2i0.595.

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El presente trabajo se propone, a partir del análisis de la novela Impuesto a la carne (2010) de Diamela Eltit, demostrar el modo en que el paradigma biopolítico da lugar a un control excesivo sobre los cuerpos, “legitimando” distintas formas de violencia con el riesgo de caer en una tanatopolítica. La metáfora del hospital, en tanto espacio simbólico asimilable al Estado, remite a la memoria de la dictadura y los años de opresión en Chile. Allí, una madre y una hija, proyectándose en un vínculo simbiótico de fuerzas anárquicas, atentarán contra la estabilidad del Estado-hospitalario, oponiendo una acérrima resistencia.Palabras clave: Biopolítica, tanatopolítica, violencia, Diamela Eltit, Impuesto a la carne.The Hospital-State: Anarchic Corporalities, Biopolitics and Violence in Impuesto a la carne by Diamela EltitAbstract: Focusing on the novel Impuesto a la carne (2010) by Diamela Eltit, this paper analyses the way in which the biopolitical paradigm develops an excessive control over the bodies, “legitimizing” different forms of violence and risking falling into a thanatopolitics. The metaphor of the hospital –as a symbolic space resembling the State– relates to the memory of the dictatorship and the years of oppression in Chile. In Eltit’s novel, a mother and a daughter, projecting themselves onto the other in a symbiotic relationship of anarchical forces, they will threaten the stability of this “hospital” State, opposing a staunch resistance.Key-words: Biopolitics, thanatopolitics, violence, Diamela Eltit, Impuesto a la carne.

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9

Green, Mary. "Dialogue with Chilean Novelist, Diamela Eltit." Feminist Review 79, no. 1 (March 2005): 164–71. http://dx.doi.org/10.1057/palgrave.fr.9400197.

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10

Pino-Ojeda, Walescka. "Diamela Eltit: el letrado y ellumpen." Journal of Iberian and Latin American Research 5, no. 2 (December 1999): 23–44. http://dx.doi.org/10.1080/13260219.1999.10431796.

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11

Reber, Dierdra. "Lumpérica: el ars teorica de Diamela Eltit." Revista Iberoamericana 71, no. 211 (June 26, 2005): 449–70. http://dx.doi.org/10.5195/reviberoamer.2005.5445.

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12

Neustadt, Robert. "Diamela Eltit: Clearing space for critical performance." Women & Performance: a journal of feminist theory 7, no. 2 (January 1995): 219–39. http://dx.doi.org/10.1080/07407709508571217.

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13

Grumann, Andrés. "Gritos en la piel, sonidos del dolor. A propósito de Zona de Dolor 1 de Diamela Eltit." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 12 (July 26, 2019): 44–70. http://dx.doi.org/10.5195/ct/2019.386.

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Addressing a theoretical perspective from the Theatre Studies, the writing aims to perform an analysis of the performance Zona de dolor 1 or "Maipú" by Diamela Eltit from 1980. To do this,I stop at the skin, the body, the voice and the pain as surfaces of a sensitive experience generating knowledge that are perceived from the viewing of the available video of theperformance. This performance analysis requires a historiographic rescue in which the partiality with which the concept of "escena de anvanza" (Richard) interpreted the performances Zonas de dolor (1980 and 1982) is discussed, situating a reading of the filiations and crossings of Eltit with Ronald Kay and the seminar that he dedicated to the wisdom ofAntonin Artaud in 1974. The thought about the body, the flesh and the pain of the French teatrist accompanies the following reflections and allows to present the power of the performative in the voice of Diamela Eltit in some in some scenes from the video of Zona de dolor 1.

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14

Jeftanovic, Andrea. "Barrientos, Mónica. No hay armazón que la sostenga: Entrevistas a Diamela Eltit. Talca, Editorial Universidad de Talca, 2018, 487 páginas. ISBN 9789563290776." Literatura y Lingüística, no. 40 (November 18, 2019): 433–36. http://dx.doi.org/10.29344/0717621x.40.2074.

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15

Elizondo, María Verónica. "Diamela Eltit and The Literature of The Fragment." Mitologías hoy 5, no. 1 (February 2, 2012): 88. http://dx.doi.org/10.5565/rev/mitologias.18.

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16

Cabrera, Mario Federico David. "Feminismo y escritura: los ensayos de Diamela Eltit." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 12 (July 26, 2019): 159–82. http://dx.doi.org/10.5195/ct/2019.384.

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I propose in this article to look into the essays of Diamela Eltit and focus on two topics: feminism and writing. For this purpose, I will analyze a text corpus published in the books Emergencias (2000), Signos vitales (2008) and Réplicas (2016) from three ideological and discursive operations: the deconstruction of the body, the recognition of the female literary genealogy and the reflection about writing. My hypothesis is that the author’s essay practice constitutes a critical exercise through which a multiplicity of voices is summoned in order to denature and reconsider the paths of the body, the subjectivity and the language within the frame of the contemporary societies. The theoretical and methodological frame tends to articulate the knowledge of cultural studies and of feminist critique. For this reason, this paper is not only expecte to explore a poorly tackled facet within the studies about Eltit, but also to characterize the variations and tensions related to feminism and writing that gravitate in her literary work.

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17

Swansey, Bruce. "Diamela Eltit, o, El arte de la alusión." Estudios: filosofía, historia, letras 10, no. 35 (1994): 104. http://dx.doi.org/10.5347/01856383.0035.000172651.

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18

Tierney-Tello, Mary Beth. "Testimony, Ethics, and the Aesthetic in Diamela Eltit." PMLA/Publications of the Modern Language Association of America 114, no. 1 (January 1999): 78–96. http://dx.doi.org/10.2307/463428.

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Two works by the Chilean writer Diamela Eltit, El Padre Mío (1989) and El infarto del alma (1994; produced in collaboration with Paz Errázuriz), contain an undeniable testimonial impulse that aligns them with testimonio, a genre of subaltern personal narrative that has emerged with new force in Latin America in recent decades. Yet these texts, which present subjects who are mentally ill, incoherent, or lacking identities, call into question some of the key assumptions about testimonial practice and its reception, disrupting the usual responses of identification with and empathy for the narrator. By reading and writing testimonial discourse through a postmodern aesthetic, Eltit advocates the recognition of testimonial subjects as producers and agents of culture rather than as victims in need of compassion. Her project, with its particular merging of the aesthetic and the ethical, constitutes a local yet politically urgent attempt at rethinking the predominant conceptualizations of marginal culture, refusing the notion that the aesthetic is the exclusive privilege of elite culture.

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19

Guerrero, Javier. "La literatura okupa. Escribir desde el cuarto mundo." Revista Letral, no. 25 (January 24, 2021): 140–66. http://dx.doi.org/10.30827/rl.v0i25.17043.

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Mi artículo se aproxima a El cuarto mundo (1988), tercera novela de la chilena Diamela Eltit, para discutir las geopolíticas literarias de su novelística. Abordo las diversas operaciones que lleva a cabo a partir de la radicalización de la enfermedad y la transformación del cuerpo enfermo y monstruoso como contraofensivas que reconcilian los polos del vector estética-política. Planteo que El cuarto mundo constituye un giro en la poética de Diamela Eltit que, al exceder la noción de alegoría y la figuración de Chile como signo estético-político, se sitúa en una discusión regional capaz de cuestionar el rol de la literatura y su politicidad. Discuto cómo la escritora lee detenidamente el nuevo orden global y entiende la autoría literaria como condición enferma y okupa frente al abandono del quehacer literario que las clases dirigentes han escenificado en las últimas décadas.

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20

Cabrera, Mario Federico David. "Constelaciones metafóricas de la memoria: Sumar de Diamela Eltit." Literatura y Lingüística, no. 41 (May 25, 2020): 61–77. http://dx.doi.org/10.29344/0717621x.41.2262.

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En este artículo me propongo analizar la novela Sumar (2018) de Diamela Eltit a partir de la configuración discursiva de tres tópicos que funcionan como metáforas asociadas a la problemática de la memoria: el cuerpo de la narradora, el desplazamiento de los ambulantes hacia La Moneda y la idea de nube/archivo. Sostengo, a modo de hipótesis, que la noción de memoria se presenta en esta novela como un punto de exploración estética y como una preocupación política central para pensar el presente.

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21

Valenzuela Prado, Luis. "Performatividad, dispositivos y política. Fuerzas especiales de Diamela Eltit." Literatura y Lingüística, no. 37 (August 8, 2018): 43. http://dx.doi.org/10.29344/0717621x.37.1370.

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Este artículo propone una lectura de la novela Fuerzas especiales de Diamela Eltit, la cual configura una retórica visual o de una letra en tránsito hacia la imagen desde una interpretación ranceriana de lo político. Sobre esta base, se busca desarrollar dos objetivos:el primero, articular una lectura en torno a las nociones de política, en cuanto todo cruce entre letra, medios, imágenes y dispositivos implica un choque y una fricción, que siempre cargan con otras tensiones políticas y culturales; el segundo, analizar las variantes que posibilitan hablar de una retórica del espectáculo, la escena y la imagen.

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22

Barrientos, Mónica. "Mary Green, Diamela Eltit, Reading The Mother." Revista Iberoamericana 77, no. 236-237 (December 21, 2011): 1085–88. http://dx.doi.org/10.5195/reviberoamer.2011.6871.

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23

Corbin, Megan. "Archiveras anarquistas: Corporal Testimony in the Work of Diamela Eltit." Catedral Tomada. Revista de crítica literaria latinoamericana 1, no. 1 (April 5, 2013): 1–17. http://dx.doi.org/10.5195/ct/2013.29.

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Abstract: There exists a constant within the trajectory of Diamela Eltit’s contributions to New Chilean Fiction: the turn to the body’s revelatory capacity as a corporal archive of human existence. Simultaneously exploring and rejecting the confines of the traditional testimonial reliance on language, Eltit moves the reader to a re-consideration of the truth-telling function of the biological materiality of the body, placing imperfect corporalities on display as a means of speaking, even where the voice itself may falter. This essay locates Eltit’s move to the corporal within the trajectory of feminist criticism, the traumatic realities of the Chilean dictatorship and post-dictatorship periods, and the search for the recuperation of those bodily knowledges represented by the disappeared. Next, it turns to Eltit’s Impuesto a la carne as her most recent re-visioning of the importance of corporal textualities, whether or not the subject-matter of the body’s denunciation is connected to the dictatorship. Lastly, this essay reconsiders the rejective power of the traditional archive, analyzing the effect set models have on those who seek to tell their stories outside of the traditional testimonial model. I argue that the case of Diamela Eltit is an example of the way writers and producers of cultural texts which actively inscribe alternative memories of the past are resisting the authoritative power of the archive and subversively inscribing narrative memory onto bodily materialities, re-orienting the view of the corporal from an evidentiary showing to an active process of re-telling the past. Eltit’s novels, inscribed with her corporal textual model, give voice to survivors, articulating an alternate historical model for the archive, embracing the biological and making it speak against the rigid abuses of authoritarianism.

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24

Croquer Pedron, Eleonora. "L. Iluminada / La Iluminada. Lumpérica de Diamela Eltit, diabólica celebración." America 28, no. 1 (2002): 227–35. http://dx.doi.org/10.3406/ameri.2002.1572.

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25

Luttecke, Janet A. "El cuarto mundo de Diamela Eltit." Revista Iberoamericana 60, no. 168 (December 4, 1994): 1081–88. http://dx.doi.org/10.5195/reviberoamer.1994.6461.

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26

Montero, Loreto. "Diamela Eltit Desde y fuera de la jaula. Fuerzas especiales." Aisthesis, no. 56 (December 2014): 217–20. http://dx.doi.org/10.4067/s0718-71812014000200013.

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27

Oyarzún, Kemy. "Cuerpo, escritura y biopoder en Vaca Sagrada , de Diamela Eltit." Revista chilena de literatura, no. 97 (April 2018): 245–68. http://dx.doi.org/10.4067/s0718-22952018000100245.

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28

Norat, Gisela, and Juan Carlos Lertora. "Una poetica de literatura menor: La narrativa de Diamela Eltit." Hispania 78, no. 1 (March 1995): 72. http://dx.doi.org/10.2307/345209.

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29

Torre-Espinosa, Mario de la. "Política y autoficción performativa en Zonas de dolor, de Diamela Eltit." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 12 (July 26, 2019): 71–95. http://dx.doi.org/10.5195/ct/2019.385.

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This article uses the concept of autofiction, created by Serge Dubrovsky in the seventies, for interpreting the political implications of the performance Zonas de dolor I, by Diamela Eltit. The author participation in these performances, and the subsequent record and edition of these images in video, reveal a clear intentionality of reflecting her political thinking throughthese aesthetic actions, two dimensions of the art that are inseparable according to the ideas of Jacques Rancière. In these proposals, the body is used as battlefield, and in this sense has to be understood the fact of the self-harm. It will be analyzed the use of the body as political weapon, and putting it in relation with the works The Lips of Thomas, by Marina Abramović,and Anfaegtelse, by Angélica Liddell. In these plays, the blood emanating from the wounds of the body is constituted as a central aesthetic element. This Eltit artistic mechanism will beanalyzed, for letting us to know how it is used for raising awareness and revealing us other dimension of the marginality, whether it is the case of homeless people or brothels.

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30

Brizuela, Natalia, and Julia Bryan-Wilson. "Speaking of Lotty Rosenfeld: “Gestures Dangerous, Simple, and Popular”." October, no. 176 (2021): 111–37. http://dx.doi.org/10.1162/octo_a_00429.

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Abstract This dialogue centers on the artwork and legacy of Chilean artist Lotty Rosenfeld, including such solo projects as One Mile of Crosses on the Pavement and her collaborations with CADA (Colectivo Acciones de Arte). It argues for a queer feminist reading of Rosenfeld as it considers her anti-dictatorship spatial practices, her intimacies with the writer Diamela Eltit, and her political and aesthetic commitments.

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31

Cabrera, Mario Federico. "Review: "Réplicas. Escritos sobre literatura, arte y política" de Diamela Eltit." Mitologías hoy 15 (June 30, 2017): 443. http://dx.doi.org/10.5565/rev/mitologias.336.

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32

Tompkins, Cynthia, and Gisela Norat. "Marginalities: Diamela Eltit and the Subversion of Mainstream Literature in Chile." Chasqui 32, no. 2 (2003): 164. http://dx.doi.org/10.2307/29741819.

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33

Barrientos, Mónica. "Cartografías quebradas y cuerpos marginales en la narrativa de Diamela Eltit." Debate Feminista 53 (May 2017): 18–32. http://dx.doi.org/10.1016/j.df.2017.02.001.

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34

Green, Mary, and Gisela Norat. "Marginalities: Diamela Eltit and the Subversion of Mainstream Literature in Chile." Modern Language Review 99, no. 1 (January 2004): 234. http://dx.doi.org/10.2307/3738943.

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35

Sabo, María José. "Reminders of a language in Diamela Eltit’s Mano de obra." Anclajes 25, no. 1 (January 1, 2021): 9–24. http://dx.doi.org/10.19137/anclajes-2021-2512.

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36

Zalaquett Aquea, Cherie. "Diamela Eltit: la noción de periodismo tétrico, ideología y discurso en la prensa (neo) liberal chilena." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 12 (July 26, 2019): 183–217. http://dx.doi.org/10.5195/ct/2019.388.

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This article analyzes the historicity of the concept of dismal journalism, formulated by the writer Diamela Eltit, to designate a set of communicative practices that make up the ideological discourse of the Chilean liberal press. The reflections of Diamela Eltit on the actions of the media system in Chile, are inserted in a tradition of theoretical studies on communication, initiated in the late 60s, which identified the discursive strategies to build the social reality defined by the threat to the social order instituted, stripping of meaning to social demands. The conceptual artefact, dismal journalism, updates the semantic field of liberal journalistic discourse in globalized modernity. It allows to cover the emergence of new journalistic genres of representation of reality in a "spectacular" key, based on the allegorical function of myth, symbolic violence and the effects of reality. The dismal journalism is a discursive operation that reproduces in the news the structural inequality of the system, and even more, fragments this inequality in binary oppositions that omit the ominous of the social context in which the news events emerge. In this way, it causes a syntactic disconnectionbetween the subject of the news, the social story that surrounds it and the predicate that nominates it.

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37

Westphalen, Yolanda. "Lispector, Eltit, Valenzuela: mirada, cuerpo y escritura que descentran." Cuadernos Literarios 3, no. 5 (December 1, 2006): 167–83. http://dx.doi.org/10.35626/cl.5.2006.172.

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Yolanda Westphalen aproxima la obra de Clarice Lispector, escritora brasileña muy apreciada por la crítica feminista, a las novelas de Diamela Eltit y Luisa Valenzuela, demostrando cómo las narrativas de mujeres, además de presentarse como manifestaciones de reconocimiento del cuerpo, hacen de este el lugar donde son dramatizadas la represión política y las diferencias de género. Este ensayo tiene como base la ponencia presentada en el conversatorio internacional “Escritura femenina y reivindicación de género en América Latina”, realizado en Pau y Bagneres, Francia, los días 5, 6 y 7 de mayo de 2004 bajo la organización de Andinica (a cargo de Roland Forgues) y la Universidad de Pau. Esta actividad contó como invitada especial a Elena Poniatowska.

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38

Solorza, Paola Susana. "Interview with Diamela Eltit: non-consensual Literature. The Body, Border Spaces and Resistance." Anclajes 20, no. 1 (January 1, 2016): 79–89. http://dx.doi.org/10.19137/anclajes-2016-2015.

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39

Lazo-González, Denisse. "Literatura chilena de la postransición: Una lectura a los determinantes sociopolíticos de la narrativa de Eltit y Fuguet*." Literatura y Lingüística, no. 41 (May 25, 2020): 123–50. http://dx.doi.org/10.29344/0717621x.41.2265.

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Este trabajo examina la relación entre literatura y política, proponiendo una mirada de la literatura chilena publicada a partir del año 2000 como literatura de la postransición. Toma como ejemplos semicanónicos a Diamela Eltit y Alberto Fuguet, enfocándose en sus novelas Fuerzas especiales y Aeropuertos, respectivamente; en particular, en los medios modernos de control social y potenciales vías para resistirlo que sugieren estas obras. El artículo tiene como objetivos desvelar las maneras en que las representaciones literarias de dos autores —aparentemente disímiles como Eltit y Fuguet— interactúan con determinantes sociopolíticos propios de la postransición chilena, y demostrar el rol político-cultural que dicha literatura juega en la creación de un cierto imaginario social de la postransición, más allá de las diferentes perspectivas con las que los autores puedan contribuir.

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40

Sánchez Idiart, Cecilia. "Error de cálculo. Vida y enfermedad en la literatura latinoamericana / Miscalculation. Life and illness in Latin American literature." Kamchatka. Revista de análisis cultural., no. 10 (December 29, 2017): 163. http://dx.doi.org/10.7203/kam.10.10254.

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Resumen: A partir de una pregunta por las enfermedades y desórdenes de los cuerpos y los saberes sobre la vida, las novelas A céu aberto (1996) de João Gilberto Noll, Impuesto a la carne (2010) de Diamela Eltit y Fruta podrida (2007) de Lina Meruane exploran las transformaciones que atraviesan las antiguas instituciones disciplinarias bajo las condiciones de un nuevo dispositivo de poder que aspira a la gestión de la población como capital humano. Contra cualquier imperativo de eficiencia, las novelas hallan en la enfermedad la potencia de invención de lenguajes y modos de vida común que exceden los cálculos del Estado y el mercado. Palabras clave: Biopolítica, enfermedad, afecto, lo común, literatura latinoamericana contemporánea. Abstract: Through the interrogation of illness and knowledges about life, the novels A céu aberto (1996) by João Gilberto Noll, Impuesto a la carne (2010) by Diamela Eltit and Fruta podrida (2007) by Lina Meruane explore the transformations undergone by former disciplinary institutions under the conditions of a new apparatus of power which aspires to manage the population as human capital. Against any imperative of efficiency, these novels find in illness the potential of invention of languages and modes of common life that exceed the calculations of the state and the market. Keywords: Biopolitics, illness, affect, the common, contemporary Latin American literature.

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Del Carmen Barrientos, Mónica. "EL CUERPO FEMENINO Y TRANGRESIÓN EN EL CUARTO MUNDO DE DIAMELA ELTIT." Revista Iberoamericana 254 (March 22, 2016): 13–26. http://dx.doi.org/10.5195/reviberoamer.2016.7357.

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Garabano, Sandra. "Genealogía E Identidad en la Narrativa de Diamela Eltit y Matilde Sánchez." Chasqui 29, no. 1 (2000): 88. http://dx.doi.org/10.2307/29741570.

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Klinger, Diana. "A resistência: uma vida." Alea: Estudos Neolatinos 20, no. 2 (August 2018): 184–95. http://dx.doi.org/10.1590/1517-106x/2018202184195.

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RESUMO A partir do romance de Diamela Eltit Jamais o fogo nunca (2017), o presente trabalho indaga de que maneira a narrativa literária intervém numa discussão em torno do conceito de vida, que se insere no terreno da biopolítica e que atravessa os campos do direito, da biologia, da medicina e da filosofia. No romance, a palavra “célula” que aparece repetidamente, adquirindo diversas significações, é o ponto de partida para se pensar nas complexas articulações entre o biológico e o político.

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Vieira, Elisa Amorim, and Camila Carvalho. "potência política de um feminino corpo-memória." Aletria: Revista de Estudos de Literatura 30, no. 4 (December 22, 2020): 271–90. http://dx.doi.org/10.35699/2317-2096.2020.20461.

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Tendo como guia um corpo-memória, que ao recuperar o passado a partir do não-dito revela sua latência no presente, em Jamás el fuego nunca (2007), de Diamela Eltit, literatura, política e História cruzam-se a todo tempo. Trata-se de uma narrativa na qual uma mulher sem nome rememora episódios passados ao mesmo tempo em que examina a banalidade do presente que compartilha com seu companheiro, o antigo líder de uma célula militante. Retomando a memória da ditadura chilena a partir daquele que talvez seja seu traço mais sinistro – o desaparecimento –, nesse romance, Eltit se aproxima da realidade histórica para acrescentar à discussão uma perspectiva irrealizável fora do horizonte da arte. Neste artigo, interessa-nos investigar em que medida a conversão desse rastro do passado em estratégia estética – ao colocar em disputa outras formas de visibilidade e inteligibilidade – dialoga com o conceito de História elaborado por Walter Benjamin.

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Vieira, Elisa Amorim, and Camila Carvalho. "potência política de um feminino corpo-memória." Aletria: Revista de Estudos de Literatura 30, no. 4 (December 22, 2020): 271–90. http://dx.doi.org/10.35699/2317-2096.2020.20461.

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Tendo como guia um corpo-memória, que ao recuperar o passado a partir do não-dito revela sua latência no presente, em Jamás el fuego nunca (2007), de Diamela Eltit, literatura, política e História cruzam-se a todo tempo. Trata-se de uma narrativa na qual uma mulher sem nome rememora episódios passados ao mesmo tempo em que examina a banalidade do presente que compartilha com seu companheiro, o antigo líder de uma célula militante. Retomando a memória da ditadura chilena a partir daquele que talvez seja seu traço mais sinistro – o desaparecimento –, nesse romance, Eltit se aproxima da realidade histórica para acrescentar à discussão uma perspectiva irrealizável fora do horizonte da arte. Neste artigo, interessa-nos investigar em que medida a conversão desse rastro do passado em estratégia estética – ao colocar em disputa outras formas de visibilidade e inteligibilidade – dialoga com o conceito de História elaborado por Walter Benjamin.

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Sánchez Idiart, María Cecilia. "DESBORDES. VIDA, POLÍTICA Y ESTÉTICAS DEL EXCESO EN OSVALDO LAMBORGHINI Y DIAMELA ELTIT." Perífrasis. Revista de Literatura, Teoría y Crítica 7, no. 13 (January 2016): 10–25. http://dx.doi.org/10.25025/perifrasis201671301.

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Gelpí, Juan G. "FICCIONALIZACIÓN Y CONTEXTOS URBANOS AUTORITARIOS: DIAMELA ELTIT, GONZALO CONTRERAS Y GUADALUPE SANTA CRUZ." Revista Iberoamericana 86, no. 273 (November 12, 2020): 1323–40. http://dx.doi.org/10.5195/reviberoamer.2020.8008.

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Barretto, Eleonora Frenkel, and Gisett Lara Lara. "ESCRITURA FEMENINA Y SUBVERSIÓN DEL GÉNERO EN EL CUARTO MUNDO, DE DIAMELA ELTIT." Letras, no. 59 (May 20, 2020): 167. http://dx.doi.org/10.5902/2176148537328.

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Sotomayor, Aurea Maria. "Tres caricias: una lectura de Luce Irigaray en la narrativa de Diamela Eltit." MLN 115, no. 2 (2000): 299–322. http://dx.doi.org/10.1353/mln.2000.0026.

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Núñez-Méndez, Eva. "La Diamela Eltit de Mano de obra: mistica de los trabajadores." Hispanófila 152, no. 1 (2008): 87–100. http://dx.doi.org/10.1353/hsf.2008.0000.

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