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Journal articles on the topic 'Eltit'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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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

Ginzburg, Jaime. "Ensaios sobre o limiar entre a vida e a morte – notas a respeito de Diamela Eltit e Jeanne-Marie Gagnebin." Caracol, no. 23 (March 8, 2022): 166–83. http://dx.doi.org/10.11606/issn.2317-9651.i23p166-183.

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Diamela Eltit e Jeanne-Marie Gagnebin escreveram ensaios a respeito de regimes ditatoriais. Uma abordagem de Eltit sobre um caso de violência, na ditadura de Pinochet, e um estudo de Gagnebin sobre a ditadura militar brasileira apresentam aspectos em comum, como um interesse por efeitos da violência política, que motiva reflexões sobre a morte, e um respeito por Primo Levi. Um elemento específico dessas reflexões merece atenção – Eltit e Gagnebin discutem o limiar entre vida e morte, e esse limiar é uma mediação conceitual efetiva para que as autoras expressem os impactos da violência política.

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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

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

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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16

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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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

Pélage, Catherine. "Écriture et échec dans l’œuvre de Diamela Eltit." Recherches, no. 8 (June 30, 2012): 27–38. http://dx.doi.org/10.4000/cher.11989.

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19

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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20

Zheng, Nan. "Against the Authoritarian Orator and His Pater familias: Deviant Literarity and Orphaned Speech in El padre mío by Diamela Eltit and Lotty Rosenfeld." Journal of Foreign Languages and Cultures 5, no. 2 (December 28, 2021): 012–21. http://dx.doi.org/10.53397/hunnu.jflc.202102002.

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Published in the last year of Augusto Pinochet Ugarte’s military dictatorship saw its end, My Father (El padre mío) constitutes an interprofessional, collaborative work between Chile National Literature Prize winner Diamela Eltit and visual artist Lotty Rosenfeld, composed of unaltered transcriptions of three monologues (dis)articulated by a schizophrenic vagrant who referred to himself as My Father. By re-enacting the vagrant’s irrational utterances in a truthful but parodic manner, Eltit and Rosenfeld “orphaned” these spoken words into a work of written literature that mocked the authoritarian voice of the dictator who had imposed himself as the Grand Orator of the Nation and the Father of Chile. The main objective of the present work, which is principally based on the conceptualization of Mute Speech by Jacques Rancière, is to examine the political dimension of Eltit and Rosenfeld’s aesthetic endeavor: through an exploration of the possibilities of political emancipation that the vagrant’s fatherless monologues fostered in My Father, our study demonstrates that what neoliberal civil society presupposes as objectionable animalistic noises may be capable of intervening in what Rancière refers to as the “distribution of sensible” and its consolidated aesthetics of hierarchy, thus subverting the fable of pater familias and pater patriae concocted by Pinochet’s right-wing military regime.

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21

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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22

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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23

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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24

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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25

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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26

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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27

Espinosa Hernández, Patricia. "Mujer, cuerpo, y violencia en Sumar de Diamela Eltit." Catedral Tomada. Revista de crítica literaria latinoamericana 10, no. 19 (December 20, 2022): 1–18. http://dx.doi.org/10.5195/ct/2022.578.

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This text proposes that in the novel Sumar (2018) by Diamela Eltit, counterhegemonic practices or about resistance to power are made visible, which appears configured as an entity of political control. These counterhegemonic practices not only take place in traditionallysubversive activities, such as the protesting march, but also in the protesters' own bodies, which becomes the stage of the systemic violence. On the basis of the above, I can assert that in this novel its characters raise the utopia of emancipation to the neoliberal model, from bodies that operate as refractory signs to a patriarchal-war logic; framed in a context of defeats of doctrines and practices that in the past pointed towards a path of liberation.

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28

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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29

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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31

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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32

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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33

Rioseco, Marcelo. "Marcelo Rioseco sobre Rubí Carreño, Eltit: redes locales, redes globales." Revista Iberoamericana 79, no. 243 (June 29, 2013): 624–28. http://dx.doi.org/10.5195/reviberoamer.2013.7073.

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34

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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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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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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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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Carlsen, Lila McDowell. "Inhospitable Text: Critical Dystopia in Los vigilantes by Diamela Eltit." Letras Femeninas 40, no. 2 (November 1, 2014): 31–46. http://dx.doi.org/10.2307/44733719.

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Carvalho, Camila. "GÊNERO E DOR." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 24, no. 2 (December 22, 2020): 248–54. http://dx.doi.org/10.34019/1982-0836.2020.v24.33095.

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Tradução de Género y dolor. Neste ensaio a escritora chilena Diamela Eltit elabora uma reflexão acerca do ensaio e pesquisa acadêmicos. O texto foi publicado pela primeira vez em 2013 na revista Taller de Letras 53 e, posteriormente, integrado à sua coletânea de ensaios Réplicas publicada em 2016.

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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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Saona, Margarita. "MATERNIDAD Y PARANOIA EN EL ESTADO AUTORITARIO: LEYENDO ELTIT DESDE SCHREBER." Perífrasis. Revista de Literatura, Teoría y Crítica 3, no. 6 (July 2012): 55–72. http://dx.doi.org/10.25025/perifrasis20123604.

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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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Brito, Eugenia. "Sumar, novela de Diamela Eltit. Santiago de Chile: Seix Barral, 2018." Taller de Letras, no. 63 (2018): 221–24. http://dx.doi.org/10.7764/tl63221-224.

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Rios, Marina. "Impuesto a la carne de Diamela Eltit: un libro ready-made." Caracol, no. 23 (March 8, 2022): 368–86. http://dx.doi.org/10.11606/issn.2317-9651.i23p368-386.

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A partir de la trayectoria literaria y artística de la escritora chilena Diamela Eltit, el siguiente artículo se propone indagar sobre una arista posible de los vínculos entre literatura y arte: la relación de la novela Impuesto a la carne (2010) con el ready-made de Duchamp como una figura del arte que se despliega en su prosa. Para llevar a cabo esta hipótesis se parte de las conceptualizaciones que el escritor argentino César Aira realiza del ready-made Duchampiano. Este cruce permite indagar acerca de las configuraciones del cuerpo y la voz en los personajes de la novela desde una perspectiva artística, más allá de los análisis biopolíticos desarrollados por la crítica literaria.

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Rioseco, Marcelo. "WITHDRAWN: Marcelo Rioseco sobre Rubí Carreño, Eltit: redes locales, redes globales." Revista Iberoamericana 79, no. 243 (June 29, 2013): 624–28. http://dx.doi.org/10.5195/reviberoamer.2013.7072.

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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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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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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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Eltit, Diamela. "Reponer, repensar, revivir." Mitologías hoy 24 (November 30, 2021): 87–93. http://dx.doi.org/10.5565/rev/mitologias.832.

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El presente ensayo corresponde a la conferencia magistral dada por la escritora chilena Diamela Eltit, con la que se cerró el Seminario “Vindictas Bordeando Fronteras”, organizado por la Universidad Nacional Autónoma de México y la Universidad Complutense de Madrid. A partir del caso de Gabriela Mistral, la autora reflexiona sobre las ausencias de autorías de mujeres en la historiografías literarias.

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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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