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                <text>H_L_10604+
&lt;p&gt;&lt;a href="https://doi.org/10.17533/udea.elc.12979" target="_blank" rel="noreferrer noopener"&gt;Descarga 1&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&lt;a href="https://revistas.udea.edu.co/index.php/elc/article/view/12979" target="_blank" rel="noreferrer noopener"&gt;Descarga 2&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Sobre la inexistencia de una narrativa indigenista en el Paraguay, siendo paradójicamente  un país totalmente bilingüe.  El indio y el mundo indígena han quedado relegados  en el Paraguay [a 1989] , casi exclusivamente, a la literatura etnográfica.</text>
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                <text>H_L_10668+
&lt;p&gt;&lt;a href="https://revistascientificas.us.es/index.php/PH/article/view/2213" target="_blank" rel="noreferrer noopener"&gt;Descarga 1&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&lt;a href="https://doi.org/10.12795/PH.1989.v04.i01.34" target="_blank" rel="noreferrer noopener"&gt;Descarga 2&lt;/a&gt;&lt;/p&gt;</text>
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                <text>En la novela indigenista latinoamericana, los autores están preocupados por evitar todo reproche de arte gratuito, de color local, de complacencia al gusto del extranjero por el exotismo. Más bien, con enfoques variados y recursos formales diversos, pretenden agarrarse a lo que constituye su mayor objetivo : La acusación a un orden que no ha sabido ni querido&#13;
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                <text> Ogigia : Revista electrónica de estudios hispánicos, Nº 1, 2007</text>
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                <text>pp. 31-40</text>
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                <text>H_L_10667+
&lt;p&gt;&lt;a href="https://dialnet.unirioja.es/servlet/articulo?codigo=2279123" target="_blank" rel="noreferrer noopener"&gt;Descarga&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Se centra la  atención en la literatura indígena del Perú de inicios del siglo XXI,  analizando las obras de dos autores : Odi Gonzales [quechua] y José Luis Ayala [aymara], cuyas publicaciones bilingües y hasta trilingües han migrado a otros países, perfilando espacios no sólo nacionales sino internacionales en que reproducen valores estéticos de su lengua materna y también adquieren elementos del  lenguaje metropolitano para adaptarlo a sus cosmovisiones indígenas.&#13;
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                <text>Antonio Sandoval Ildefonso [UNAM MX]</text>
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                <text>América Crítica [ Socialidades en los territorios. Notas Críticas], V. 6 N.1, 2022</text>
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                <text>H_L_10665+
&lt;p&gt;&lt;a href="https://doi.org/10.13125/americacritica/4866" target="_blank" rel="noreferrer noopener"&gt;Descarga 1&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&lt;a href="https://ojs.unica.it/index.php/cisap/article/view/4866" target="_blank" rel="noreferrer noopener"&gt;Descarga 2&lt;/a&gt;&lt;/p&gt;</text>
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                <text>H_L_10659+
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&lt;p&gt;&lt;a href="https://doi.org/10.15381/escrypensam.v8i17.7838" target="_blank" rel="noreferrer noopener"&gt;Descarga 2&lt;/a&gt;&lt;/p&gt;</text>
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                <text>La denuncia  en la prensa internacional a inicios del S. XX, de la explotación de los indígenas amazónicos  por la empresa "Peruvian Amazon Company" [Casa Arana], presentó la región como un nuevo "Congo peruano" y provocó la intervención de Gran Bretaña, Perú, el Vaticano, Colombia y el propio Arana. A partir de repositorios documentales de la cancillería peruana, de los archivos de la Santa Sede, de la folletística y bibliografía publicada por las partes involucradas se plantea una reflexión sobre el escándalo, incidiendo en los argumentos sostenidos por las partes, en particular la peruanización de la región, defendida por Arana y el gobierno peruano.&#13;
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                <text>Se reflexiona en torno al archivo fotográfico de  la época el caucho desde tres enfoques temáticos.  El primero sobre la huella indexical de la fotografía; el segundo, sobre la posición ideológica de la representación visual; y tercero, sobre las prácticas contemporáneas para la construcción de una memoria colectiva.  Punto de referencia principal son los testimonios recopilados en el "Informe Azul Británico" de Roger Casement, y el álbum de fotografías "Viaje" de la comisión consular al río Putumayo y afluentes de agosto a octubre de 1912. Finalmente,  se propone el proyecto visual "Patrones de una piel destruida", que discute nuevos formatos que asientan la fotografía como un lenguaje capaz de generar relato y poner el foco en realidades consideradas periféricas por la historiografía tradicional.</text>
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                <text>pp. 16-23</text>
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                <text>H_CO_10658+
&lt;p&gt;&lt;a href="https://doi.org/10.19083/fot.v4i1.1641" target="_blank" rel="noreferrer noopener"&gt;Descarga 1&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&lt;a href="https://revistas.upc.edu.pe/index.php/fot/article/view/1641" target="_blank" rel="noreferrer noopener"&gt;Descarga 2&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Se propone la hipótesis de que a partir de la experiencia y conciencia de desterritorialización y desplazamiento, los sujetos poéticos,  encuentran claves y estrategias de reterritorialización, que estaría operando mediante dos procesos : La recuperación intracultural [reapropiación del propio espacio territorial, cultural y simbólico] y el agenciamiento intercultural [apropiación del espacio ajeno por parte del sujeto migrante]. Estos procesos funcionan como instancias de validación de una identidad colectiva y generan actitudes enunciativas,mediante diversas estrategias, como la reescritura de la [micro] historia o de acontecimientos, la apelación a lo sagrado, la rememorización y apropiación del lenguaje [según condiciones lingüísticas]. El repertorio considera a poetas amazónicos contemporáneos, indígenas y no indígenas, de Colombia, Ecuador, Perú y Bolivia.</text>
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                <text>Claudia Rodríguez Monarca</text>
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                <text>Santiago [CL] : Pontificia Universidad Católica de Chile :  Facultad de Letras : Departamento de Literatura </text>
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&lt;p&gt;&lt;a href="https://doi.org/10.7764/tl6019-37" target="_blank" rel="noreferrer noopener"&gt;Descarga 1&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&lt;a href="https://cuadernos.info/index.php/TL/article/view/4064" target="_blank" rel="noreferrer noopener"&gt;Descarga 2&lt;/a&gt;&lt;/p&gt;</text>
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&lt;p&gt;&lt;a href="https://drive.google.com/file/d/1nPMM8z0bWanq8ksQ4jI8zWoMH2ZXzlzW/view?usp=sharing" target="_blank" rel="noreferrer noopener"&gt;Descarga&lt;/a&gt;&lt;/p&gt;</text>
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