This article examines the relation of constitutive opposition between the nationalism that permeated Chilean culture from 1900 to 1930, and Huidobro´s heroic avant-garde, with its characteristics of vehement non-conformism, which are present in his aesthetics and manifestos of the period. At the heart of this opposition lies an accelerated process of modernization and change, a process that implies, on one hand, tradition and social integration, and, on the other, everything that is new, from art to film to aviation.

The life of Juan Ladrillero (1505-1559) is almost unknown inside or outside the academic world, although he was the first person to cross the Strait of Magellan in both directions. This present work attempts to recover the figure of the Spanish explorer and complete his biography thanks to the discovery of new archival documents. Also, these documents will help to solve once and for all some related problems, such as the confusion with the "other" Ladrillero, often mistaken with the protagonist of our narrative.

Having as its focus the novels Amuleto (1999) and Nocturno de Chile (2000), this article presents a reading of the narrative of Roberto Bolaño. The writer deploys a discourse on power, memory and history in Latin America, proposing as his point of view and discursive strategy the marginal and hallucinated stance of his narrators, who are no longer spokespersons of the world's intelligibility but of the impossibility of its representation.

This work seeks to rebuild the first population movements towards the coal mines of Lota and Coronel in the second half of the 19 century, starting from the information contained in the marriage registers of Coronel's chapel. This process developed in three consecutive steps, reaching a stabilization point towards the first years of the decade of the 1870s. Finally, the increase of the population is closely related to productive diversity and the modernization of the mining cities.

The primary objective of this paper is to give an account of the usefulness/uselessness of the definition of testimonial narrative, and to signal its origins or emergence dating from the nineteen sixties. On the other hand, I show that the pretension of seeking its genealogy in colonial chronicles and discourses is to misunderstand its function. Finally, from writings of Giorgio Agamben, I propose a different way to read Latin American testimonial narrative.

The present article deals with three categories that emerge as a result of the deep social changes that have occurred since the consolidation of the modern western world: mo-dernity, city and subject. The analysis takes up the Freudian Myth of Primary Father and upholds the thesis that modernity signifies a form of death of the father embodied in the figure of the absolute monarch, initiating the concept of social ties understood as State.

This comparative study describes the sacred character of the salvation ritual that ap-pears in a corpus conformed by the discourses of The Chronicle of the Journey of Omagua and Dorado by Francisco Vásquez and Pedrarías de Almesto (1561), with three novels from the XXth Century and four readings of pre-Columbian texts. In this context, we will apply the genetic model of the myth represented in the bundles of relations in the syntagmatic units of the ritual components (Lévi-Strauss, 1976) of natural language and its underlying meaning, only comprehensible in the context of an exemplary model present in one of the most important human activities: the ceremony of expiation of guilt mediated through the salvation ritual.

The fascinating world of nymphs has contaminated literature since the beginning of time and not only in Greece, for the myth of the nymphs is an extended one. We assume, and will try to prove that the brilliant novel of the master García Márquez can not escape from this contamination, for Cien años de soledad is full of nymphs. So, we can name the alseide Remedios Moscote, who provokes the madness of young Aureliano Buendía. We can also mention the náyade Remedios la Bella, whose favorite place is the pool at the end of the backyard of the Buendia house. Remedios' potency is such that the narrator has to send her flying away from Macondo, since the novel itself is in danger of suffering the same destiny as any man who might see her face: to be able to think of nothing else. The presence of the nymphs is marked in the last of the Buendías: Amaranta Úrsula. She attracts the jungle itself towards the house. She is then a hamandriade or nymph of the woods. The text that follows will show, apart from the presence of such unique figures, some of the meanings that derive from their presence in the novel.