IN THIS ARTICLE WE REFLECT ON THE FIGURE OF THE ANIMAL IN THE WRITINGS OF PABLO NERUDA (1904-1973). TAKING INTO ACCOUNT THE COMPARISON OF THE POSITIONS OF THE NERUDIAN CRITICS ON THIS SUBJECT, THE POSTULATES OF DERRIDA, DELEUZE AND GUATTARI ON THE QUESTION AND ANIMAL-BECOMING, AND A READING OF DIFFERENT MOMENTS OF THE POETRY OF NERUDA, WE PERCEIVE THAT THE SYMBOLIC ANIMAL, THE ANIMAL EXPLOITED OR PERSECUTED BY HUMANKIND AND THE ANIMAL THAT THE POETIC SUBJECT ASSUMES AS AN I COMPOSE A RICH TEXTURE OF REPRESENTATIONS THAT MAKES POSSIBLE A RETHINKING OF CERTAIN AREAS OF THE WORK OF THE CHILEAN POET.

DARÍO OSESS NOVEL 2010: CHILE EN LLAMAS (1998) FORECASTS A FUTURE MARKED BY THE CONTAMINATION OF ALL SPHERES OF SOCIETY. WE DESCRIBE THE STORY AS DISTOPIC , SINCE IT IS EXPLAINED AS A NEGATIVE UTOPIA THAT NEUTRALIZES THE EARTHS VITAL FLUXES IN CONNECTION WITH THE HUMAN BEING. LANDSCAPES, GEOGRAPHIC AND EXISTENTIALIST TERRITORIES COLLAPSE BY THE ADVANCE OF NEOLIBERAL ECONOMY. HENCE, THE FOUNDATIONS OF WESTERN MODERNITY ARE ENDED IN A DRAMATIC WAY. FURTHERMORE, THE NOVEL IS CONNECTED WITH SEVERAL POSTMODERNIST CATEGORIES.

THE POETRY OF PABLO DE ROKHA IS CROSSED BY A COMPLEX SYSTEM OF FOOD'S REPRESENTATION, RECIPES, PLACES FOR PREPARATION AND CONSUMPTION, ANIMAL, PLANTS AND HUMAN BODIES, AND POSITIVE AND NEGATIVE AFFECTIONS. WE CALL IMAGINARY OF FOOD INCORPORATION TO THIS SYSTEM OF REPRESENTATION. THE AIM OF THIS PAPER IS TO ANALYSE THE TEXTUAL AND DISCURSIVE IMPLICATIONS OF THIS IMAGINARY IN ORDER TO ENHANCE MEALS AND BEVERAGES POETIZATION AS A MATERIAL EVENT, INTENSIVE, CORPORAL AND UTOPIC.

IN THIS WORK, WE EXAMINE THE CULTURAL CONTRIBUTION (POLITICAL, JOURNALISTIC, PHILOSOPHICAL AND EDUCATIONAL) OF THE PUERTO RICAN HUMANIST EUGENIO MARIA DC HOSTOS (MAYAGUEZ, 1839; SANTO DOMINGO, 1903) DURING THE TWO OCCASIONS WHEN HE STAYED IN OUR COUNTRY OVER THE SECOND HALF OF THE 19TH CENTURY. HIS FIRST STAY, BETWEEN 1872 AND 1873, WAS MOTIVATED BY THE NECESSITY TO SEEK SUPPORT FROM THE SOUTHERN NATIONS FOR THE EMANCIPATION OF CUBA AND PUERTO RICO. HIS SECOND VISIT, BETWEEN 1889 AND 1898, WAS THE RESULT OF AN INVITATION ISSUED TO HOSTOS FROM THE CHILEAN GOVERNMENT SO THAT HE COULD PARTICIPATE IN THE EDUCATIONAL REFORM THAT WOULD TAKE PLACE AT THAT TIME. IN BOTH VISITS, EUGENIO MARIA DE HOSTOS BECAME WELL-KNOWN FOR BEING A RESTLESS SUPPORTER OF LIBERTARIAN IDEALS BASED UPON PROGRESSIVE PRINCIPLES. SIMILARLY, HE ACTED AS AN ACTIVE DIFFUSER OF THE EUROPEAN PHILOSOPHICAL DOCTRINES IN VOGUE AT THE TIME (RATIONALISM, POSITIVISM, AND IDEALISM) AND CARIBBEAN REALITIES, IDENTITIES AND TERRITORIES. HOSTOS'S INTELLECTUAL CONTRIBUTION JOINS THAT OF OTHER DISTINGUISHED FOREIGNERS (SUCH AS ANDRES BELLO, DOMINGO FAUSTINO SARMICNTO, AMADEO PSSISS, JOSE JOAQUIN DC MORA, CLAUDIO GAY AND IGNACIO DOMEYKO) IN THE FORMATION OF THE NEW CHILEAN REPUBLIC HAVING AN IMPACT UNTIL THE PRESENT.

WE RESEARCH INTO INTERTEXTUALITY RELATIONS CONCERNING THE PROTAGONIST OF PABLO NERUDA?S FULGOR Y MUERTE DE JOAQUÍN MURIETA (1964), UNIQUE DRAMA WROTE AND PUBLISHED BY THE CHILEAN NOBEL. WE DEEPEN IN THE PRODUCTION?S CONDITIONS OF A DISCOURSE ABOUT AN ?HONORABLE BANDIT?, WHO EMBODIES THE DEMANDS OF THE LATIN-AMERICAN VICTIMS OF RACIST VIOLENCE IN A PLACE RULED BY COVETOUSNESS, IN THE DAYS OF THE CALIFORNIAN ?GOLD RUSH?. NERUDA ASSEMBLES ANTECEDENTS ON MURIETA FROM CHRONICLERS, HISTORIANS, NOVELIST AND DRAMATISTS, IN ORDER TO PROVIDE IT AN (NEW) IDEOLOGICAL USE, ACCORDING TO HIS POETIC PROJECT.

IT IS DIFFICULT TO IMAGINE PARRA'S POETRY WITHOUT SOME REFERENCE TO CHILLÁN, THE CITY IN WHICH HE LIVED HIS CHILDHOOD AND ADOLESCENCE AND SEEN FROM HIS MATURITY AS THE COCKEYED LYRICAL VOICE OF HIS POEMS. WE THINK THAT CHILLÁN IS A MAGNET IN PARRA'S ANTIPOETRY, DISORIENTING THE COMPASS OF HIS LANGUAGE. WE LOOK AT THE TEXTUAL PRESENCE OF CHILLÁN IN THE POETIC PRODUCTION OF NICANOR PARRA WITH SPECIAL EMPHASIS ON PARODIC, UTOPIC, IRONIC AND HUMORISTIC RESOURCES.

ESTA NOVELA CONSTA DE DOS HISTORIAS PARALELAS QUE SE VAN ENTRETEJIENDO HASTA CONCLUIR EN UN SOLO DESENLACE. LA PRIMERA DE ELLAS SE CONSTRUYE EN LA AMBIGÜEDAD TEMPORAL QUE SUPONE QUE UN PERSONAJE YA MUERTO, PUEDA SEGUIR VIVIENDO A TRAVÉS DE SU RETRATO. LA NOVELA CORRESPONDE A LOS DÍAS INMEDIATAMENTE ANTERIORES AL TRASLADO DE LOS RESTOS DE ISABEL RIQUELME A CHILLÁN, Y ES PRECISAMENTE ESTE PERSONAJE EL QUE DA TÍTULO A LA NOVELA CONVIRTIÉNDOSE EN UNO DE SUS PROTAGONISTAS. LA SEGUNDA HISTORIA SE CENTRA EN UN PERIODISTA INVESTIGADOR AL QUE SE LE HA ENTREGADO UN REPORTAJE VINCULADO AL RETORNO DE LOS RESTOS DE ISABEL A CHILLÁN, EL CUAL SE VE ENVUELTO EN UNA SERIE DE PERIPECIAS AL PROCURAR ACLARAR CIERTOS ENIGMAS DE LA PRIMERA DAMA.