Revista de humanidades (Santiago. En línea)
The Journal of Humanities is indexed in the following databases: CLASE (Latin American Citations in Social Sciences and Humanities), Latindex, Redalyc, Erih Plus, MLA, Dialnet, DOAJ, and Scopus. All articles submitted to the journal are checked for plagiarism using Turnitin.
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Revista de Humanidades: Gender Equality and Territorial Equity
Copyright (c) 2026 Nicolás Román González https://creativecommons.org/licenses/by/4.0
Mauricio Redolés: Poetry, Music, and Memory from the Margins of the Literary Field
Copyright (c) 2026 Osvaldo Carvajal https://creativecommons.org/licenses/by/4.0
Juan Antonio Belmonte y José Lull. Astronomy of Ancient Egypt. A Cultural Perspective Suiza: Springer, 2023,
Copyright (c) 2026 José Javier Martínez García https://creativecommons.org/licenses/by/4.0
Copyright (c) 2026 Javiera Hernández Arriagada https://creativecommons.org/licenses/by/4.0
“Notes on Corset Hygiene” (1905) by Ernestina Pérez: Fashion, Science, and Hygienism from the Perspective of a Chilean Woman Physician
The presentation “Apuntes sobre la higiene del corsé”, presented by Dr. Ernestina Pérez at the Second Latin American Medical Congress (Buenos Aires, 1904), offers a unique entry point into the intersection of medicine, gender, and material culture. This article analyzes her intervention through three key axes: the medical dimension of her hygienist proposal, the feminine economy surrounding the corset, and the role this garment played as a gendered technology and discursive object in shaping the female body. In both dialogue and tension with the medical discourse of her time, Dr. Pérez proposed preventive measures aimed at improving the use and manufacture of the corset—but not its elimination. Her ambivalent yet strategic perspective allows us to understand the corset not only as a functional garment
Copyright (c) 2026 Damaris Landeros Tiznado, Andrea Robles Parada, Carolina Campos Chávez Campos Chávez https://creativecommons.org/licenses/by/4.0
The Pro-Emancipation Movement of Chilean Women (MEMCH) and the Exhibition “Woman in National Progress” (1939): Popular Education Strategies and Historical Operations for a Women’s History
The article aims to analyze the Exhibition “Women’s Activities. Women in National Life: Their Contribution to the Political, Social, Economic, and Cultural Development of Chile”, organized by the Pro-Emancipation Movement of Chilean Women (MEMCH) in 1939. Drawing on theoretical approaches from cultural history and feminist history, it argues that the organization conceived the exhibition as a pedagogical strategy within its practices of popular education. Its goal was to disseminate its feminist discourse both within and beyond the organization, advocating for the recognition of women as social and political subjects. Through this initiative, MEMCH carried out three historical operations: a critique of the traditional historiographical narrative, the visibility of data about women in history, and a public intervention.
Copyright (c) 2026 Claudia Montero https://creativecommons.org/licenses/by/4.0
Justice as a particularist ethical criterion in platonic philosophy
In this paper we explore Plato's particularist conception of justice, emphasizing its link with the ideals of the common good and social order. This conception contrasts with the Plato's political emphasis since, for some interpreters of his philosophy, aspirations of citizens are relegated in accordance with demands and specialized functions that they possess. However we propose a reorientation of desire towards what is beneficial for citizen and city based on Republic IV, contrary to the alleged rupture between the internal order of the citizen and the social order, between individual aspirations and demands of the common good, conceived in terms of harmony by the Athenian philosopher in question.
Copyright (c) 2026 Estiven Valencia Marín https://creativecommons.org/licenses/by/4.0
“Is there a perception of the Other?”. Body and expression in Ortega y Gasset
This article aims to examine the relationship between bodily circumstances and the perception of otherness in the philosophy of Ortega y Gasset, particularly in the texts Vitalidad, alma, espíritu (1924), Sobre la expresión fenómeno cósmico (1925) y La percepción del prójimo (1929). Based on the definition of the human body as an expression of radical intimacy, Ortega goes on to present the intersubjective relationship as an event that expresses a personal stratification. With this, he seeks to uphold a philosophy that conceives of otherness not from the self, the other as an analogical hypothesis or as an animated body. Through a hermeneutic exercise of the other’s body, which expresses a radically self-contained life, Ortega proposes a gestural, interpretive bodily soul of the intersubjective social world.
Copyright (c) 2026 Sergio González Araneda https://creativecommons.org/licenses/by/4.0
The Mistralian ethos: dwelling in the school
The following article aims characterize the Mistralian ethos present in the experiences that Gabriela Mistral had director of the Girls High School in Punta Arenas as different experience of “living school”, and in this context, analyze characterize and propose possible forms to inhabit and establish links in school contexts, wich go beyond what we think of today as management. From this perspective, this study, through the review of historical material, proposes to problematize this experience, establishing relationships of knowledge/power between the school practices that she implemented in the Girls High School in order to determine what knowledge these are defined on, and characterize the ethos that Mistral is building as a criticism to traditional education.
Copyright (c) 2026 Jesús Lara Coronado, Santiago Rodríguez, Alejandro Ochoa https://creativecommons.org/licenses/by/4.0
Nostalgia, cinism and melancolia in the Valparaíso narrative: Manuel Peña Muñoz, Álvaro Bisama and Cristián Geisse
This paper analyzes the affective positioning (Beasley-Murray) of three Chilean narrative works fancing the national political processes of the turning century (XX-XXI), focusing on the representation of the space and society of Valparaíso, that is, on the lived space of the city (Soja). The chronicle Ayer soñé con Valparaíso (1999) by Manuel Peña Muñoz permeates a nostalgia (Braunstein) hopeful in the recovery of the economic splendor by means of the patrimonial title and elaborates bourgeois environments where topophilia prevails (Tuan); the novel Estrellas muertas (2010) by Álvaro Bisama, with evident disenchantment in the face of unfulfilled projects, identifies with postmodern cynicism (Sloterdijk) and elaborates empty spaces (Bauman) and privatized or institutional non-places (Augé); finally, the story “¿Has visto un dios morir?” (2011) by Cristián Geisse proposes an alternative to the immobility of nostalgia and disenchantment through a melancholic praxis (Avelar) and elaborates anthropological places (Augé) or hyperplaces of popular sociability.
Copyright (c) 2026 Felipe González Alfonso, Ximena Figueroa Flores https://creativecommons.org/licenses/by/4.0
Beatific and Monastic Images in the Figuration of Ruins in Two Works of José Donoso
This article examines beatific and monastic images which allow José Donoso to visualize the ruinous condition of an oligarchic space and the characters that dwell in it in El obsceno pájaro de la noche (1970) and Conjeturas sobre la memoria de mi tribu (1996). Lacerated by a form of power, the subjects mask and free themselves provisionally from such a domain. Ultimately; however, what prevails is their ruined subjection to a desacralized site.
Copyright (c) 2026 Andrés Ferrada Aguilar https://creativecommons.org/licenses/by/4.0
Bildungsroman, Failure, and Melancholy in the Rock Novels Antipop by Patricio Jara and La Armada Invencible by Antonio Ortuño
The article reads the novels Antipop (2016), by Chilean writer Patricio Jara, and La Armada Invencible (2022), by Mexican writer Antonio Ortuño, both of which center on their protagonists’ attempts to pursue their youthful musical ambitions amid economic and existential precarity. Situating the analysis within the history of the relationship between rock and Latin American youth cultures, this article argues that these novels can be read as examples of the Bildungsroman shaped by the narration of crisis, failure, and frustrated development.
Copyright (c) 2026 Francesco di Bernardo https://creativecommons.org/licenses/by/4.0
Familia under Direction of Marta Brunet (1935-1939)
The following article analyzes Familia magazine (1935-1939), a magazine published by Zig-Zag aimed at middle and upper class women, based on its contents and sections. Marta Brunet's management favored the circulation in the pages of the magazine of a discourse in favor of the right to paid labor outside the home, along with sections aimed at mothers and wives. This defense of women's work was displayed in written contents (columns, articles, news) and visual records. In this context, it is proposed that this intervention by Brunet managed to nuance the contents of a women's magazine and exhibited an imaginary of a modern woman anchored in the image of the employee who fulfills administrative tasks.
Copyright (c) 2026 Claudia Darrigrandi https://creativecommons.org/licenses/by/4.0
On the concept of simultaneous avant-gardes in Andrea Giunta’s texts
This article focuses on the concept of simultaneous avant-gardes developed by Andrea Giunta, an Argentine art historian and curator. Firstly, the theoretical foundation of this concept is explored, delineating its evolution and formation. Subsequently, three key aspects are proposed to define simultaneous avant-gardes: the temporal dimension, geopolitics, and visual language, elements that allow us to comprehend the complexity and breadth of this concept. Finally, a critique of the concept of simultaneous avant-gardes is presented, considering certain conceptualizations of the avant-garde and the center-periphery dynamics, which are fundamental to understanding its approach.
Copyright (c) 2026 Pablo Berríos https://creativecommons.org/licenses/by/4.0
The Malaise and the Demystification of Joy: The Politics of Humor in Bello Barrio and Quién mató a Gaete by Mauricio Redolés
This article analyzes the albums Bello barrio and ¿Quién mató a Gaete? by Mauricio Redolés, interpreting them as hinge mechanisms of resistance against cultural malaise during both the final years of the dictatorship and the early stages of the democratic transition in Chile. The hypothesis posits that the artist employs irony, humor, and irreverence to demystify the hegemonic narrative of the neoliberal model. This study articulates Adorno’s critique of the culture industry with the transgressive function of laughter as proposed by Bakhtin, Freud, and Bergson. Simultaneously, it reveals how Redolés forges a neighborhood avant-garde through musical hybridity and poetic strategies that expose historical trauma and the subjects excluded from the political consensus, thereby consolidating his role as a subversive anti-singer.
Copyright (c) 2026 Luis Valenzuela, Rodolfo Plaza https://creativecommons.org/licenses/by/4.0
Redolés Lavanda: Affective Intermediality and Sonic Dissidence in Chilean Counterculture
This article analyzes Redolés Lavanda (2024) as an intermedial work that fuses poetry, music, and archive through an affective and dissident lens. Using an analytical-interpretative approach, it identifies three critical operations: the construction of an insurrectionary sonic memory, an aesthetic of care as cultural resistance, and an expanded popular lyricism. Tracks like “El finao” and “Huye Ana Frank” exemplify a sensory politics that challenges neoliberal emotional regimes. Drawing on the concept of the performative archive, the study argues that Redolés Lavanda reactivates the present from the margins of popular culture, reshaping protest music into a critical artifact that does not represent memory—it turns it into embodied vibration and a space of shared sensitivity.
Copyright (c) 2026 Jorge Cid https://creativecommons.org/licenses/by/4.0
A Poetics of Discomforts: The Punk in Mauricio Redolés
The following text analyzes the punk (Molloy) pose in the artistic practice of Mauricio Redolés, which is evident in his self-management, as well as in the aesthetics and themes of his work. First, it examines the texts of Roque Dalton and Carlos Pezoa Véliz, which serve as the foundation of a personal punk genealogy, as well as poems from the anthology El estilo de mis matemáticas (2017) that represent motifs linked to punk (violence, anarchy, chaos, marginality) and a corresponding aesthetic (spelling mistakes, capital letters, typographic play). All of this is done with the aim of reflecting on how this musical style influences his poetics.
Copyright (c) 2026 María Belén Pérez Silva https://creativecommons.org/licenses/by/4.0
Avatars of the Self in Algo nuevo anterior (Recuerdos) by Mauricio Redolés: Memory, Irony, and Historical Experience
This article examines the configuration of the “avatars of the self” in Algo nuevo anterior (recuerdos) (2017) by the Chilean poet Mauricio Redolés, focusing on the discursive strategies through which the author constructs a fragmentary and mobile subjectivity, one that is tensioned between individual memory and collective history. Drawing on an approach that brings together memory studies, literary studies, and cultural criticism, the article analyzes how the text deploys a narrative voice that oscillates between generational testimony, chronicle, and ironic self-representation, thus configuring multiple “selves” that engage in dialogue with the Chile of the dictatorship and the post-dictatorship. The article argues that these avatars dismantle the epic, tragic, and historical discourses that have structured narratives about this period, proposing instead a representation of the past in which irony, everyday memories, and the irruption of horror reorganize the narrated historical experience.
Copyright (c) 2026 Cristian Vidal Barría https://creativecommons.org/licenses/by/4.0
The autobiographical space of Mauricio Redolés: autography and heterography in Estar de la poesía o el estilo de mis matemáticas (2000)
This work seeks to analyze some of the rhetorical strategies that allow Mauricio Redolés' poetry to be classified as autobiographical writing. Based on an analysis of his book Estar de la poesía o el estilo de mis matemáticas (2000), it is proposed that Redolés writes an autography, that is, a collection of memories based mainly on the political imprisonment and exile he experienced in his youth. But also, it is argued that he constructs a heterography, given that the discursive identity he projects in his verses is collectivized thanks to the inclusion of different subjects and other’s voices that assume the poetic enunciation.
Copyright (c) 2026 Francisco Simon https://creativecommons.org/licenses/by/4.0
Memory lies Ahead: the Transformation of Language as hope in Mauricio Redolés’s poetic-musical Production
This text argues that in the poetic-musical work of Mauricio Redolés, memory is constructed as a form of resistance that allows the present to be summoned critically as a creative force of meaning. It is proposed that the poet-musician offers a polyphonic, humorous, and hopeful counter-archive that succeeds in using memory to build something that is always new: the imagination of a language that both expresses and opposes the contradictions, fractures, and defeats of Chile under dictatorship and post-dictatorship.
Copyright (c) 2026 Alejandra González Celis, Claudio Guerrero Valenzuela https://creativecommons.org/licenses/by/4.0
New Horizons of the Revista de Humanidades: Framework and Open Science.
Copyright (c) 2026 Revista de humanidades (Santiago. En línea) https://creativecommons.org/licenses/by/4.0
María Gabriela Huidobro Salazar. Mujeres en la historia de Chile.
The "Poet only knows while Writing". Interview with Mauricio Redolés
Mauricio Redolés (1953) es poeta y músico –o “poeta entrometido en la música”, como él mismo ha señalado–, y puede considerarse también cronista. Su obra es vasta y está integrada por más de diez discos, alrededor de una decena de libros de poesía, un libro de memorias, un volumen de conversaciones con Patricio Manns y un cancionero.
The graphic poster and its condition of (post)memory
The general objective of this research is to describe and analyze the production of the graphic poster as a work of memory and postmemory whose double condition, of art and politics, allows it to transcend the temporality of the events that produce it. The specific objective is to analyze the polysemy of the visual and written message as well as the forms of social circulation of the poster “Ninguna calle llevará tu nombre” produced during the chilean dictatorship (1973 – 1990). The methodology is qualitative and considers the study of sources, interviews and the same poster. The main findings show the relevance of the poster, especially in contexts of historical crisis; the spatial impacts in the city where it is installed; its political implications, relative to the ideological groups it represents; and, finally, its social or generational repercussions that reproduce the poster as a work of memory or postmemory.
Posthumanist drifts for alternative research: an approach to resistance during incarceration
Both studies on the living conditions of people deprived of liberty and research on experiences associated with imprisonment reveal the presence of a body that is institutionally violated and studied in a targeted manner. Since prison is not only a place of discipline, but also a stage for negotiating power, I propose a way of approaching acts of resistance during imprisonment based on the premise that the body persists in its being; that it affects and is affected by other entities and material forces. Highlighting the materiality of experiences of deprivation of liberty opens up a field of study that challenges the traditional understanding of the production of knowledge; in this way, I propose a post-qualitative approach that underlines the agency of matter, objects and non-humans in research, choosing to explore resistance from cartography. This work is not only an attempt to escape from an anthropocentric reading, it is also based on the importance of contributing to studies on imprisonment from critical self-reflection on the actions, roles and decisions of the researcher.
The 'Art of Existing': Intuition and Singularity. Contributions to the Ethical Dimension of Heideger's Thought in Light of his Metontology
The ‘art of existing’ (Existierkunst) that emerges within the framework of the notion of metontology (Metontologie), as presented by Heidegger in 1928, is the closest we have to an approach to the ethical elements that metontology explicitly announces. In this article, I argue that the notion of ‘intuitive representations’ (anschauliche Vorstellung), which Heidegger develops in his reflection on representational thinking in the mid-1930s – in a text not generally regarded as relevant to his ethical reflections – can enrich our understanding of the ‘art of existing’ by offering a key to deciphering what it truly means ‘to see singularity’, in the sense implied by this art. In this respect, I suggest that the notion of ‘intuitive representations’ emerges as an important element in the task of recovering the mode of dwelling evoked by the name ethos, and that it can therefore contribute to the development of what Heidegger designates with the expression ‘original ethics’ (ursprüngliche Ethik).
Since the linguistic turn in the social sciences, consideration of the concept of emergence as well as the contextualized analysis of speeches in political theory have been gaining relevance. On the other hand, New Materialism has sought to highlight existing deficiencies of the language perspective when it comes to attending to the possibility of agency exercised by non-human matter. Recent emphasis on language and everything that takes the form of speech has resulted in a disregard for silence as a key element in political action. Change in that regard began to occur with Kennan Ferguson’s innovative article (Silence: A Politics) which goes beyond considering silence as “the absence of sound” and an element of resistance to power. Nonetheless, Ferguson’s vision remained clearly anthropocentric. We believe it is necessary to explore the possibilities of applying Ferguson’s expanded understanding of silence’s political role to non-human and even non-animal realities and manifestations. Such manifestations are affected by human action, and humans’ effect on them is thus a political problem. To address that problem, we argue, the concept of what we call “matter agency” and a new understanding of speech acts are needed.
Sistema nervioso by Lina Meruane For a Narrative beyond the Anthropic Principle
In this article we analyse the novel Sistema nervioso by the Chilean writer Lina Meruane. The aim is to trace a reading from the materiality of bodies to the connection with the cosmic imaginary, which opens up the consideration of temporal scales that are not limited to the strictly human. We show, on the one hand, that biopolitical readings find their limits in this novel and, on the other, we arrive at a critique that advocates a beyond the anthropic principle. The paper hypothesises that a reading of illness as a spectre can lead to the consideration of a narrative beyond the anthropic principle. Finally, we outline a conclusion on spectral politics and the possibilities of memory.
Writting Trauma: Testimony and Surrealism in Reinaldo Arena's El palacio de las blanquísimas mofetas
This article aligns with Latin American studies on testimony, aiming to explore the textualization of historical trauma in Reinaldo Arenas’s novel El palacio de las blanquísimas mofetas. Practices adopted (and adapted) from surrealism restore the centrality of the subject who perceives and communicates the past through imaginative exercises, the demystification of documentary work, the rescue of affective matter, and the embodiment of mental events associated with the state of crisis. Thus, it is concluded that all those phenomena typical of the avant-garde, usually excluded from the testimonial dynamics by the critics, are sine qua non resources in the transmission of the traumatic experience.
The Rebellion of Ivan Karamázov. A Reflection of the Human Condition
In the present work, the problem of the human condition is addressed from a philosophical point of view starting from chapter V of The Brothers Karamazov, specifically from the paragraph called “Iván’s Rebellion”, which precedes the well-known story about “The Great inquisitor.” After analyzing three lines of interpretation that have been proposed in relation to this passage, an interpretation of the text will be defended based on the distinction, which until now has not been sufficiently taken into account, between the doctrine of Ivan (if God does not exist, everything is permitted) and Ivan’s rebellion against the world created by God, which leads him to “return his entry to heaven.”