{"id":16176,"date":"2024-01-31T09:08:06","date_gmt":"2024-01-31T08:08:06","guid":{"rendered":"https:\/\/www.imex-revista.com\/2024-articulos-imex-vol-4\/"},"modified":"2024-01-31T09:08:06","modified_gmt":"2024-01-31T08:08:06","slug":"2024-articulos-imex-vol-4","status":"publish","type":"page","link":"https:\/\/www.imex-revista.com\/en\/2024-articulos-imex-vol-4\/","title":{"rendered":"2024. Art\u00edculos iMex vol. 4"},"content":{"rendered":"[vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_image=”31″ bg_position=”center top” background_image_loading=”default” bg_repeat=”repeat” scene_position=”center” top_padding=”60″ text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” parallax_bg=”true” parallax_bg_speed=”slow” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”10″ text_align=”center” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][nectar_animated_title heading_tag=”h1″ style=”color-strip-reveal” color=”Accent-Color” text=”2024. Art\u00edculos iMex vol. 4″][divider line_type=”No Line” custom_height=”30″][vc_column_text]\n

Yasmin Temelli \/ Hans Bouchard (eds.)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”3″ divider_color=”extra-color-3″ custom_height=”30″][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”center” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column_inner][\/vc_row_inner][vc_column_text text_direction=”default”]\n

Art\u00edculos<\/span><\/strong><\/a><\/h3>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”3″ divider_color=”extra-color-3″ custom_height=”30″][vc_column_text text_direction=”default”]\n

Katelyn Smith<\/strong><\/span><\/h3>\n

\"\"<\/h3>\n

Polifon\u00eda de voces y narraci\u00f3n fragmentaria en Texas<\/em> (2012) de Carmen Boullosa (pp. 1-16)<\/span><\/a><\/p>\n

DOI: 10.23692\/Articulos_iMex_4.1<\/span><\/p>\n

Descargar Art\u00edculo<\/span><\/i><\/a>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”3″ divider_color=”extra-color-3″ custom_height=”30″][vc_column_text]\n

Rese\u00f1as \/ Reviews<\/span><\/strong><\/a><\/h3>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”3″ divider_color=”extra-color-3″ custom_height=”30″][vc_column_text text_direction=”default”]\n

\"\"<\/h3>\n

Israel P\u00e9rez Medina<\/strong><\/span><\/h3>\n

(pp. I-III)<\/span><\/strong><\/p>\n

Licata, Nicolas, Yanna Hadatty Mora y Kristine Vanden Berghe (eds.) (2023): Tradici\u00f3n y transgresi\u00f3n. Ensayos cr\u00edticos sobre la obra de Guadalupe Nettel<\/em>. Lieja: Press Universitaires de Liege, 196 p\u00e1ginas.<\/span><\/a><\/p>\n

Descargar Art\u00edculo<\/span><\/i><\/a>\n

 <\/p>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”3″ divider_color=”extra-color-3″ custom_height=”130″][vc_column_text text_direction=”default”]\n

\"\"<\/h3>\n

Celina Larios<\/strong><\/span><\/h3>\n

(pp. III-V)<\/span><\/strong><\/p>\n

Don\u00e0 Lauterbach, Chiara (2023): Materialidad insumisa: Lo fragmentario, lo nimio y lo abyecto en la obra de Margo Glantz<\/em>. Madrid: Iberoamericana \/ Vervuert, 333 p\u00e1ginas. <\/span><\/a><\/p>\n

Descargar Art\u00edculo<\/span><\/i><\/a>\n

 <\/p>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”3″ divider_color=”extra-color-3″ custom_height=”130″][vc_column_text text_direction=”default”]\n

\"\"<\/h3>\n

Chiara Don\u00e0<\/strong><\/span><\/h3>\n

(pp. V-VIII)<\/span><\/strong><\/p>\n

Oswaldo Estrada (ed.) (2023): Rosa Beltr\u00e1n: afectos literarios y el arte de narrar<\/em>. Ciudad de M\u00e9xico: Bonilla Artigas Editores, 357 p\u00e1ginas. <\/span><\/a><\/p>\n

Descargar Art\u00edculo<\/span><\/i><\/a>\n

 <\/p>\n[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”3″ divider_color=”extra-color-3″ custom_height=”130″][\/vc_column][\/vc_row][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column][vc_column_text]\n

 <\/p>\n[\/vc_column_text]\n","protected":false},"excerpt":{"rendered":"

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