From the stories of the mestizo chroniclers in colonial situation (Inca Garcilaso de la

Vega’s Los comentarios reales or Felipe Guaman Poma de Ayala’s El primer nueva
corónica y buen gobierno) to the modernist canonical poetry (Versos libres by José Martí
or Prosas profanas by Rubén Darío ) and even the contemporary novel (Vivir entre lenguas
by Sylvia Molloy, El traductor by Salvador Benesdra or Enterrados by Miguel Vitagliano),
the art and literature of Latin America have reflected on what he calls “scenes of
translation” to denounce conditions of oppression but also to imagine inclusive and
alternative forms of community life. From the stories of the mestizo chroniclers in colonial
situation (Inca Garcilaso de la Vega’s Los comentarios reales or Felipe Guaman Poma de
Ayala’s El primer nueva corónica y buen gobierno) to the modernist canonical poetry
(Versos libres by José Martí or Prosas profanas by Rubén Darío ) and even the
contemporary novel (Vivir entre lenguas by Sylvia Molloy, El traductor by Salvador
Benesdra or Enterrados by Miguel Vitagliano), the art and literature of Latin America have
reflected on what he calls “scenes of translation” to denounce conditions of oppression but
also to imagine inclusive and alternative forms of community life. From the stories of the
mestizo chroniclers in colonial situation (Inca Garcilaso de la Vega’s Los comentarios
reales or Felipe Guaman Poma de Ayala’s El primer nueva corónica y buen gobierno) to
the modernist canonical poetry (Versos libres by José Martí or Prosas profanas by Rubén
Darío ) and even the contemporary novel (Vivir entre lenguas by Sylvia Molloy, El
traductor by Salvador Benesdra or Enterrados by Miguel Vitagliano), the art and literature
of Latin America have reflected on what he calls “scenes of translation” to denounce
conditions of oppression but also to imagine inclusive and alternative forms of community
life. From the stories of the mestizo chroniclers in colonial situation (Inca Garcilaso de la
Vega’s Los comentarios reales or Felipe Guaman Poma de Ayala’s El primer nueva
corónica y buen gobierno) to the modernist canonical poetry (Versos libres by José Martí
or Prosas profanas by Rubén Darío ) and even the contemporary novel (Vivir entre lenguas
by Sylvia Molloy, El traductor by Salvador Benesdra or Enterrados by Miguel Vitagliano),
the art and literature of Latin America have reflected on what he calls “scenes of
translation” to denounce conditions of oppression but also to imagine inclusive and
alternative forms of community life. From the stories of the mestizo chroniclers in colonial
situation (Inca Garcilaso de la Vega’s Los comentarios reales or Felipe Guaman Poma de
Ayala’s El primer nueva corónica y buen gobierno) to the modernist canonical poetry
(Versos libres by José Martí or Prosas profanas by Rubén Darío ) and even the
contemporary novel (Vivir entre lenguas by Sylvia Molloy, El traductor by Salvador
Benesdra or Enterrados by Miguel Vitagliano), the art and literature of Latin America have
reflected on what he calls “scenes of translation” to denounce conditions of oppression but
also to imagine inclusive and alternative forms of community life. From the stories of the
mestizo chroniclers in colonial situation (Inca Garcilaso de la Vega’s Los comentarios
reales or Felipe Guaman Poma de Ayala’s El primer nueva corónica y buen gobierno) to
the modernist canonical poetry (Versos libres by José Martí or Prosas profanas by Rubén
Darío ) and even the contemporary novel (Vivir entre lenguas by Sylvia Molloy, El
traductor by Salvador Benesdra or Enterrados by Miguel Vitagliano), the art and literature
of Latin America have reflected on what he calls “scenes of translation” to denounce
conditions of oppression but also to imagine inclusive and alternative forms of community
life. From the stories of the mestizo chroniclers in colonial situation (Inca Garcilaso de la
Vega’s Los comentarios reales or Felipe Guaman Poma de Ayala’s El primer nueva
corónica y buen gobierno) to the modernist canonical poetry (Versos libres by José Martí
or Prosas profanas by Rubén Darío ) and even the contemporary novel (Vivir entre lenguas
by Sylvia Molloy, El traductor by Salvador Benesdra or Enterrados by Miguel Vitagliano),
the art and literature of Latin America have reflected on what he calls “scenes of
translation” to denounce conditions of oppression but also to imagine inclusive and
alternative forms of community life. From the stories of the mestizo chroniclers in colonial
situation (Inca Garcilaso de la Vega’s Los comentarios reales or Felipe Guaman Poma de
Ayala’s El primer nueva corónica y buen gobierno) to the modernist canonical poetry
(Versos libres by José Martí or Prosas profanas by Rubén Darío ) and even the
contemporary novel (Vivir entre lenguas by Sylvia Molloy, El traductor by Salvador
Benesdra or Enterrados by Miguel Vitagliano), the art and literature of Latin America have
reflected on what he calls “scenes of translation” to denounce conditions of oppression but
also to imagine inclusive and alternative forms of community life.