Presentation

Abstract

FIGURAS REVISTA ACADÉMICA DE INVESTIGACIÓN sets and builds up -through the act of writing- the act of transforming, tracing or representing in each publication the findings that authors lay on each of the three sections covered in this publication.

In this issue, the Perspectives section includes two articles that demonstrate the multidisciplinary development of our journal: “Crime Under Fiction. Analysis of a Poetic Argument” inspects the fictionalization of crime in a shared interest between Argentine writers Jorge Luis Borges and Ernesto Sabato and “Workplace Violence in the SUTERM (Only Labor Union of Electricians of the Mexican Republic for its acronym in Spanish) National Executive Committee: Case Study” focuses on exhibiting a case of labor violence and analyzing it from the victim’s perspective. 

The Scenarios section includes essays on the 700^th anniversary of Dante Alighieri’s death, his world, and its repercussions. Seven texts to rethink the heritage and, as Jorge Luis Borges said, “the lived of Dante”: “Dante ieri e oggi” by Marco Grimaldi (in Italian and Spanish), “A Lark in Paradise” by Pablo Williams, “Giotto’s Eyes” by Pablo Maurette, “Dante and the Lenitive Punishment” by Armando González Torres, ““As reply he made a buggle of his ass”: Dante Alighieri on James Joyce”  by Ernesto Lumbreras, “Resonance of Hell in Video Games: Intertextual Relations Between the Comedy and the Video Games Dante’s Inferno and Devil May Cry” by Alejandro Rodríguez and “Eloquence and Splendor. On humanism and Optics in Dante” by J. Rafael Martínez E. All the essays show the actuality and repercussions of Dante Alighieri’s work in the journal’s vocation: the multidisciplinary vision.

The Resonances section includes the critical review “How Have I Dared to Speak on Behalf of the Dead? A Comedia Portuguese rewriting” on Pedro Eiras’ sharp interpretation that transfers the metaphysical worlds of the Italian poet to a 21^st century reality in the text; and “La Comedia, an Assortment of Prodigious Glimpses” which reviews the editorial characteristics of the version of the Comedy elaborated by José María Micó, emphasizes a series of features that singularize the translation work and adds comments on the Dantesque work.

On this occasion, we also include two poetic views on the Comedia: “Todo lo que no se vio” by David Huerta and “Dúvidas de um Tradutor” by Pedro Eiras.