César Zamorano, La revista Cormorán y su contribución al debate en torno a la cultura en la Unidad Popular, Izquierdas, 30, Octubre 2016:215-235 215La revista Cormorán y su contribución al debate en torno a la cultura en la Unidad Popular Resumen: El primer año de la Unidad Popular tuvo la intensidad acumulada por años de discusión y espera por legitimar una participación inclusiva en el diseño de la sociedad chilena. Ante ello, intelectuales, escritores y artistas quisieron contribuir a esta construcción de un nuevo Chile, no sin ello confrontar visiones y propuestas divergentes que promovieron interesantes debates, algunos más intensos que otros. La revista Cormorán (1969-70) constituye un instrumento capaz de dar cuenta de esta discusión, pues sirvió como dispositivo de intervención en los debates políticos y culturales de importantes figuras tanto nacionales como internacionales. Su propuesta, articulada por Enrique Lihn y Germán Marín, fue decisiva para proponer una nueva relación entre el arte y la política y confrontó al mismo tiempo algunas tendencias que pretendían instrumentalizar el arte desde propuestas ideológicas que para ellos no respondían a la naturaleza particular del proceso desarrollado durante la Unidad Popular. Palabras clave: Unidad Popular, Revista Cormorán, Cultura, Política Cultural, Enrique Lihn. Abstract:The first year of the Unidad Popular had the intensity accumulated through years of discussion and hopes in order to legitimize an inclusive participation in the design of Chilean society. In response, intellectuals, writers and artists wanted to contribute to the construction of a new Chile, not without it confront divergent views and proposals, promoted interesting debates, some more intense than others. Cormorán journal (1969Cormorán journal ( -1970 is an essential instrument able to account for this discussion, since it served as a device intervention in political and cultural debates of important national and international leading figures. Its proposal, articulated by Enrique Lihn and Germán Marín were decisive in proposing a new relationship between art and politics and confronted, at the same time, some tendencies that expected to instrumentalize art from ideological proposals that they did not respond to the particular nature of the process developed during the Unidad Popular.

Una de las consecuencias políticas de la represión vivida durante los años de la dictadura chilena instaurada luego del golpe de Estado de 1973 y encabezada por la Junta Militar, fue el fenómeno del exilio. A través del estudio de las revistas creadas por chilenos exiliados en los más recónditos lugares del planeta, es posible recomponer la historia cultural y política de Chile. Particularmente, este artículo propone que las revistas culturales constituyen espacios fundamentales para reconocer de qué manera se aborda desde el exilio la experiencia común del pasado de la Unidad Popular junto al horror de un presente marcado por el golpe de Estado, la persecución y el exilio. En este sentido, la revista Araucaria de Chile (1978Chile ( -1990 acuñó en sus páginas la escritura del afuera, traspasada por los modos del decir dependientes en gran medida de la experiencia concreta de la desarticulación social de una identidad previa y de sus formas de rearticulación. Finalmente, la sección "Un millón de chilenos" nos permitirá identificar tres dimensiones dentro del conjunto de narrativas testimoniales que se ocupan de la experiencia del exilio definidas como desarraigo, culpa y aprendizaje.

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Periodicals have been a significant part of Chile’s cultural history. Groups and networks of writers, intellectuals, and artists have orbited around literary and cultural periodicals with the aim of disseminating cultural and aesthetic projects. The study of periodicals addresses dialogues that have moved from the specificities of their disciplinary practice to political and social contexts. Reconstructing the trajectory of periodicals allows for the articulation of a dialogue with the voices that congregate in them to propose, question, and harbor specific currents capable of intervening in the configuration of the disciplines, the theoretical and cultural guidelines that determine an era. Dialogues that at certain junctures can transcend this resonance and expand considerably. The history of Chile as read through cultural and literary periodicals reveals the concerns that the cultural and artistic debate promoted during two distinct periods: during the Unidad Popular project, led by the government of Salvador Allende (1970–1973), and its interruption with the coup d’état that initiated one of the bloodiest and most extensive dictatorships in Latin America (1973–1990). These concerns were articulated within a decisive collaboration of artists and writers during the Unidad Popular and altered under the persecution and rupture with the state during the dictatorship. In these two moments the journals opened debates and proposed and discussed ideas from a specific historical time, along with problematizing the exercise of their intellectual practice and reflecting on the disciplinary limits that sustain them. The analysis of the trajectory of periodicals in the cultural history of Chile recognizes the social, political, and cultural transformations of these two moments in the history of Chile.

This work proposes to understand the political and cultural coordinates in which the appearanceof the only number of the journal Manuscritosinscribes. Articulated in a space beleaguered by the military repression, Manuscritoschannels forms of artistic production along with a writing that resignifies it. Thereby, the novelty of its written-visual construction is framed in the interior of a tradition through an affiliation with a past, working as an updated device of resistance, by recoding the space and time, which in the context of dictatorial (tabula rasa) are taken as unsettling and subversive.