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This essay offers an alternate understanding of Macedonio's place in art history, focusing on a posthumously published essay, \"Para una teoría del arte\" (c. 1927), in which Macedonio sketches a general theory of art and investigates the particular qualities of arts such as music, silent film, painting, and prose writing. In this essay, Macedonio conceptualizes art in terms of emotion: the artfulness of a work of art is grounded in its capacity to elicit a unique category of emotional experiences in viewers, readers, and listeners. Importantly, he insists that this emotional experience is only possible if each of the arts, such as painting, music, silent film, and prose writing, remain strictly within its own domain. Combinations of the arts are, as Macedonio puts it, \"monstruos\" (242), and the power of a work is directly linked to the artist's exclusive employment of the single, unique technique that defines her chosen art: \"un arte es una sola técnica excluida para los demás,\" and \"cuanto más artes diferentes se asocian menor es su poder\" (237). In \"Para una teoría del arte,\" Macedonio's pursuit of a general concept of art leads him to harden the boundaries separating the arts, rather than break them down, pushing him toward a vision of art that bears important similarities to the formalist and medium-specific understandings of modernism that rose to prominence in the middle decades of the twentieth century in the works of critics such as Clement Greenberg.

This article explores the poetic use of mirrors in Argentine literature, focusing on Silvina Ocampo's story \"La cara\" while also extending the analysis to works by Macedonio Fernandez, Julio Cortazar, and Jorge Luis Borges. The mirrors are examined as symbols that reflect and interrogate identity both literally and metaphorically, positioning them within a uniquely Argentine tradition distinct from the typical use of mirrors in European fantastical literature. This tradition shows mirrors as tools of introspection and cultural symbols that reflect Argentina's complex European influences and its quest for a unique identity. The paper also presents an innovative comparison between literary mirrors and digital twins, suggesting that classical themes of duplication and reflection remain relevant in current discussions of digital identity and representation. Through an analysis of the works of Ocampo, Fernandez, Cortazar, and Borges, and the concept of digital twins, the article highlights the persistent human fascination with doubles as a means to navigate and understand our identities in both physical and virtual spaces.

La nota a pie de página en la poética de Macedonio Fernández, el belarte que explica y ejercita en sus textos, se configura como un lugar privilegiado para la instancia textual del autor, donde esta reflexiona y dialoga con el lector. Varias veces, Macedonio Fernández experimenta con las notas para evidenciar su carácter bifurcador, para cuestionar su naturaleza liminal, y desarrollar funciones insólitas: cambiar el estatus no ficcional de los textos, determinar metalepsis ficcionales y restablecer la cohesión textual del belarte fragmentario y sin asunto del autor.

This work, entitled The \"Transparent Third\" in the writing of Macedonio Fernández, is directed to generate a critical dialogue about certain philosophic interpretations of the abovementioned author. We think that the hermeneutic gaze search profoundly, in the other side of the words, the trace of the concept and let escape the most adjoining and superficial level in which the writing is deployed in its specificity. This gaze destroys the inherent of the writing because it puts the reader in the scene of the writing-reading, in its immediate reality.Our critic proposes quite a wide approach to the texts of Macedonio Fernández and analyses several topics of his work critical studies –his ideas about philosophy, politics, laws, his opposition to realism and representation, the privilege of affection-, to show the existence of an structural space, where writing is conceived as a series of intersubjective positions directed to generate a possible experience. In this case, this is the experience of opening the conscience to the infinite finitude, to the affection immortality which is not transcendental. Nuestro trabajo, titulado El \"Tercero Transparencial\" en la escritura de Macedonio Fernández, está orientado a promover un diálogo crítico respecto de ciertas lecturas filosóficas del autor en cuestión. Creemos que la mirada hermenéutica, que persigue en lo profundo, del otro lado de las palabras, la huella del concepto, deja escapar el nivel, más inmediato y superficial, en el que la escritura, con las singularidades que le son propias, se despliega. Tal lectura aniquila lo específico de la escritura, que consiste en instalar la mirada del lector en la inmanencia de la escena de lectura-escritura, en su realidad inmediata.Nuestra crítica propone un abordaje más o menos amplio del corpus de textos macedoniano, retomando varios lugares comunes en el examen de su obra: sus ideas filosóficas, políticas, jurídicas, la oposición al realismo, a la representación, el privilegio de lo afectivo, para señalar la existencia de un espacio estructural, donde la escritura es concebida como una serie de posiciones intersubjetivas orientadas a la suscitación de una experiencia posible. En el presente caso, esa experiencia es la de abrir la conciencia al plano de una finitud infinita, a una inmortalidad de la afección que no es trascendental.

An excerpt from the novel Museum of Eterna's Novel by Macedonio Fernandez and translated by Margaret Schwartz is presented.

The following essay proposes to read some central poems in the work of Macedonio Fernández, trying to relate them to certain aesthetic ideas of the author, expressed in essays referred to the forms of the literature. Also, there will appear the paradoxes and consistency that exist between the philosophical thought of Macedonio Fernández -his original \"empiricism of the unreal thing\", so to speak-, his aesthetic speculations and his poetical writing. [PUBLICATION ABSTRACT]

A look at the writings of Jorge Luis Borge and Macedonio Fernandez is offered. Efforts have been made to establish Macedonio's reputation as a founding father of modern Argentine culture.

This dissertation presents an interpretation of being in the pampas as a journey from ancient Greece to the plains of Argentina. It is a story of the pampas, about a plain, untamed, limitless territory. It is also a story of some of the dwellers of that territory: gauchos, hares, national heroes, and captive women. The notion of being is discussed in terms of place as excessive, boundless, apeiron. The dissertation traces this notion of being back to the primordial unfolding of the Eleatic philosophers Parmenides and Zeno. This interpretation also takes into account the way that Argentine writers (Macedonio Fernández, Cásar Aira, and Jorge Luis Borges) have understood Western philosophy and its place in the Argentine pampas.