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The richness of contemporary poetry lies in the plurality of literary languages that comprise it. However, one of the most significant trends, that which descends in direct line from the vanguard, the Brazilian Concretism and the latest generation of poets of the risk, supposes that the boldest poetry of our time has broken the gender codes, with the notion of the ego (hence with the notion of lyricism), with the communicative function (producer of sense) of the language, etc. So, it stops speaking of poetry to retake other terms as writings, transtexts, linguistic islands, etc. This paper aims, from the current contributions of American (Perloff, Hoagland, Swensen, Burt), French (Meschonnic, Caron, Maulpoix) and Hispanic criticism, to rethink the notion of lyricism and tell about the writings of the ego in the face of the limit of gender.
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The published works of Andi Nachon (Buenos Aires, 1970) comprise more than half a dozen single-authored collections of poetry, inclusion in several recent anthologies, and her own anthology of Argentine women poets. Her name appears in articles and works on recent poetry from Argentina, as in Diana Bellessi’s La pequeña voz del mundo. She also gives frequent readings on the Buenos Aires poetry circuit. Her work, though, lacks a sustained critical study. This is surprising. Nachon’s poetry occupies, in form and technique, a space between the dominant trends of 80s and 90s poetry – broadly speaking, the neobarroco and objectivismo – whilst her themes take in contemporary pop culture, political memory and resistance, and what might be termed the psychogeography of the city. Ambiguity – of subject or narrative position; of syntax; of geographical or physical position; and of gender – characterizes much of her work. For these and other reasons, a detailed reading of a selection of poems from throughout her career is somewhat overdue. This paper sets out to examine a number aspects of her poetry: the context from which her earliest work emerges; its development of novel forms of address, in relation to comparable near-contemporary poets; explorations of space, including a form of psychogeography, in both her early collections and her volume Taiga (2000); the subtle political engagements found in her poetry, including a later collection Plaza real (2004); before looking at her most recent poetry and its interaction with non-poetic forms. Questions of the lyric and what has been called by Baltrusch and Lourido (2012) and Casas (2012), amongst others, “non-lyric poetry”, are central to these analyses.
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Desde que Serge Doubrovsky definiu na súa novela de 1977, Fils, a categoría “autoficción” até a súa recuperación serodia desde o ámbito da narrativa –revisada na península por teóricos como J. M. Pozuelo Yvancos ou Manuel Alberca–, son múltiplas as aplicacións e reflexións arredor desa modalidade pretendidamente transxenérica. Certas modulacións presentes no discurso poético, como a aparición do nome da autora ou un entretecido poemático de datos procedentes da súa biografía, permiten trasladar esa tensión entre o biográfico e o ficcional aos textos.
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Este volumen nace con el propósito de producir conocimiento crítico sobre las prácticas poéticas en el espacio público, sus funciones y su eficacia dentro de éste. A la inestabilidad funcional de la poesía y lo lírico en la actualidad se une la noción de espacio público, entendida tanto desde su vertiente conceptual, filosófica y social, como desde su vertiente material, física, ligada a la (re)presentación escénica. Espacios, sujetos e instituciones se redefinen de la mano de esta combinación. Así, la inclusión de la espacialidad en una teoría poética actualizada, la constitución de nuevos sujetos y subjetividades y la identificación de públicos y prácticas en torno a los conceptos de performatividad e intervención constituyen los vectores fundamentales de este libro. Sin acotación de ningún tipo en términos lingüísticos, nacionales o interartísticos, los trabajos aquí recogidos se reparten entre lo teórico-crítico y metodológico, los estudios de caso y las reflexiones en primera persona, teniendo como objetivo último la valoración de la incidencia de la poesía en el espacio público y sus efectos socio-políticos.
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The article presents the celebrated peleja (verse exchange) between Inácio da Catingueira and Romano da Mãe d'Água in the Brazilian North-East. The polemic peleja de cordel (a kind of chapbook), which evokes a poetic contest that allegedly took place in 1874 or 1875 in Recife, is regarded as the first of a kind that forms one of the most important phases in Brazilian cordel literature. On the one side stands a slave poet and on the other a landowner; each aims to defend and to characterize the race and social class to which he belongs. The article aims to demonstrate the influence of scientific thinking in popular literature, particularly with regard to ethnic and cultural miscegenation.
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Més que no pas d’incidència, m’ha sortit de parlar de dissidència, ja que la incidència ha de respondre en primer lloc a una manera de ser, de fer i de situar-se en el món. I començaré, per citar una frase del nostre company de llibre, en Márcio-André, que ve en relació al que és per mi un artista. Sempre dic que un artista ho és perquè no sap fer una altra cosa (o no vol, o renega de fer-ho). I vet aquí el que Márcio-André respon pel que fa a això, en una entrevista que es fa a ell mateix, i la seva resposta, la subscric.
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