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Copyright of Revista Alea: Estudos Neolatinos is the property of Programa da Pos-Graduacao em Letras Neolatinas Fac de Letras - UFRJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is an approach to problems that arise when considering literary fictionality as an alternative to the issue of poetic enunciation. For this we start from the idea that the figure of the double could be thought of as a possibility of enunciation in which there is a convergence between issues of narrative fiction and notions of contemporary poetry. This analysis takes into account the theories of enunciation by Émile Benveniste and Paul Ricoeur, as well as some extensions of the case, connected to the idea of poetic fictionality, presented by authors such as Diana Alejandra Espinoza Elías and Fernando Cabo Aseguinolaza. From these discussions it is considered possible to configure an approach that links problems of the enunciative of 'I' in poetry, with those of the double in literature. This theoretical position is used to address some of the poems of Árbol de Diana [Diana's Tree] by Alejandra Pizarnik, in order to observe how these issues are presented. [ABSTRACT FROM AUTHOR]

This paper focuses on the analysis of imagetic depictions made by the illustrator Santiago Caruso based on The Bloody Countess’ gothic symbols, written by Alejandra Pizarnik. It inquires how Caruso has depicted, using techniques that includes graffito, the symbols of death, blood, mirror and redness that interact to give the tale its gothic aspect, by considering important peculiarities of the language involved and how they relate to each other in the meaning construction of the artwork here studied.

Pizarnik is a writer whose work is highly interesting from the editorial point of view, for two particular situations. First, the published work is identified as “complete” when there is no complete edition of this author, because it bears the burden of censorship. Second, this gap causes the necessity of going to Princeton, where is the “original” work of Pizarnik in a more complete version. This paper tries to explore these points, starting from the experience of editing the unpublished work Otoño o los de arriba.

Moving from Adorno’s statement about the enigmatic nature of modern aesthetics, this paper aims to analyse the forms the enigma takes in the works of the Uruguayan and Argentinian poets Sara de Ibáñez and Alejandra Pizarnik. The essay will consider the figures and the shapes of the enigma as they appear in both poetries. Proper of the revelation of the enigma through its profanation by the poetic language is, in fact, the never-ending and mutual reflection of two different states of the being. Through Martin Heidegger and Giorgio Agamben’s studies on language and negativity, the way in which the enigmatic word appears continuously in its constitutive suspension between infancy and adulthood, absence of time and history, language and silence, the Self and the Other will be revealed. Through the resulting dichotomy of matter and form, emerging from a passage of Agostino’s De natura boni, it will be possible, in conclusion, to recognise in the silent form of the enigma the embryonic proposal of a poetical ethics of writing.

Generally appreciated as one of the most original and creative voices in twentieth-century Latin American poetry, Alejandra Pizarnik (Argentina, 1936-1972) has not been regarded as a religious poet. Yet despite her explicit disavowal of all forms of religious commitment, Pizarnik's work is nonetheless animated by fundamentally theological concerns. This article examines in detail the theological motif of "incarnation" in Pizarnik's verse. It argues that, despite her avowed secularism, Pizarnik frames her own poetic project in explicitly incarnational language and that this theologically inflected vision underwrites her conception of poetic meaning-making. [ABSTRACT FROM AUTHOR]