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From 1958 to 1963, Roberto Juarroz published more than forty reviews in the cultural section of the journal Ua Gaceta (Tucumán), in those years one of the three most important journal in Argentina. In this article I compare the reviews with some of his poems published in the first Poesía vertical (1958). The critical analysis demonstrates that the same personal aesthetics pervades reviews and poems. [ABSTRACT FROM AUTHOR]

Luis de Miranda, member of Pedro de Mendoza's fleet, wrote, probably around 1540, a composition in verse that is now known as Elegy Romance or simply Romance. Ricardo Rojas considered the poem to be the first literary composition of the Rio de la Plata in the early twentieth century. Since then, critics have read the Romance exclusively as a literary text. This paper proposes to read it taking into account its documentary context: the letter that Miranda himself sent to the King in 1545 and the Relación that Francisco Ortiz de Vergara sent to the Council of the Indies, at the end of which the Romance is copied. This reading, without excluding the literary dimension of the text, allows us to consider it integrating a discursive constellation whose purpose is eminently political. [ABSTRACT FROM AUTHOR]

Much has been written on the emergence of new forms of artistic and film production in Argentina in the 2000s, in particular collective and/or innovative means of production in the "post-crisis". We propose a reading of poems by poet-activists —Arturo Carrera, Washington Cucurto, and Sergio Raimondi— in order to examine the coherence, or otherwise, between activism and poetics. [ABSTRACT FROM AUTHOR]

The aim of this paper is to address the neobaroque poetry of Rio de la Plata. In this regard, I have selected the work of Susana Cella and Eduardo Espina. The cultures of the two banks of the great river produce semiotic representations and different deconstructions, where the river is vestige and joyful shine of the history of the South. [ABSTRACT FROM AUTHOR]

This essay focuses on César Mermet's poetry (1923-1978), whose work, after forty years of continuous writing, remained unpublished during his lifetime. Due to internal reasons, this poetry has had a troublesome relationship with the literary field, taking into account the conditions of its legibility. In the same way, we refer to two other anomalous cases in the context of the so called "history of Argentine poetry". They are Aldo Oliva (1927-2000) and Juan Carlos Bustriazo Ortiz (1929-2010). [ABSTRACT FROM AUTHOR]

The present work attempts to situate the Neobaroque term in the context of the European, Latin American and Argentine traditions, understanding the meaning of tradition as a theoretical category that allows us to think (as opposed to the category of canon) on artistic experimentation. In this way, we intend to recognize how poets such as Carrera and Kamenszain adopted procedures and techniques that expound the notion of form and the problem of sense. [ABSTRACT FROM AUTHOR]

I propose a re-reading of Argentine poetry, tracing the evolution of both the neo-barroque and the neo-objectivist poetry of the 1980s and 90s, and paying especial attention to recent cases, particularly the poetry of Fabián Casas. I do not necessarily endorse the use of easy labels to differentiate recent Argentine poetic tendencies; rather, I underline the links that connect them. In this case, the links will be clear through the analysis of the net of singular sounds and perspectives that include the flux of the contemporary world and allow to see how the experience of the poem registers this world based upon human perception. [ABSTRACT FROM AUTHOR]

This article has two parts: in the first one, considering other studies that have established bonds with some mystical traditions, I propose the study of a possible visionary tendency in Latin American poetry. In the second one, I analyze the final stage of the poetry of Argentinean Néstor Perlongher, produced while participating in Santo Daime's rituals in Brazil. For that purpose, I compare the liquid and colorful characteristics of his writing with images from diferents contexts, such as psychedelia, the huicholes, medieval mysticism and sufism. [ABSTRACT FROM AUTHOR]