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Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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.)

Copyright of Revista Laboratorio is the property of Universidad Diego Portales 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.)

The edition of La novela de la poesía (2012) already made evident two fundamental issues in Tamara Kamenszain's writing: on the one hand, a specific inscription of the passage poetry/novel/essay; on the other, the book (the edition, the support, the object) as a link. More recently, El libro de Tamar (2018) and Libros chiquitos (2020) illuminate in a special way two other constitutive aspects of the process: one, the temporal spiral between the program of the 70s and the present of writing, which converts the series in a long duration narrative; two, the problem of limits in the form of scale. In this paper I propose to read, at the intersection of El libro de Tamar and Libros chiquitos, three scenes as inflections in a long duration story with the test of time and limits: the tempo of the prose (the writing of the poem as the rhythm of the narrative and the prose as the distillation of the real of the verse), the magnitudes of the book (the book and the masterpiece of the 70s, the poetics of the little books as a inflection of the contemporary sublime), the intersection between the inscription of the present and the creation of a community. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata 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.)

Susana Th énon's literary production (Buenos Aires, 1935-1991) is situated between poetry from the 1960s and Neo-baroque innovative movements from the 1980s. Her particular conception of "the craft of poetry" and her inclination towards individualism are the main reasons for the neglect of her work, since it was not easily classifiable within a single literary project. This paper aims to "exhume" Susana Th énon's figure for Italian readers, as well as illustrating some small gestures, scattered throughout her work, which are directed against bourgeois ideology, in the shape of corrosive criticism of society. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Literatura is the property of Pontificia Universidad Javeriana 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.)

Copyright of Byzantion Nea Hellás is the property of Universidad de Chile, Facultad de Filosofia y Humanidades 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 intends to analyse one of the trajectories followed by the love's metaphysic of the acclaimed Quevedo's poem «Amor eterno más allá de la muerte»: the one which results in Juan Gelman and Leónidas Lamborghini poems, written during the 1976 Argentina's dictatorship. This requires, first of all, an overview of baroque and quevedesque influences on the Argentine literature; secondly, a study of the assimilation and re-elaboration process made by both Gelman and Lamborghini. Ultimately, these creations show the current importance of this poem torn cosmology. [ABSTRACT FROM AUTHOR]

This paper proposes to revise the modes of periodization of the Argentinean poetic production of the decade of 1990s depending on the Neo-Baroque/Objectivism antagonism. We will suggest that this periodization is reviewed by Martín Prieto in articles such as "Neobarrocos, objetivistas, epifánicos y realistas: nuevos apuntes para la historia de la nueva poesía argentina", as well as the reconsideration of certain assumptions in the reading of the tradition of that period in contemporary poetry and in the ways in which literary criticism takes it as an object. For the latter, we will discuss in detail the recent article by Matías Moscardi, "El ojo parpadeante del poema", and the publication of the book by Alelí Jait, Poesía experimental argentina y políticas de la lengua. Finally, considering this horizon of analysis and interpretation, we will present as possible reformulation and relocation of the dichotomy Neo- Baroque/Objectivism the current critical recovery of the production of artistic groups such as "Los Verbonautas", poets and musicians appeared in the second half of the decade whose works form a possible way of escape of the static image of the articles and books mentioned. [ABSTRACT FROM AUTHOR]

In this paper I will try to give a reading of the Borgean story "Las Ruinas Circulares" [The Circular Ruins], based on the theoretical approach of Victor Ivanovici regarding the category of the fantastic, particularly in what refers to the mythical component proposed by this author. With this intention, I will examine two different theoretical definitions of this aesthetic category: Tzvetan Todorov's and Victor Ivanovici's. Consequently, I will introduce the anthropological elements that feed the Ivanovician proposal through authors like: Bronislaw Malinowski, Claude Levi--Strauss and Mircea Eliade. Finally, I will contrast the Ivanovician theoretical definition -based on anthropological theory of myth- with a reading of the chosen short story, to corroborate the elements presented by Ivanovici as essential to the category of fantastic. [ABSTRACT FROM AUTHOR]

Intense sensations of not-belonging mark the poetry of the Argentine writer Alejandra Pizarnik (1936-1972). Her early poems propose a poetic subject who is existentially 'exiled' yet engaged in creating a literary genealogy based on Romanticism and Surrealism. Her poems written in Paris examine the split subject of writing, alongside the possibilities of aesthetic rebellion in language. This paper interrogates the political potential of such a notion of poetic belonging, within the dual context of exile in Argentine literature and the perceived split in Argentine poetics of the 1960s between socially and aesthetically committed writing. [ABSTRACT FROM AUTHOR]

This paper concentrates on the attraction to the suburb and its most representative characters --like the "compadrito"- present in Jorge Luis Borges' works. Firstly, we analyze the presence of the "barrio" as central theme in post modernist poetry by Enrique Banchs, Evaristo Carriego and Baldomero Fernández Moreno, who incorporate the suburban world into Argentine poetry. Then, we focus on an original hypothesis which goes into the affective reasons which might have moved the polyglot, erudite and cosmopolitan writer to feel fascinated by the world of "arrabal" and Buenos Aires' tango. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Hispanic Studies (1475-3839) is the property of Liverpool University Press / Journals 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.)

Copyright of Bulletin of Hispanic Studies (1475-3839) is the property of Liverpool University Press / Journals 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.)

Susana Thénon’s literary production (Buenos Aires, 1935-1991) is situated between poetry from the 1960s and Neo-baroque innovative movements from the 1980s. Her particular conception of “the craft of poetry” and her inclination towards individualism are the main reasons for the neglect of her work, since it was not easily classifiable within a single literary project. This paper aims to “exhume” Susana Thénon’s figure for Italian readers, as well as illustrating some small gestures, scattered throughout her work, which are directed against bourgeois ideology, in the shape of corrosive criticism of society.