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Copyright of Canadian Journal of Latin American & Caribbean Studies (Routledge) is the property of Routledge 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 research attempts to analyze Arabic heritage elements employed in Muhammad al‐Thubayti's poetry as his poetry highlights modern issues. Heritage becomes a cornerstone in al‐Thubayti's poetry for it produces new meanings and contexts. It is used in visionary and creative ways enabling him to shape his poetic experiences. Heritage is no longer sacred or static, but it is manipulated in a way that serves the poet's messages. Thus, this paper shows how al‐Thubayti explores the present frustrations and failures at individual and national levels by employing heritage and symbols balancing between his belonging to this heritage and his creative and experimental poetic experience. Through the intelligent adaptation of heritage, he makes connections between the past and modern life to reveal the dilemmas of the present and the glory of the past. The research's main contribution is to shed a new light into the race, milieu, and experience of al‐Thubayti's poetry through utilizing Arabic heritage. This research examines four poems taken from al‐Thubayti's diwan (poetry collection), Tahjit hulman, tahjit wahman [I Spell out a Dream, I Spell out an Illusion]. As a theoretical framework, the analysis of the poems is based on historical theory and formalism. [ABSTRACT FROM AUTHOR]

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Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal 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 Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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.)

Las representaciones de la desaparición y la (in)visibilidad juegan un papel clave a lo largo de la obra de Antonio Méndez Rubio (Fuente del Arco, Badajoz, España, 1967). Este estudio combina un enfoque temático y formal en las huellas y el silencio en una selección de poemas que abarca poemarios como Un lugar que no existe (1998), Por más señas (2005), Razón de más (2008) y Va verdad (2013). Más allá de arrojar luz sobre lo ocult(ad)o o tratar de revelar historias y memorias colectivas traumáticas ocultadas, muchos de los poemas de Méndez Rubio que aluden a huellas las presentan como agentes activos que no revelan objetos ocultos. El compromiso en esta poesía se basa en una visión del texto poético como objeto y espacio visual y una visión expandida de la relación compleja entre lo visible y lo invisible que engloba también la presencia y ausencia de elementos acústicos.

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Copyright of Álabe is the property of Alabe 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 Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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.)

Copyright of Aufklärung: Revista de Filosofia is the property of Aufklarung: Revista de Filosofia 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.)

Este artículo analiza parte de la obra poética de Raúl Zurita, expresada tanto en algunos de sus poemarios como en sus “inscrituras” o inscripciones materiales, y también en sus automutilaciones corporales, para determinar las funciones de su arte frente a las prác-ticas biopolíticas neoliberales (Foucault, Agamben, Calveiro) y como apuesta por una communitas del dolor (Diéguez). Se explica el sentido y función que cumplen libros como Purgatorio (1982), Canto a su amor desaparecido (1985) y zurita/in memoriam (2007), e intervenciones como su verso “ni pena ni miedo” en el Desierto de Atacama, su presen-cia en memoriales o su intervención “El mar del dolor”, todo como formas diferenciadas de resistencia desde el arte, frente a estrategias del poder que pretendieron “dejar morir” a parte de la sociedad en el contexto de la dictadura militar en Chile (1973-1990) y tam-bién en otros contextos de violación a los derechos humanos. This article analyzes part of the poetic work of Raúl Zurita, expressed both in some of his poetry books and in his “inscriptions” or material inscriptions and in his corporal self-mutilations to determine the functions that his art fulfills in the face of neoliberal bio-political practices (Foucault, Agamben, Calveiro) and as a bet for a communitas of pain (Diéguez). It explains the meaning and function of books such as Purgatorio (1982), Canto a su amor desaparecido (1985) and zurita/in memoriam (2007), or interventions such as her verse “ni pena ni miedo” in the Atacama Desert, her presence in memorials or her intervention “El mar del dolor”; all as differentiated forms of resistance from art, against strategies of power that tried to “let die” part of the society in the context of the military dictatorship in Chile (1973-1990) and also in other contexts of human rights violations.

Este trabajo pretende estudiar las poéticas explícitas del poeta Antonio Gamoneda desde el punto de vista del contenido, basándose en las últimas propuestas teóricas al respecto, con el fin de llegar a conclusiones relevantes para el ámbito de los estudios literarios. El autor, pese a su reticencia a participar en el mundo intelectual, posee una relativamente abundante producción ensayística en forma de textos breves, entrevistas y charlas. A través del análisis exhaustivo de estos materiales se han identificado cinco núcleos temáticos fundamentales que serán desarrollados en el presente artículo: el origen del pensamiento poético, el acto de creación, la relación poesía-muerte, la poesía como no-ficción y la relación de la poesía con la política. A través de esta investigación, se propone al lector una manera distinta y productiva de acercarse al pensamiento y a la obra del poeta leonés. Asimismo, el trabajo plantea una reivindicación de su poética en el contexto literario-sociológico actual. This paper aims to study poet Antonio Gamoneda’s explicit poetics from the point of view of content, based on the latest theoretical proposals in this regard, in order to reach conclusions relevant to the field of literary studies. The author, despite his reluctance to participate in the intellectual world, has a relatively abundant essay production in the form of short texts, interviews, and talks. Through the exhaustive analysis of these materials, five fundamental thematic nuclei have been identified and will be explained in this article: the origin of poetic thinking, the act of creation, the poetry-death duality, poetry as a non-fiction genre and the connection between poetry and politics. Through this research, the reader is offered a different and productive way of approaching Antonio Gamoneda’s thinking. Likewise, the work proposes a vindication of his poetics in the current literary-sociological context.

The aim of this work is to present and justify the proemato as a hybrid literary genre from different literary positions, through the analysis and comparison of some poetic and short narrative texts with the proematos of the Costa Rican writer Jorhan Chaverri. Characteristics are established that allow differentiating the proemato from other genres and styles of literary writing, which supports the conclusion that it is a (hybrid) genre that comes from the combination of poetry, narrative and micronarrative, but at the same time distinguished from them. [ABSTRACT FROM AUTHOR]

Part of the poetry of Abigael Bohórquez (1936-1995) can be read as poetry of homosexual testimony. Specifically, his last collection of poems, his poetic testament, Poesida (1996), allows for this reading, since this cruel but supportive document seeks to put shame on the side of the heteronormative discourse, the one that reacted by condemning homosexual practices at the height of the Hiv/Aids pandemic in the 1980s & 1990s of the 20th century. Poesida will be studied from the poetics of misrepresentation, as a proposal for analysis for the dissident resistance to the discursive normalization that the collection of poems offers, both in the confrontation of the literary tradition, as well as in the poetic space and in the autobiographical references. Bohórquez builds a mural, a testimony, a series of songs and portraits so as not to forget, dignify and resist the shame with which they tried to classify those who died with the weight of stigma and guilt. [ABSTRACT FROM AUTHOR]

In this article the author takes inspiration from the analysis of a poem by Nelo Risi to highlight some important characteristics of the process of transformation and symbolization of unconscious contents typical of the psychoanalytic process, referring to the passage, described by Freud, from the representation of thing to the representation of word proper not only to the analysis, but also to the mental work of the artist when he creates a work. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios 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 Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 de Catalunya is the property of Fundacio Revista de Catalunya 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 Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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 Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 article examines the censorship activity of the Council of Castile, beginning with the laws and their interpretation, which sometimes led to disagreement with the Inquisition. Specific focus is paid to treatment of literature, the critical essay press, the period of greater openness (1785–1791), and to worries about bans aired in the Conversations of Perico and Marica (1788). As an instance of the new practice of an author being given access to negative censorship reports an analysis is presented of the banning of Frances Burney's novel Cecilia (1794–1795), rejected as not 'useful' by a censor specialized in Ecclesiastical Law. [ABSTRACT FROM AUTHOR]

In the realm of poetry, the act of naming places serves as an intricate practice that profoundly shapes our perceptions of the land we live in. In contrast to the prevalent tendency in modern literary traditions to use abstract and standardized symbols for locations, poetry establishes unique linguistic registers to both appreciate the magnificence and acknowledge the deterioration of sites traditionally named by human communities. This paper synthesizes the outcomes of an interdisciplinary investigation that integrates critical anthropology, aesthetic studies, environmental theory, and ecocriticism. By delving into contemporary poetry from Western Mexico, the analysis explores the pedagogical utility of poetry, addressing the question: 'What insights does contemporary Western Mexican poetry offer about nature amid the planetary and civilizational crises?' The article unravels diverse connotations of nature in poetry, suggesting novel pedagogical interpretations to reterritorialize the identity of Western Mexico. This initiative counters the prevailing cultural trend that tends to obscure the distinctive attributes of the region, thereby restoring the integral connection between humans and the nature they are an intrinsic part of. [ABSTRACT FROM AUTHOR]

The following text analyses de dialogue among Plato, Aristotle, Humboldt and Heidegger on the same the basis of speech and its anthropological dimension, based on selected works on philosophy of language. The paper shows the inner tradition of reading of their texts and the conclusions of the development of the philosophical thinking through them. The text opens new paths of research through the depth that the human being and the word show on the beauty and the sacred. [ABSTRACT FROM AUTHOR]

John Ashbery's work has been widely translated and studied; however, there is little research on the translation of his poetry into Spanish. In this essay I propose that the professional profile of the translators affects the decisions that shape the final text. The translation of poetry demands special attention to the rhythm and the effect that each word has on the lines and on the poem, so it should consider the conventions of the target culture to determine whether to adhere to them. The focus on enjambment allows productive observations to be made about translation decisions and their effect on the rhythmic structure of the poem. [ABSTRACT FROM AUTHOR]

The idea of the sacred in Pura López Colomé's work is rooted in the same conception that this author has of poetry. From her childhood poems that she left in her notebooks, the spiritual bouquets for her mother or the diary that allowed her to dialogue with God --as she refers to with Adriana Pacheco in Let's Talk Writers--, to her latest book Borrosa imago mundi, published in 2021, Pura reveals that the poetic word manifests the deep meaning of things, of being. However, for the purposes of this critical approach, we will only focus on the book Éter es, which refers us from the title to the verticality of a time in which we locate the search for our poet, considering vision as revelation and interiority as space of that revelation. [ABSTRACT FROM AUTHOR]

This study seeks to present the imaginaries of Orompello Street in Concepción, Chile, described in the poetry book Cipango (1992) by Thomas Harris. To do this, a qualitative interpretive analysis of the collection of poems was carried out through reading cards. It was compared with the historical events that occurred in the place and a semi-structured interview with the author to delve into certain meanings present in the text. The results showed that the urban space and the living present in the story make up a heterotopia transformed into dystopia, located in a timeless context, the product of primordial violence that dates back to the time of the discovery of America and that is reproduced not only by the dictatorship of Pinochet but also by the State in democracy. The inhabitants of this place are immersed in a marginal atmosphere of repression and devastation, transforming the place into a wasteland. These characteristics and events make Orompello Street an uninhabitable place but full of meaning. [ABSTRACT FROM AUTHOR]

Jonathan Locke Hart is not only a wellestablished scholar in the area of comparative literature, but also a poet who has been writing passionately since his teens. In 2021, an anthology of Jonathan Locke Hart in six volumes was published by Shanghai Jiao Tong UP, and the fourth book is a selection of 100 poems and their Chinese translations. Starting from Eugene Nida's correspondence theory about translation, this article chooses two poems and their Chinese translations from the selection to explore the cultural negotiation and compromise in the process of their translation. As Jacques Derrida writes, translation, like the tower of Babel, is a task that can never be finished. The translation of poetry is particularly difficult because of the singularity of poems, and it is hard to conclude what is right and which is better. The analysis in this article is a personal view and needs further verification. [ABSTRACT FROM AUTHOR]

La creatividad y la traducción tienen una relación intrincada en la escritura, la investigación, la docencia y otras áreas. El contexto filosófico de la mímesis y la anti-mímesis afecta a escritores, traductores, críticos, investigadores, profesores y estudiantes. La imitación, la innovación, la originalidad y la copia tienen su papel en el debate sobre la traducción y la originalidad. Desde Platón, pasando por Roger Ascham e Immanuel Kant hasta el presente, este artículo explora la relación entre la escritura y la traducción y discute aportaciones de Oriente y Occidente, para luego exponer la experiencia del autor en estos campos, especialmente en Canadá, Inglaterra, China y los Estados Unidos de América. Sostengo que la traducción es creativa, pues tanto la escritura creativa como la traducción son -junto con la lectura- formas de interpretación. Los traductores de poesía son, o deberían ser, poetas que crean de nuevo o recrean los poemas. [ABSTRACT FROM AUTHOR]

Jules Supervielle (1884-1960) had a life marked by movements between Europe and South America. Born in Montevideo and living in Paris since 1894, he witnessed up close major events in different areas, such as the artistic avant-garde, rapid technological evolution and the First World War. He developed his poetic voice in this context shared with Guillaume Apollinaire (1880-1918), André Breton (1896-1966), Louis Aragon (1897-1982), among other writers. In 1924, when Breton published the Manifesto of Surrealism, Supervielle was about to release one of his most important poetry books. In this article, we propose to analyze how this French-Uruguayan poet, through testimonies and theoretical reflections, seeks to individualize himself in relation to the surrealist aesthetic, established with great influence from the first manifesto onwards. We will also explore, in addition to divergences, at which points they would converge, and why such approximations would be possible. With this approach, we intend, in addition to studying the poetics of Jules Supervielle, to contribute to the understanding of the complexity of surrealism, exploring its diffusion and reception in the artistic world since its emergence. [ABSTRACT FROM AUTHOR]

Assuming that poetry plays an active role in constituting our relationship with language and reality (Siscar, 2010), and considering the existence, in Brazil, of poets who write poetry “with evident signs of reading Portuguese literature” (Silveira, 2008), I seek to delve deeper, studying the work of poets who fit this description, one of the main characteristics of more recent Portuguese poetry, that is, the awareness of an irreversible “virtualization of the real” (Martelo, 2007). And this deepening involves, in my opinion, the consideration of problems related to self-knowledge, which entered the order of the day with the emergence of the Philosophy of Mind (Ryle, 1984) and with the radical skepticism represented by the supposed impossibility of accessing our own states mental (Putnam, 1975). As I try to demonstrate, rather than being characterized by the presence of a certain content of tradition, what certain contemporary Brazilian poetry proposes is an epistemological update of the dissent theme as a way of thinking, that is, as a language, by displacing its dialectic of distancing and rapprochement between conflicting poles (Marnoto, 2015) for the relationship between the self and its own consciousness, access to which has become as problematic as the perception of reality in poetry inherited from the modern tradition. [ABSTRACT FROM AUTHOR]

The Portuguese poetess Maria da Cunha (1872-1917) had a troubled life. She married in 1895, published her book of poetry, Trindades, in 1909, with a second edition in 1911, divorced in May 1912 and emigrated to Brazil. Maria da Cunha arrived in Rio de Janeiro on September 16th, after a brief stay in France, accompanied by the journalist Virgínia Quaresma (1882-1973). The poetess then had to live off her own work. She got a job at the Rio newspaper A Época, where she was cultural editor and columnist and where she published some poems until mid-1914. Afterwards, she traveled between Rio and São Paulo, giving conferences and living with the immigrant Portuguese writer Ana de Villalobos Galheto (1863-1944) and with the Brazilian poetess and educator Eunice Caldas (1879-1967), until she died, in São Paulo, on January 1st, 1917. In this article, I present some biographical data about this writer, mainly from her last years, and how Brazil appears in her poetic and chronicle works. I will highlight part of her sociability network and how women are important in her production. I will point out how affection for women appears in her texts. [ABSTRACT FROM AUTHOR]

Modernist symbols are frequent in Lorca’s works. In this article we analyze the representations related to water that we have found in Libro de poemas (1921), de F. G. Lorca. In this investigation we consider that the symbols related to water are feelings of the poet and also universal meanings of human existence. To carry out the study, we have applied the methodology based on the Poetics of the Imaginary (Durand, Bachelard), the universal symbolic cataloging system relates meanings to the search for the meaning of life– The analysis indicates that the meanings of the symbols (sea, river, rain...) offer a system of relationships that unites the feelings of the poet and the anthropological reality. We conclude this investigation and consider that the symbolic world –folkloric sources and Symbolism– contributes to the expression of sadness in the collection of poems. [ABSTRACT FROM AUTHOR]

In Libro centroamericano de los muertos (2018) Balam Rodrigo presents the drama of Central American migrant communities on their journey through Mexican territory towards the United States. The poet from Chiapas resorts to intertextual procedures such as the palimpsest to denounce the systematic violation of human rights in Central American communities, from the time of the conquest to the present day, by taking up documents such as fray Bartolomé de las Casas' Brevísim``a relación de la destrucción de las Indias, to expose the suffering of contemporary migrant populations. The poem expresses the torture, kidnapping, rape, dismemberment, and disappearances suffered by migrants on their journey on La Bestia (the popular name for the cargo train network that transits through Mexico), so that the violated and deceased body can be presented as a space of domination, erasure and difference. [ABSTRACT FROM AUTHOR]

In this review, José Siles analyses and describes the characteristics of the latest collection of poems by Salvadoran poet André Cruchaga. [ABSTRACT FROM AUTHOR]

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