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Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. 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 Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. 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.)

Unu raymay killapin, iskay waranqa chunka isqonniyoq watapin, Perú suyupiqa hoq mana hayq'aq ruwakusqanta ruwarani, qhelqaspay, chaymanta mamitaypa churawasqan Qosqomanta runasimiywan, harawimanta hatun k'uskiyniyta hark'arani. Kay qhelqaqa hoq hatun mosqoymanta willarikuyninmi kakun, noqaq kawsayniymantapacha awasqa kakun, aylluykunawan kawsayniymantapachawanpas awasqa kakun, llaqtarunakunawan kawsayniymantapachawan ima awasqa kakun, warmiruna hina kawsayniymantapas tarikun, runasimipi rimaq llaqtakunamanta qhawarichiqnin hina, hark'aqninpuwanpas kaspa, hamut'asqa k'uskikunaq qhelqaqnin kaspa ima. In October 2019, I carried out an unprecedented act in Peru, writing and defending my doctoral dissertation on Quechua poetry in my native mother tongue, the Runasimi from Cusco. This reflection is the story of a dream, woven from my personal, family and collective experiences, as a warmiruna, activist and academic of the Quechua people. [ABSTRACT FROM AUTHOR]

The article discusses the collection of poems of Peruvian neo-avant-garde writer Juan Ramírez Ruiz entitled "Un par de vueltas por la realidad" (UPVR). It highlights how the poems of UPVR tried to situate avant-garde poetry in the context of the major sociocultural transformations in Peru at the end of 1960s. It notes the efforts of Ramírez Ruiz to comprehend the material conditions of culture.

In this article, I explore two healing experiences, one in Amazonian Ecuador and the other in Amazonian Peru. I argue that these experiences can be theorized through the idea of "somatic poetry" which I define as the process of making and experiencing beauty so that life and the story become part of the same thread. I discuss how somatic poetry involves drama and coauthoring with nonhuman natural beings, including spirits. I also explore how somatic poetry works textually in interconnecting past lives, history, myth, the body, and the myriad and various subjectivities of the Amazonian landscape. [ABSTRACT FROM AUTHOR]