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This article intends to analyze the poetic writings of sons and daughters of political militants assassinated or disappeared before and during the last civic-military dictatorship in Argentina (1976-1983) that were published in the "recordatorios" of the newspaper Página/12. We will focus especially on those poems that emerged during the validity of the laws of impunity (1986-2004) for the perpetrators because they allow us to verify the relevance that poetry acquired as a vehicle of memories, making public the perspectives of the victims of the genocide that were still socially shuttered. On the other hand, the selected corpus acquires relevance because it bursts in before the formation of the group Sons and Daughters for Justice, against Forgetfulness and Forgiveness (h.i.j.o.s.) in 1995 and is presented as a clear antecedent of the writings of the literary corpus "of children" that bursts into Argentina into the 21st century. [ABSTRACT FROM AUTHOR]

In the late nineties, in Argentina, a group of publishing projects came about, labelled under different titles such as independent, alternative or artisanal publishers. These projects constituted what will here be called a independent writing device: a project in which the craft of poetry is deeply related to the craft of publishing. The notion of artisanal writing will thus be studied, as it defines this corpus of poetical texts and supports a new policy of collaborations and group work. [ABSTRACT FROM AUTHOR]

From an analytical standpoint, we are interested in revising the first critical neo-baroque-framed responses to Néstor Perlongher's politics and poetry so as to propose an updated reading of his work even more attentive to the current theoretical and critical debates. It is thought to conclude on an interpretation of the political violence in Perlongher's poetry as a literary assimilation of the surrounding historical reality in its intricate relationship with sexual violence. Finally, some hypotheses about the Argentinean poetic traditions and the non-normative sexuality cultures upon which to consider Néstor Perlongher's poetry will be outlined. [ABSTRACT FROM AUTHOR]

the writing of Leónidas Lamborghini is characterized by a critical reading of the Occidental literary tradition. Unlike other forms of more orthodox intertextual relations, the entailments tried by the author transgress the conventions and carry far the intertextual strategies composing complicated mosaics, plagued of references to previous texts. This article analyze one of its last books, Trento (2003), where is deconstructed the council of Trento, during which the body of the church would decide the dogmatic aspects more substitutes of the Catholicism. Especially, it interests to us to analyze the form in that the text subverts values, judges postulates, deceives of the fanaticisms, it enthrones the sexuality and, really, reveals the contradictions of the institution Church, from a carnival perspective that parody facilitates. It is that opposition, which the laughter and the "moral of buffoon" prop up, the one that prints in the volume his more evident condition of revolutionary and satirical re-writing of History. [ABSTRACT FROM AUTHOR]

Before the definitive canonization of gauchesca poetry around Argentina's 100th anniversary in 1910, the second generation of nativist writers, who began publishing in the mid-1890s, had already initiated the revaluation of this genre. In contrast to the first generation of nativist writers, these new Argentine authors, led by Martiniano Leguizamón, exalted gauchesca poetry as a strategy to legitimize their negotiations with urban and popular cultural expressions and, at the same time, to draw a line before these emerging forms of Argentine mass cultural production. [ABSTRACT FROM AUTHOR]

The article presents information about the Argentine poet Miguel Ángel Bustos within the context of the military dictatorship during the 1970s and with specific attention to his disappearance in 1976. The effect of Bustos' disappearance on the reading and popularity of his work is analyzed, and passages of his poetry and of literary criticism of that poetry are also discussed at length. Themes encountered include philosophical and literary identity, patrimony in poetry and introspection through literature.

This article's starting point is the question about the circumstances that explain the dominant position that the group La Carpa (constituted in Tucumán in the beginnings of the 1940s and integrated by young writers --practically unknown by that time-- from different provinces of the Northwest of Argentina) reaches in the field of literature in that region. It proposes that the answer to that question is related to the efficacy of what can be called as the "metapoetic discourse" of La Carpa, by which the group "invents" itself by elaborating and promoting a collective position that shows a clear consciousness about poetry and the poet's responsibility, and goes beyond the provincial limits in order to embrace a whole region. Such position is pronounced in the prologue to the Muestra colectiva de poemas, a kind of group manifesto published in 1944. This article analyses that text in relation to all that was pointed out above and in relation to the literary context of emergence of La Carpa. It also examines a polemic --motivated in certain controversial affirmations present in the prologue and developed in La Gaceta, a newspaper from Tucumán-- that illuminates the consideration about the position of the group in the Argentine Northwestern literature. [ABSTRACT FROM AUTHOR]

This article argues for the inclusion of santafesina (of Santa Fe, Argentina) poets Marilyn Contardi and Estela Figueroa in the canon of 1980s Argentinean literature. The essay examines both the established names from the Argentinean literary field of the era, as well as current research agendas. Attention is placed mainly on the quality of the writing in the aesthetic dispute, not on the rhythms of the market, the publishing house parameters, or the rituals and places that assure a reputation to an author. The analysis tries to account for the authors' involvement in history and especially in poetry. [ABSTRACT FROM AUTHOR]

After the review, commentary and analysis of the poetic and critical texts, interviews and essays of Leónidas Lamborghini (Argentina, 1927), this article works on establishing a context on the most important problems of his ars poetica, and on clearing the imprecise judgments produced by the critics over the years. This is relevant because Lamborghini's poetic project has not been fully understood and has not been considered regarding the poetic and metapoetic texts, its limits, proceedings and aesthetic problems. [ABSTRACT FROM AUTHOR]

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The article considers the depiction of the city of Buenos Aires, Argentina in the poems of Argentine poet and author Jorge Luís Borges. The author explores how Borges wrote about his native city and its modernization in the early 20th century, noting his literary representation of what had not changed, his lack of depiction of crowds and urban growth, and his historical sense of what had been lost.

The article explores the themes of resistance to political repression, expression of homosexuality, and neoliberalism in the works of Argentinian poet Nestor Perlongher. The author describes the social connotations of homosexuality in the period of dictatorship in Argentina, and outlines Perlongher's conceptions on homosexual emancipation as illustrated by the characters in his novels. This same theme is explored within the larger social context of Marxism and the politics of Argentinian political leader Eva Perón.

Examines ways in which Argentine writer Jorge Luis Borges uses history in his early poetry. Focus on the books "Fervor de Buenos Aires," "Luna de enfrente" and "Cuaderno San Martin"; Theme of a sepulchral rhetoric that reappears several times throughout Borges' poems; Borges' attentiveness to what does not fit into a comprehensive concept of history; Allegorical strategy of Borges' poems.

The article discusses the work involved in translating the poetry of Alejandro Carizzo, an Argentine poet. It states that he lives in the town of Jujuy, a small and isolated place. Despite this, his poetry is renowned for its realism and urban, European atmosphere, though his environment is also reflected in his work. It reports that the first set of translations were done hurriedly, and therefore literally, which did no justice to his work, hence the new translations featured in the current edition, samples of which follow.