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Copyright of Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria 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.)

At some point early in his life, the Argentine poet, Juan L. Ortiz (1896-1978), chose staying to live in his native Entre Ríos province over moving to Buenos Aires, the cultural center of his country. Though he was encouraged by some friends of his to make the move so that his work would be disseminated and appreciated by sophisticated readers from the big city, the poet remained in the small town of Gualeguay and later moved to the provincial capital, Paraná. He highly valued his home landscapes, and his poetry reflects his relationship with the natural world. One Ortiz poem in particular, "Deja las letras..." from De las raíces y del Cielo (1958), refers to the proverbial rural/urban dualism in a way that upends the tendency to hierarchize the city over the country and the human over the nonhuman. This article analyzes "Deja las letras..." as an ecopoetic invitation to recognize the inherent interrelationships among humans and nonhumans. Part of this recognition requires a reconceptualization of "nature" as heterogenous and made up of nonlinear interconnections and the spaces in between, in a "mesh," using environmental humanist Timothy Morton's terminology. Recognizing and incorporating ourselves in this mesh, the poem suggests, can allow humans to keep our humanity while, at the same time, we learn empathy for nonhumans. [ABSTRACT FROM AUTHOR]

From 1968 to 1969 the Argentine modernist Juan Gelman invented and translated into Spanish a contemporary from the United States, named SidneyWest, who wrote about small-town mid-American life. Traducciones III: Los poemas de Sidney West (Translations III: The Poems of Sidney West) is a pseudotranslation--a text disguised as a translation that in fact has no corresponding original. While most critics identify Gelman's recourse to pseudotranslation as a personal undertaking, this essay examines the experiment for the first time within the inter-American ColdWar context of the 1960s, locating pseudo/translation as an in/subordinate poetic protocol particularly well equipped for intervening in the soft-power mechanisms of US cultural imperialism--in ways that are both treasonous and collaborative. This essay recovers the anti-imperialist politics of the West poems, expands conversations on translation in Gelman's poetry, and proposes pseudo/translation as a new, bifocal mode of reading for texts that forge cross-cultural contact. [ABSTRACT FROM AUTHOR]

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]

Copyright of Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria 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 Filosofía UIS is the property of Universidad Industrial de Santander 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 Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria 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 work focuses on two contemporary Argentine poets, Claudia Masin and Natalia Litvinova, in whose poetics it is possible to appreciate a policy of the gaze that retracts and blinks before the catastrophic experience of the sensitive. If what detonates the writing are faults, cracks, earthquakes or tremors, the return on the body will make it possible to feel again. It is there when the experience of looking becomes more complex, resorting to touch as a sense that allows renewing the mute and anesthetized body of contemporaneity. [ABSTRACT FROM AUTHOR]

The 1980s was a turning point for Argentine poetry. Marked by the public reappearance of words, ideas, and voices that had been silenced during the military dictatorship, there was also -as Alicia Genovese pointed out in La doble voz (1998)- the publication of numerous collections of poems written and signed by women authors. In this article I maintain that another remarkable phenomenon occurred within the same time frame and context, though for decades apparently unnoticed by poetry critics: more frequently and explicitly there appeared traces of lesbian sensibilities, bodies, affectivities and desires that began to modulate a heterogeneous yet multiple voice. I propose reading Mirta Rosenberg's work published in that decade -the poetry collections Pasajes (1984) and Madam (1988)- highlighting lesbian nuances which run sublty through the verses and structure one of the most influential and irreverent voices of Argentine poetry in recent years. [ABSTRACT FROM AUTHOR]

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 Boletín Galego de Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones 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 Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria 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 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.)

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina 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 Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina 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 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 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.)

For Heidegger, metaphysics is reborn in the questioning of man himself; it is reborn for a not so generic, but rather subjective aspect. The being of man, Dasein, is uncovered. This questioning is an introspective questioning and its birth arises from the bowels of oneself, from each being as a finite entity. From the partiality and the perspective it is possible to visualize the hidden totality. Therefore, Heidegger considers in part his work that anguish is one of the most direct routes to man's encounter with being and with the metaphysical. Marechal speaks in the same tune as Heidegger; and it tries, through poetry, to turn towards the primordial, to give a return to the origin, basically a return to Kehre. This report sets out to visualize certain aspects of being, anguish, and nothingness from Heidegger's perspective; but also to trace within Marechal's poetry and literature the metaphysical concerns that this author has projected at various stages of his life. [ABSTRACT FROM AUTHOR]

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita 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 obras poéticas de Juan L. Ortiz, Francisco Madariaga, Martín Rodríguez, Javier Cófreces y Alberto Muñoz imaginan un origen anfibio, deltificado entre la infancia y la lengua, entre lo intemporal del mito y lo histórico-político, entre lo subjetivo y lo impersonal, entre la naturaleza y la cultura. Asumiendo un método de lectura también anfibológico (entre lo simbólico, lo fenomenológico, lo psicoanalítico y lo estético-político) proponemos recorrer el modo como cada una de estas escrituras imagina, de manera singular, el espacio-tiempo del origen como poema, es decir, haciéndolo coincidir con la escritura misma que lo nombra.

Artaud is a sort of locus for the philosophical and political reflections about the organless body. Besides, it determines, according to Foucault, the divergent series that makes resound psychoanalysis in another place, within the context of what the French philosopher called a "metaphysics of the phantasm". But before that, the text that we call Artaud means to the thinking and the poetry of the 20th century the corrosion of a specifically occidental culture, of the thinking of the small bourgeois society. Assuming these conditions, we propose to think, through the writings by Alejandra Pizarnik, Jacobo Fijman and Néstor Perlongher, the influence in Argentine poetry of what we may consider the fundamental gesture of Artaud, which goes from the unpower to a pure theatrical language, where the poetic body assumes the translation of pain and ecstasy. [ABSTRACT FROM AUTHOR]

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]

The present article tries to analyze an editorial proposal made by sons of political activists persecuted during the last Argentine civic-military dictatorship (1976-1983). Especially we will stop in the effects of sense that produced in the public sphere the reading by the ex-President Néstor Kirchner of a poem of Joaquin Areta, disappeared political militant that integrates this collection. We will see how this phenomenon contributed to position the authors of cultural formation within the field of Argentine poetry as the "Kirchnerist poets", a definition that denies reductionist the trajectory and political conceptions of the majority of the members, although it is logical if Is taken into account that the editors propose to think a politics of the literature that breaks with naturalized consensuses of the own field. [ABSTRACT FROM AUTHOR]

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.)

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]

partiendo de la interrogación acerca del modo en que puede leerse la política en la poesía de Néstor Perlongher, realizamos un recorrido por las primeras recepciones críticas de dicha poesía, entendida básicamente desde el marco neobarroco, para proponer una lectura en otra dirección, más atenta a los debates teórico-críticos actuales. Arribaremos, de este modo, a una lectura de la violencia política en la poesía perlongheriana como captación in-mediata de su realidad histórica circundante en su indisociabilidad con la violencia sexual. Se esbozan, finalmente, hipótesis en torno a las tradiciones poéticas argentinas y a las culturas de sexualidades no normativas en las que puede pensarse la poesía de Néstor Perlongher.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.

la escritura de Leónidas Lamborghini se caracteriza por una lectura crítica de la tradición literaria de Occidente. A diferencia de otras formas de relaciones intertextuales más ortodoxas, las vinculaciones ensayadas por el autor transgreden las convenciones y extreman las estrategias intertextuales componiendo enrevesados mosaicos, plagados de alusiones a textos previos. Este trabajo aborda uno de sus últimos libros, Trento (2003), donde se deconstruye el concilio de Trento, durante el cual el cuerpo de la Iglesia acordaría los aspectos dogmáticos más sobresalientes del Catolicismo. Especialmente, nos interesa analizar el modo en que el texto subvierte valores, enjuicia postulados, se burla de los fanatismos, entroniza la sexualidad y, en definitiva, revela las contradicciones irresueltas de la Iglesia como institución, desde una perspectiva carnavalesca que la parodia facilita. Es ese papel contestatario, que la risa y la "moral del bufón" apuntalan, el que imprime en el volumen su más evidente condición de reescritura revolucionaria y farsesca de la Historia.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.

Tamara Kamenszain (b. 1947, Buenos Aires) is one of Argentina's leading poets and essayists. This article concentrates on two poetry collections, Solos y solas (2005) and El eco de mi madre (2010) and traces the thematic 'spirals' which develop in and across the poems, building a 'story-telling nucleus'. It explores Kamenszain's interest in stretching and stripping words until they touch upon and capture 'the real', beyond metaphorical readings and implications. This leads to a close study of Kamenszain's use of language, in particular, her use of colloquialisms and rhythms encoded in Argentine speech, especially porteño (from Buenos Aires). In the inal section I turn to the process of translating her poetry by drawing a parallel with truco, the most typically Argentine card game, where (as reader/ player/ translator) one is aware of the 'tricks' involved -- from word game/ play, pun, allusion, to dialogues with other poets and even tango steps -- but chooses to conceal, rather than reveal so as not to 'give the game away'. Through this process the translator remains true to the particular neobarroque nature of Kamenszain's poetry, where 'neobarroque' is characterized by its suggestiveness, allusive power and tendency towards elision. [ABSTRACT FROM AUTHOR]

Alicia Partnoy is a survivor of kidnapping, unlawful detention and torture during the 1976-1983 dictatorship in Argentina. She has testiied about her experiences at the United Nations, Amnesty International and CONADEP (the Argentine National Commission on the Disappearance of Persons), and continues to campaign against human rights violations. In a close reading of 'Clases de español' from the collection Volando bajito (2005), I will analyse Partnoy's creation of the poet-teacher and how this igure is used to comment on the transmission and educational function of testimonio. The classroom forms an atypical testimonial space, used to relect on the situation of the exile as well as the responsibilities of those who listen to testimony. This article will examine the possibilities that poetry offers for the expression of testimonio and how Partnoy uses the poetic form to challenge the limitations of linguistic communication. [ABSTRACT FROM AUTHOR]

This article examines questions of lyric and form in the poetry of Alejandro Crotto (1978). Crotto's work is at once entirely contemporary in theme and lexis, yet also marked by a formal and syntactical literariness that seems, today, almost deliberately anachronistic. He has published two collections with the independent publisher Bajo la luna. Much of Crotto's activity as a poet is in keeping with that of his peers: he contributes to literary workshops, he gives readings, nationally and as an invited speaker overseas. As well as his books, he publishes extensively online, including an entry on the online poetic network Las ainidades electivas / Las elecciones afectivas. That is to say, Crotto is at once at the heart of the Buenos Aires poetry scene and yet something of an outsider. Not only does Crotto write in sonnets, silvas, liras and other forms mostly abandoned by his immediate predecessors and his peers, but also these forms are often hidden, and require some skill and knowledge on the part of the reader to detect. What does it mean, then, to at once display old-fashioned poetic skill and to hide it, not least in his second collection, Chesterton? [ABSTRACT FROM AUTHOR]

Poetry features prominently amongst the works published with the support of the Argentine Foreign Ministry's 'Programa Sur de apoyo a las traducciones', including collections by internationally feted writers such as Jorge Luis Borges, as well as what might be called 'semi-canonical' authors such as Alejandra Pizarnik and Juan Gelman, and contemporary poets, including Tamara Kamenszain and Mori Ponsowy. The article explores the roles that these publications suggest for the translator of poetry, from within the 'Sur' programme and beyond. The article asks, further, whether the differing circumstances of translation and publication are reflected in the translation strategies on display. [ABSTRACT FROM AUTHOR]

El artículo se centra en la obra del poeta Carlos M. Grünberg relacionados con Israel. Los temas discutidos incluyen Grünberg su participación en las Naciones Unidas (ONU) las deliberaciones acerca de la partición de Palestina; sus esfuerzos para obtener apoyo jurídico internacional para el establecimiento del Estado de Israel; y su opinión sobre el sionismo. Se menciona también Grünberg's poemas del 1940 que son argentinas y representar el dolor de ser judío.

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.

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.)