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This paper approaches the poetry of Colombian poet Piedad Bonnett (born in Amalfi, 1951) from the figurations of impermanence, viewing it as semiotic mediation towards the profound structures of the lyrical universe. Based on the distinction made by Christine Buci-Glucksmann (2006) between a melancholic and a positive ephemeral, the study intends to highlight the predominance of textual signs that convey a painful vision of impermanence in Bonnett’s poetry. This involves the meditation on the temporality of existence from an allegorization of the fleeting, on the one hand, and a certain corporealist intuition of time, on the other. The analysis ends by examining the conditioning factors that can justify such an approach towards the transitory. [ABSTRACT FROM AUTHOR]

In an autobiographical exploration, this paper seeks out the journalist, writer, and publisher Juan Cruz to analyze the shaping of his own editorial poetry. In doing so, this article pictures the author’s hermeneutical portrait drawing on the discursive regularities within his own writings. Light is shed on the features and characteristics defining the good publisher and the codes that govern the publishing field. Everything is mediated through the time passed, his own memory, and his literary writing. [ABSTRACT FROM AUTHOR]

The aim of this paper is to study the poetic language of the Cantares de Dzitbalché. Despite its importance in the literary field, the texts contained in this Maya manuscript have received little interest from the rhetorical point of view. However, the use of parallelisms and other figures of semantic deepening make this work a masterful example of Maya poetry. Likewise, it is possible to observe in the texts an influence of the Hispanic tradition at the morphosyntactic and thematic level, which will also be analyzed and discussed throughout the work. [ABSTRACT FROM AUTHOR]

Despite its apparent oblivion, Destierro (1930) has been considered by its author and by critics as a collection of poems that represented an inflexion point in the poetry of Jaime Torres Bodet. This paper analyzes Destierro (1930) through one of its main topics: the experience of dreaming. As it will be pointed out, rather than being lost in unconsciousness, dream is represented as a journey of a lucid sensibility looking for a new poetic expression that might communicate the spirit of modern life. [ABSTRACT FROM AUTHOR]

This article presents an argument about the reasons for the exclusion of Spanish women and their literary production in relation with the rest of the Group of '27 literary canon. In order to evidence the marginalization of these authors and demonstrate their absence in the cultural Spanish landscape, the article begins with an explanation of the historical and sociopolitical context of Spain during the early decades of the 20th century. Afterward, this paper presents a conceptualization of literary canon as a starting point to approach the polemic associated with the --commonly referred to as-- Generation of '27 as well as the configuration of poetry as a characteristic genre in comparison to the other literary work, and the role that critics and history played in the conformation of the canon of the '27 movement. Finally, it is concluded that women were not part of the modernization attempts in Spain at the beginning of the 20th century for different reasons: relegation of them to the domestic sphere, the high representation of men in the Group of '27, the significant role of anthologies and magazines in shaping the canon, and the repression caused by the dictatorship of the Franco regime. [ABSTRACT FROM AUTHOR]

In the paper that follows I intend to shed new light on the relationships shared by Luis Vélez de Guevara's El Águila del Agua and Quevedo's comedy Pero Vázquez de Escamilla. Both dramatic poems, as documented by Plata, share the subtitle Representación española and the presence of Pero Vázquez Escamilla. In the scholar's opinion, the authors would have agreed to write two pieces in parallel on the same material. The viability of the hypothesis lies mainly in the intertextualitty of Quevedo's jácaras, which were reworked and reused by many playwrights in the 17th century, who also, on different occasions, gave continuity to the protagonists of his poetic jácaras. Our interpretation is also reinforced by the composition of El Diablo Cojuelo, a story full of stylistic uses reminiscent of Quevedo, a reference for Vélez. Everything mentioned above --with the coda of the dates ofcomposition-- leads us to conclude that Vélez de Guevara revives the literary delinquent later, inserting the character in a new fiction inspired by the extraordinary events that Quevedo had attributed to the valiente in his comedy. [ABSTRACT FROM AUTHOR]

In this paper I focus on three mythological fables published in the Portuguese anthology A fénix renascida (1716-1728) that reflect the appropriation of Luis de Góngora's epilio, either through paraphrase or burlesque parody, questioning the uses of poetry, between erudition and vulgarisation.. I give mainly attention to Jacinto Freire de Andrade's «Fábula de Polifemo e Galatea» in order to understand a fundamental issue in these «burlas»: the satire of the literary institution. In the wake of the Gongorianpolemic, the mockery surrounding don Luis 'poem attacks the context ofthe professionalization of poetry in the Siglo de Oro. Through Andrade's poem, it becomes clear that the setting of Góngora's poem and, especially, the song ofthe cyclops, point towards the vicissitudes of poetry's craft, especially the poetry of praise, where «commission» goes hand in hand with conceptismo. [ABSTRACT FROM AUTHOR]

One of the arguments to be able to speak of a post-secular context is the maintenance of secular religiosity in its aesthetic manifestations. Like other cultural phenomena, Western spirituality has been transformed by digitization, transhumanism, and the acceleration of transnational exchanges. If Néstor García Canclini speaks of "hybrid cultures", I think that the term "hybrid spiritualities" should be used, within these, hybrid neomysticisms can be appreciated in contemporary poetry. In fact, I consider that the syncretism of this poetry is proof of its redefinition as a new mysticism. Although there are different types of hybridization, in this paper I am going to deal with cross-cultural hybridity. For this, he established a classification divided into four types: 1. Transcultural hybridity for reasons of migration and reminiscences of religious origin; 2. Transcultural and transtemporal hybridity: the rescue of lost systems; 3. Cross-cultural hybridity from non-native traditions; 4. Multi-cross-cultural hybridity. Each of these has been studied, respectively, in poets from up to six Spanish-speaking countries: David Rosenmann-Taub (Chile); Jorge Eduardo Eielson (Peru) and Eduardo Scala (Spain); Elsa Cross (Mexico) and Vicente Gerbasi (Venezuela); Gloria Gervitz (Mexico) and Ernesto Cardenal (Nicaragua). In this way, it is expected to demonstrate the initial hypothesis and present a method for the analysis of hybrid neomysticisms of a transcultural type in Hispanic poetry of our time, a method that can be improved in the following works, as well as refuted or sophisticated by the academic community. [ABSTRACT FROM AUTHOR]

This paper discusses pre-Columbian indigenous women's writing, the relationships with 'oraliture' and the written word in urban Mapuche women's narratives. It points to the role of memory, Mapuzungun and spirituality in performance, as well as the aesthetic experience of nature in landscapes that link the poetics of pre-colonial indigenous women's narratives with those of the urban present as a new anti-colonial and anti-patriarchal narrative. This continuity and (dis)continuity presents a narrative that is maintained in poetry in the urban context to this day. This acts as a cross-border position that forms the 'champurria' identity in order to relate to other peoples, and at the same time it is the performance that the Mapuche woman performs with spirituality, nature and Mapuzungun. [ABSTRACT FROM AUTHOR]

Love, corporality, and eroticism, oscillating in their ethical and aesthetic configuration between tradition and modernity, are present throughout the seven decades of poetic production of the Catalan poet Ana María Martínez Sagi (1907-2000). It is so in her pre-war work, Caminos (1929) and Inquietud (1932) and, more prominently, in her work of exile and return to the homeland, on which this paper focuses on. Although Sagi's love poetry demonstrates her complex and contradictory debt to both the Castilian love tradition and modern poetics, it is through her approach to eroticism, the corporality and the subject's identity from where she definitively distances herself from them. She approaches heterodox spaces that destabilize that normative framework in which the critics of her time placed her. In her aesthetics, in her heritage, and worldview, Sagi demonstrates great modernity and relevance as a renovator, since the 1930s, of an alternative intimacy: profoundly queer. [ABSTRACT FROM AUTHOR]

This paper examines how Emily Dickinson was previously studied and compares it to the most recent critical approaches, particularly on the subject of emotion. Using religious poetry, poetry about nature, and humor, this paper examines the critical interpretations that previously highlighted the role that pain and suffering played in Dickinson's poetry as well as the gradual change on Dickinson's critical studies that took place since the seventies. With the growing diversity of critical perspectives, it may come as a surprise that it is still necessary to refer back to the darker image of the poet: why does this image persist? And is it possible to reconcile Dickinson's popular image with the new critical currents? This article reveals that Dickinson's image is permanently under construction. [ABSTRACT FROM AUTHOR]

The present paper propose to illustrate through some biographical notes about Garcilaso de la Vega, the circumstances that led him know and imitate the classics Latin authors in his poetries. Among those who most enjoyed his imitation were Virgil, Horace and Ovid. How many imitations were found of these authors is specified, but the mentions of gods and mythological characters are multiple which made me, by way of conclusion, to complete by order alphabetic a list of them. [ABSTRACT FROM AUTHOR]

This article proposes a new theoretical approach to the study of literary symbolism, using Relevance Theory, Lexical Pragmatics, and second-generation cognitive sciences. It argues that the meaning of a literary symbol consists of the tension between a "literal" meaning and an unparaphrasable abstract meaning. Furthermore, it maintains that the literary symbol requires a specific communicative context, called "symbolic reading". This theoretical framework is applied to the analysis of the works of Juan Eduardo Cirlot, with special attention to his permutation poetry. [Extracted from the article]

This paper analyzes some poems by Leonardo Tello Imaina: poet, communicator, journalist, and director of Radio Ucamara (Nauta, Loreto Region, Peru). Tello identifies himself as a member of the Kukama people, and my analysis here departs from a fundamental premise: the importance of the river for the Kukama people. It then bifurcates into two connected axes: on the one hand, the relationships between humans and non-humans and, on the other--borrowing Mario Blaser's definition--the "ontological conflicts". I emphasize how Tello's poetry contributes to the visibilization of Kukama political ontology and, at the same time, to the inclusion of Amazonian indigenous literature in the national literary scenario. [ABSTRACT FROM AUTHOR]

This paper deals with the reinterpretation of two Greco-Latin topoi (locus amoenus and beatus ille) in recent Spanish poetry. If locus amoenus has been considered the representation of the idyllic landscape since classical antiquity, beatus ille stands as the paradigm of an austere existence, far from the vanities of public life. The texts included here, written at the end of 20th and beginning of 21st centuries, show that the current effectiveness of the aforementioned topics depends on their ability to adapt to the values of nowadays culture, through strategies of aesthetic relocation and ironic dislocation. In fact, locus amoenus and beatus ille emerge from the literary tradition, come across the historical context, and interact with contemporary identity. More generally, it is argued that the expectations traditionally associated to nature-based topoi can be reactivated in today's society according to the new expressive needs, cultural conventions and environmental approaches. [ABSTRACT FROM AUTHOR]

This paper reviews the tension between presencia común [common spaces] and amazement which shape José Manuel Arango's poetry. On one hand, this tension embodies the poet's subjective experience and on the other hand reality as the essential feature of his poetry. As one of his interpreter states that Cantiga (1987) is a rewritten work of two previous poems, this paper suggests a critical review from the context of his writing to the theoretical framework regarding common spaces. The result of this research shows that Cantiga determines a poet inserted in the world plentily observed by him and then names it. From this point of view, this José Manuel Arango's work expresses the division between the poetic subject and the world. [ABSTRACT FROM AUTHOR]

The Uruguayan writer Blanca Luz Brum was an active part of the cultural and socio-political life of different Latin American cities for several decades. However, her ideological estrangement from socialism, as well as her intense love life, earned her disqualification and oblivion. The aim of this paper is to rescue her figure through the analysis of her texts published in the magazine Amauta between 1926 and 1929, taking into account the author's poetics and the role that her poems occupy in the magazine. The study will reveal the double aspect of her poetry: one that is political, gimmicky and has a propagandistic and mobilizing character; and the personal one, which is more complex, deep and reflects the most intimate side of Blanca Luz. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to study to what extent and in what way Ricardo E. Molinari carries out a fusion of Gongorine and Avant-garde components in El pez y el manzana (1929), especially regarding the use of some themes and motifs, as well as language and literary techniques. The originality of the poem is highlighted, which is not an exact copy of Góngora's style, although it has a strong evocative effect. Molinari creates a peculiar and new Gongorine style, with a voice of his own, incorporating a poetic irrationalism akin to the Avant-garde. This work is contemporary to the Spanish poets who cultivated Ultraism and Surrealism, whom he met personally, after having published El pez y la manzana, during his stay in the 30's in Spain. [ABSTRACT FROM AUTHOR]

This paper interprets a short passage by Heidegger on the difference between literature and poetry and, especially, on the "unfathomable essential power" of literature. We will argue what the phenomenological features of this "power" of literature that distinguishes it from poetry, showing the internal problematicity of such a distinction. In order to foreground the meaning of this "unfathomable essential power" of literature, a brief reading of Don Quixote's El curioso impertinente will be made. The conclusion is that the "unfathomable" power of literature lies in its ambivalence to be a means of homologation and resistance to that same homologation. [ABSTRACT FROM AUTHOR]

This paper enriches theoretical concepts (such as transitional objects, the objective correlate and deautomatization procedures) with personal experiences from cultural promotion work with children. This public is considered as agents trained to build knowledge, the teacher as a mediator or facilitator of learning, and the book as a meeting point that requires approximations according to the current era. [ABSTRACT FROM AUTHOR]

This paper reviews the book Tras los rastros de un corpus seropositivo: VIH y sida en la poesída costarricense (1983-2017), by Ronald Campos López (2022). First, its importance for the studies on Costa Rican HIV-positive literature is exposed; in addition, the relevance of its theme -- "forgotten" in the literary academic field-- and of the theoretical contributions that support the analysis of Campos López are pointed out. Then, a synthesis of some chapters of the book is offered, where the approaches to the different poems selected by the author are commented. Finally, it is concluded that the book offers a lot of material for an academic, but also for a political reflection, since the study of HIV-positive literature also implies the analysis of the different kinds of knowledge that has built the "disease". [ABSTRACT FROM AUTHOR]

In 1691, after leaving the post of viceroy of Peru and during his return to Spain, Melchor de Navarra y Rocafull, Duke of La Palata, died in Portobelo. The news of his death was received in Lima with some poems against him written by the poet Juan del Valle y Caviedes. In these verses, using mainly the model of funeral poetry, a series of accusations are made against the duke in which his avarice and pride are criticized. In this paper I will comment a poetic epitaph, in the form of a sonnet, in which, in addition to moral accusations, echoes of political attacks against the ex-viceroy are also manifest. [ABSTRACT FROM AUTHOR]

This research paper proposes an approach to the poetry book Katatay/Temblar, with special attention to "Cubapaq. A Cuba", the poem dedicated by José María Arguedas to the Cuban island. The study emphasizes that the Arguedian verses represent and promote, by the isotopy of resilience, the ontological continuity of the Indigenous people and their identity claim. [ABSTRACT FROM AUTHOR]

The category of "insufficiency" is widely used in criticism that addresses César Vallejo's poetry; however, frameworks that deploy this category tend to omit that poetry's ethical dimensions. The genealogical method of this paper denaturalizes the concept of insufficiency to show a previously unacknowledged ethical critique of sacrificial history, which emerges through a negative order of perception. Drawing on Maria Zambrano's sociopolitical thought to describe active modes of insufficiency, I argue that the ethos of Vallejo's poetry sought to rehumanize political life by elevating the subject's indivisible constitution as protagonist and author of history, while proposing a responsible anagnorisis in response to the nightmare of tragedy. [ABSTRACT FROM AUTHOR]

This paper examines the process of human recognition by virtue of the animal presence in Blanca Varela work. My analysis is based on the reading of the poem "CLAROSCURO", included in the book Ejercicios Materiales. The poet's reflection in this poem does not promote a distancing, but rather manages to situate herself at the limit of both spheres: the human and the animal. Such an acute perspective is a sign of her full knowledge of the human being and of the relationship she establishes with the other species, which she treats as equals. Such a process entails, therefore, the recognition of man as a borderline being, a liminal creature, who is also ephemeral, since he is made of flesh and blood. [ABSTRACT FROM AUTHOR]

Este artículo se inserta en el campo de los estudios de la poesía oral, más específicamente el de las competencias de poetry slam, tomando como caso el Slam Coalkan, primer evento indígena a nivel mundial en ese formato, realizado en 2021 a través de una colaboración entre festivales de Brasil y Canadá, que reunió poetas de los hemisferios sur y norte de Abya Yala. A partir de una observación crítica, este estudio describe y analiza dicho campeonato, enfatizando la importancia de la oralidad para las culturas de los pueblos originarios, la cual es la protagonista en un contexto como el de los poetry slams. Anclado en referencias teóricas sobre literatura indígena, el estudio pretende resaltar la necesidad de una atenta escucha a las voces de esos sujetos históricamente silenciados y marginados que ponen de relieve saberes ancestrales en sus narrativas de lucha, emancipación y resistencia. Además, al divulgar este acontecimiento inédito, el artículo hace de su objetivo valorar y defender la legitimidad de la poesía que se produce y circula en los slams. [ABSTRACT FROM AUTHOR]

In this article, I aim to contribute to the discussion on the convergence between ecocriticism, especially in its new materialist strands, and affect studies, by focusing on their applicability to the study of poetry. Drawing on Jane Bennett, I set out to explore the potential of poetry to imagine the worlds beyond the anthropocentric, as well as to engender attentiveness to the nonhuman as proposed in new materialisms. I contend that Bennett's theorization of affect, vibrant matter, and her model of influx-and-efflux, can be fruitfully thought of in connection to what the writer and scholar Julia Fiedorczuk conceptualizes as ecopoetics. In particular, and addressing Fiedorczuk's ecocriticism and poetic practice, this paper will understand ecopoetics as a means of inducing «an aesthetic-affective openness to material vitality» (Bennett, 2010: x), and it will raise questions about how to write an «I» in a world of vibrant matter. [ABSTRACT FROM AUTHOR]

This paper provides a preliminary and modest incursion into certain theoretical aspects concerning José Ángel Valente's works on questions such as "poetry" and "art", and puts forward significant links between it and Kant's "Critique" of aesthetic judgement (finalism without aim, schematization without concept, free beauty, etc.). The hermeneutical background behind points towards a certain investigative direction which is brought to light from the very start and with which our article tries to be consistent to the very end. [ABSTRACT FROM AUTHOR]

The poetry book España, aparta de mí este cáliz by César Vallejo shows his commitment with the Republican side during the Spanish Civil War. War is reflected through the body in different ways: combatants react as if they were only one body, the poet struggles with his writing within his limited flesh, battles take place within the corporal limits of soldiers' bodies, and the country whose universal destiny is at risk appears as a mother carrying her womb in agony. This paper studies how the constant presence of the body in Vallejo's works reaches both a metaphorical and a literal plenitude in this book, which enables the defense of the República. [ABSTRACT FROM AUTHOR]

The surrealistic project of redefining the self conceives poetry as a resource to liberate individuals from the moral and rational limits that constrain self-expression. This paper reflects on André Breton's surrealistic program and contends that even if he insistently pleads in favor of revaluating subjective experience, his final purpose transcends this initial goal and calls for a drastic social transformation. In this light, the paper studies the author's poetic explorations tending to liberate the self. Four topics structure this analysis: irrationality as a person's legitimate expression; the surrealistic adoption of an aesthetic of the emotion; its subsequent concretization through the mechanism of sublimation; and the convergence of all these in a poetic that opposes impositions that restrict the activity of the self. [ABSTRACT FROM AUTHOR]

"Leibnizian Perspectivism in Baumgarten. Notes on the Influence of the Concept of petites perceptions in Baumgartian Aesthetics". In 1735 Baumgarten published his Philosophical Reflections on Poetry. There he develops for the first time the idea of a science of sensibility capable of apprehending the idea of beauty in art; a science which he denominates aesthetics. This quest to determine what beauty is and what the status of aesthetic experience within the edifice of knowledge is seems to be more related to the Leibnizian approaches to sensitivity than to the Wolffian gnoseological framework, not only because of the way in which it deals with the concepts of perfection, beauty and truth, but mainly due to the fact that, in the development of Baumgarten's research on sensitivity, mechanisms of subjectivation similar to the ones presented by Leibniz seem to be deployed --mechanisms characterized by a strong perspectival background. In view of this, this paper investigates the Leibnizian influence on Baumgartian philosophy, and specifically the question about how the concept of petites perceptions, as a central element of Leibniz's perspectivist conception, influences the notion of aesthetics developed by Baumgarten. [ABSTRACT FROM AUTHOR]

This paper examines the blurred boundaries between the historical narrative and the exemplum. After outlining the main links between the two and the fundamental role of rhetoric to each, the study turns to a specific case: the unexpected death of King John I of Castile. This event is captured in literary form in Alfonso Álvarez de Villasandino's poem Crónica de Ayala, as well as Diego Rodríguez de Almela's Crónica del Despensero and Valerio de las Estorias escolásticas e de España. Drawing from these examples, the article posits four basic principles that underpin the composition of the historical exemplum. [ABSTRACT FROM AUTHOR]

This paper approaches the poetic work of a contemporary Japanese poet, Keijirô Suga, from its resonances with the discussions of ecocriticism. It proposes the critical operator of ecocritical fiction that in the gesture of the interpretative reading of the poems and the theoretical reflection allows to identify these resonances. The journey finds temporary spaces configurations around the future, the landscape and the relationship between the human and the non-human. Thus, the article contributes to the field of knowledge of contemporary Japanese poetry and ecocriticism. Finally, contemplating the theoretical reflection, we expose an ethical position distanced from certain environmentalist positions. [ABSTRACT FROM AUTHOR]

In the turbulent Europe of the World Wars, two French thinkers of Jewish Origin wrote both essays on the Iliad: Simone Weil (The Iliad, or the Poem of Force, 1940-1941) and Rachel Bespaloff (On the Iliad, 1943). Both writers have in common the return to the foundational texts of Western culture -- Homer in the Classical tradition and the Bible and the Gospels in the Christian tradition -- to rethink war and barbarism. This paper analyses the concept of 'force' in both authors, their similarities and differences, in order to conclude on the way in which this notion determines their interpretation of the Homeric poem. [ABSTRACT FROM AUTHOR]

This paper explores in Eielson's return to written poetry his enthusiastic resettlement in the founding text of his poetical production, namely Reinos, published in 1945. Reinos can be seen as a ritual burial or huaca that the 'archaeologist' poet chooses to dig into in his later collections, namely Celebración (2000) and Sin título (2001). As readers witness the unearthing of the Lima period images, the old funerary isotopy becomes the background against which a thriving vitality, a radiance and a critical impulse that had not been seen before burst gleefully thus modifying the reception of Eielson's poetry. Eielson's response to the questions posed by Peruvian filmmakers Patricia Pereyra and Gaby Yepes is finally added. [ABSTRACT FROM AUTHOR]

Wiñay Mallki and Hugo Jamioy Juagibioy's poetry allows us to understand some socio-political dimensions of the indigenous literature that is recognized as palabras mayores (ancestral words). The purpose of this article is to contribute to the knowledge of their works starting with a historical overview of the Colombian Southwest to shed a light on the common intentions as well as the encounters of these two poets, from the Yanakuna and Camëntsá people. The text has a bioethnographic approach to the two indigenous authors to establish the relationship of their works with the political and ancestral struggle waged by their indigenous communities. This paper showcases the decolonizing power of the poetries of the two creators from Cauca and Putumayo for the Colombian literary field. Finally, it is important to us to support the opinion of indigenous literatures as oralituras or major words of the native people. [ABSTRACT FROM AUTHOR]

In this paper we present two poetic manuscripts related to Jovellanos and recently located in the Fermín Canella collection of the Tolivar Alas Archive (“Ramón Pérez de Ayala” Public Library, Oviedo). These are two copies of the late 19th/early 20th century owned by the scholar Fermín Canella, both of great relevance. The first one is a lost copy – but of which there was indirect information – of Jovellanos’s Satire III, relevant because it allows us to conclude without a shadow of a doubt that several errors have been introduced in the text until now considered good and edited in the Complete Works of Jovellanos prepared by José Miguel Caso González. The second one gives as a work by Jovellanos a poem never before attributed to him. However, an examination of the text, its textual tradition, and the circumstances of its composition allows us to discard Jovellanos’s authorship. In sum, we establish how Jovellanos’s Satire III should be edited from now on and discard the composition “[Six virtues alone are...]” from his corpus. [ABSTRACT FROM AUTHOR]

The poetry of Hanni Ossott (1946-2002) is hardly known beyond Venezuelan frontiers, and so is any domestic or foreign research, almost non-existent, about her published works, an exception being El reino donde la noche se abre (1987). Such a scenario, unfortunately, continues to be so regarding her other works, especially the ones published thereafter. For this reason, this article will focus on one of her later poetry books, Casa de agua y de sombras (1992), since, as will be argued, it might be the most relevant one to understand the spatial-subjective processes that characterize the Ossottian oeuvre. Drawing upon Bachelard’s theories of space, this paper will attempt to explain how the poet goes from the versification of abstract and hostile space to the poetry of lived space, which will offer answers to her identity dilemma: we are nothing more than what we inhabit. [ABSTRACT FROM AUTHOR]

Th e purpose of the present article is to analyse the fi eld of poetry criticism in Spain in relation to the reception of Antonio Gamoneda’s work, especially after the publication of his Descripción de la mentira in 1977. Th is paper focuses on the exegetic labour performed by Miguel Casado since 1987 (year of publication of Gamoneda’s Edad), when he started to critique the methodologies of the dominant criticism in Spain. Based on the relation between criticism and literature, this paper proposes the formulation of a critique of criticism that moves away from lineal and progressive postulates and views the history of literature from the departing notion of history in a mesh. [ABSTRACT FROM AUTHOR]

"Psychology, politics and poetry in Republic IV and X". In this paper, I argue that in the Republic the possibility of a good koinōnia is hindered by the emotional potency and psychological perversion of mimetic-pleasurable poetry, which stimulates and strengthens the irrational part of the soul of its recipients through the imitation of characters linked to desire and anger. To this end, I examine, first, some of the passages in Republic IV in which it is possible to subscribe to the priority of the psychic tripartition over the political tripartition. Secondly, I point out some of the central features of the psychological critique of mimetic-pleasurable poetry in Republic X. [ABSTRACT FROM AUTHOR]

This paper focuses on Novelas de varios sucesos (Granada: Blas Martínez, 1635) by Ginés Carrillo Cerón, a book of which only one copy is preserved, and that offers a host of reading problems. We analyze the poems interpolated into the short novels, several of which are by other Baroque writers, such as, e.g., Francisco de Trillo y Figueroa. One of Trillo’s ballads used by Carrillo happens to be the earliest sample of his poetic corpus. [ABSTRACT FROM AUTHOR]

In literary texts that present a poetic speaker whose psychic apparatus suffers; writing becomes the site for the oscillation between subjectivity and desubjectivity. This paper poses the question on how to approach texts rooted in the experience of psychic suffering in relation to the concepts of "testimony", "author" and "writing". The selected literary texts are a group of poems written by the Italian poet Alda Merini and 4.48 Psychosis, a play written by the English playwright Sarah Kane. In these texts, the poetic speaker experiences a desubjectivation produced by highly invasive psychiatric procedures. These texts account for this experience [Benjamin] and establish themselves as healthy practices [Deleuze]. By doing so, they do not function as instances of resubjectivation; instead, they retain the oscillation between resubjectivation and desubjectivation. [ABSTRACT FROM AUTHOR]

This paper analyzes the issue of visuality in Lorenzo Garcia Vega's poetry, focusing on its relationships to visual arts. As I show, the visuality of Garcia Vega's poetry often presents itself under the form of painting hypothesis, i.e., the narration of conjectural paintings. Such narrated paintings--frequently unfinished--aim to bring to the mind of the reader the immediacy and concreteness of what the poet-painter observes, but also that of what he imagines. In this sense, I argue that Garcia Vega's poetry shares with certain avant-garde tendencies their non-representational character, interpreting his focus on the most concrete aspects of our visual field--such as geometrical forms and colors--as a strategy to evade fiction. [ABSTRACT FROM AUTHOR]

This paper studies "copla de amor montubia" [Montubia love couplet] -better known in the Ecuadorian coast as "amorfino". The research, regarding this type of oral lyric poetry, emphasizes in its formal and thematic characteristics. Therefore, it is shown some differences and similarities between popular poetry and lyric poetry. From the theorization of these two ways of poetry, it is showed the similarity of popular poetry and Hispanic folklore. Additionally, it is highlighted the anthropological point of view due to its social contexts. This form of poetry is stablished in the "montubio" mourning, which is a traditional and ludic way of life of the Ecuadorian peasants from the coasts. In this tradition, there are "juegos de rueda" [traditional rounds] which have worked as a form of erotism, social life, and as way to stablished social attachment. [ABSTRACT FROM AUTHOR]

This paper attempts a renewed understanding of the concept of poetic reason, key in María Zambrano's philosophical writings, from a hermeneutical approach. Poetic reason might be seen in this light as a gateway to a different kind of rationality, one that might help to enrich its ontological and anthropological implications, and overcome the hubris that has been historically ingrained in this concept. The paper is structured in three parts: in the first one, an attempt will be made to show a reform of the understanding, which involves human life integrally, in such a way that reason transcends and makes it possible to understand the historical complexity of man and the urgent need to return to oneself. In the second, special attention will be focused on Zambrano's new humanism, based on poetic and merciful reason, as an antidote to the ghost of war. And the third section delves in the work Claros del bosque to point to the reader the three hermeneutical moments that they will possibly face when trying to understand the realm of poetic reason. [ABSTRACT FROM AUTHOR]

In the present paper we offer some considerations on Peter Cole's figure and work. Peter Cole is an important poet and translator of the Hebrew and Arabic poetry produced in Spain around the 10'h and 15*' centuries. These considerations are developed in the frame of Kabbalah and its History, specifically we will focus on Abraham Abulafia, one of the most essential character in the Kabalistic tradition. Abulafia acts as a kind of bridge to know the poetry of Kabbalah from a detailed point of view. In this sense we collect in the second part of the paper an interpretation of five selected poems from the Kabbalistic tradition and we explore their meaning, power and strength of the verses from own Cole's view. [ABSTRACT FROM AUTHOR]

This paper presents the problem of creative processes involved in passing from one art to another. To bring forward this reflection, it was selected the problem of the configuration from the real, such as it was carried out in painting, photography or film and then to understand its appropriation by using the literary speech. The purpose of this paper is to make comprehensible the operations that support a realistic representation, conceived as a rhetorical procedure expressed under the evidence, and still, it interpellates a realistic visual experience exclusive by means of the written word. Handling with the written word's boundaries, we try to prove the thesis in this paper, not only in the prose, traditional locus of realism, but also as in poetry. [ABSTRACT FROM AUTHOR]

This paper examines the life and work of Abū l-Qāsim Khalaf b. Faraj al-Ilbīrī, the Granada-born poet who emigrated to Almeria and is known by the derogatory nickname of al-Sumaysir. Through his poetry and the anecdotes concerning him that have reached the present day in Arabic sources, and also making use of the different studies done on him, this paper explores his complex personal trajectory and his particular revolutionary vision of the times in which he lived, the 11th century. New information is provided on his personality and the reasons for his exile from Granada, and also about his life in the court of al-Mu'taṣim of Almería. Al-Sumaysir's irony and criticism were often aimed at the Taifa rulers, particularly the Berbers. He also authored sententious, elegiac, philosophical and ascetic poems, along with other, more mundane ones, including some daring love poetry of homoerotic inspiration. His apparently coarse, jocular and festive verse, which can in fact be read as a critique of various objectionable aspects of Andalusi society of his time, is a document of his sociopolitical and cultural setting. [ABSTRACT FROM AUTHOR]

The analysis of Golden Age Erotic Poetry is a field of study that has been booming in recent years. However, a deep understanding of its methods together with the recovering of texts and their decryption it is yet needed. This is the case of Jerónimo de Barrionuevo, an understudied author concerning his poetic production. Thereby, this paper focuses on four of his (unpublished) erotic poems, which radiate from Petrarchan tradition to end "deviating" towards more lustful spheres. However, that subversion is not far away from the dominant poetic system, for it is actually one of the many possibilities of the model variation induced by the system itself. The purpose is to present some of Barrionuevo's unpublished verses and study how the erotic subversion is performed in them, in addition to clarifying and explaining the erotic images and metaphors used by the author in this process. Whatsoever, this work follows the line of the latest studies which try to expand the lexicon of erotic voices of the Spanish Baroque, as for example the recent Vocabulario del ingenio erótico en la poesía española de los Siglos de Oro (2020) by Javier Blasco and Cristina Ruiz Urbón. [ABSTRACT FROM AUTHOR]