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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]

Circumstances make of Octavio Paz' work a very special model. His production originates in the peak of vanguards, and it goes on up to even much later than the high spirited period of these. It can be used as a representation of the conflictive dialogue that exists between dominant and emergent languages, signed by rupture and an attempt to renovate. In this context, the main objective of this paper consists in deepening the links between Paz' work and the surrealist trend, proposing a third way of relationship between both that has not been tackled by the critics sufficiently. Aspects of his critical production as well as of his poetry, specially Poemas (1935-1975), re-edited in 1981, will be analyzed to highlight the place that the memory of a poet definitely consecrated keeps to his "tangential" surrealist experience. [ABSTRACT FROM AUTHOR]

This paper offers a version of some epigrams by Goethe and by Schiller which may be considered "rhythmic", since it keeps true to their sentence as to their form. Yet, precisely because this is a rhythmic version, a literal correspondence will not be found in all cases. The aim has been to save the "idea" and the "rhythm" of each epigram, knowing that this might mean overlooking some "words" here and there. The epigrams belong to two groups. The first, related to Goethe, is formed by twelve, published here for the first time. The second groups consists of sixteen (out of thirty) epigrams publishe before, though now renewed with the regular rhythmic figure they lacked. [ABSTRACT FROM AUTHOR]