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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 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]

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 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]

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]

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]

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]

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]

"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 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]

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]

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]

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 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]

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 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]

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]

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]

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]

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]

In this paper, we explore the connections between the culinary art and the poetic work by Sor Juana Inés de la Cruz. In particular, following a detailed study of the analogies between, on the one hand, food and culinary preparation, and on the other hand, poetry and composition, we show that culinary art functions as cause and catalyst of Sor Juana's poetic creation. Also, we show that, for the hieronymite nun, there is an intimate and profound relation between good seasoning, beauty and moral good. [ABSTRACT FROM AUTHOR]

Bacchic poetry (khamriyya) was an important part of classical Arabic literature from its origins during pre-Islamic times up through the Nah'a, and from East to West. Its presence was very significant in al-Andalus, where it would became one of the most cultivated poetic genres. The pleasant climate and natural environment of al-Andalus were conducive to open-air literary gatherings and prompted poets to combine the theme of wine with the description of nature in their verses, together with the erotic-love topic addressed to the slaves and ephebes who served the wine and provided entertainment during the event. This paper presents an overview of Andalusi khamriyya, offering numerous poetic testimonies from different times and authors, analyzing the themes that appear in it such as wine itself, its mixtures, places where it was consumed, literary gatherings, characters related to wine, as well as its effects on the drinkers and the utensils in which it was served. The conclusion reached is that the khamriyya genre in al-Andalus does not differ a great deal from its oriental model, although new elements related to nature and eroticism are incorporated. [ABSTRACT FROM AUTHOR]

El morador is the first poetry collection of Javier Sologuren, published in 1944 as a brochure of the journal Historia (n°8). Many critics argue that in these poems the author demonstrates his deft skills with language and poetic forms. That rigorous work of Sologuren also operates composing the set as a structure which integrates the poems in a sequence and meaning aligned with the conception of poetry they express; however, the critics do not mention that aspect of the collection. This paper examines that point on the writing of El morador (which was conceived with a sequential structure and with stylistic unity) and interprets it on the basis of the analysis of each poem. [ABSTRACT FROM AUTHOR]

This paper aims to approach from a hermeneutic perspective to Anahit (1968), a book of poems by the Spanish poet Juan Eduardo Cirlot. This book constitutes a free interpretation of the ancient Persian goddess Anahit to use each of her attributes in the poetic world of this poet. In the first part of this research, we reconstruct the combination of mythemes and symbols that are assembled around this goddess. In the second part, we carry out a hermeneutic analysis to show how these characteristics are gathered, modified, and reorganized in Cirlot's book. [ABSTRACT FROM AUTHOR]

The present paper attempts to call attention to the notorious influence that the work of the Spanish nun sor María de Jesús de Ágreda (1602-1665) exerted over the work of sor Juana Inés de la Cruz (1648-1695), particularly over the Primero Sueño. Through the work of sor María, especially in her book Mística Ciudad de Dios, a bond can be stablished between the master piece of the Mexican nun and one of her minor and less known texts: Ejerciciosde la Encarnación. In the texts above, there is an element in common: The soul of a woman is favored with a vision of totality. [ABSTRACT FROM AUTHOR]

The ideas of limit and musicality constitute axial concepts in José Ángel Valente's poetry. In this paper we propose to link Valente's poetics with Spectral Music. We will review the foundations of José Ángel Valente's maturity poetry with the purpose of comparing them with the theoretical approaches of Spectral Music. The fluctuating and permeable nature of the limit determines the foundations of Spectral Music as well as Valente's poetics. We can establish that the notion of 'reverberance' constitutes the epistemological basis-even ontological-of those styles. The exploration of the own material nature is the way that both liminal aesthetics determine themselves as knowledge paths. The self-knowledge turns into aesthetic object. [ABSTRACT FROM AUTHOR]

In this paper we focus on significant examples of the dialogue between the uruguayan poet Ida Vitale and the Roman World. We explore her reception of Rome through Latin Language and Roman Literature, Religion, Society, History and Archaeology. These elements are linked to the search of an accurate expression. The lack of studies on Ida Vitale, especially on Classical tradition, and the contextualization in her Poetics justify our contribution itself. [ABSTRACT FROM AUTHOR]

This paper examines the adaptation of European literary models in colonial Hispanic America from the specific case of Francisco Álvarez de Velasco y Zorrilla, a poet of Nueva Granada, and his poem "Vuelve a su quinta Anfriso solo, y viudo", which belongs to eglogical and pastoral tradition. The analysis aims to glimpse the connections between European formal literary parameters and their inevitable transformation, given the gradual filtration of contextual elements from the American reality. Therefore leading to provide a vision of the colonial period as a crossroads of diverse cultural inheritances and traditions that seek to adapt to an American environment in constant transformation. [ABSTRACT FROM AUTHOR]

This article examines the way of expressing the world of sounds in Odyssey, which developes through the lexicon it employs. In this way, we analyze the contexts in which some natural elements are named, as well as their sounds and characteristics, and those of certain physical spaces as they are treated in the poem, with the intention of generating, as much as possible, the universe of sounds that allows to contextualize the poem from an aural point of view. The methodology is based on the linguistic concept of acoustic image that Saussure developed in the late 19th century and follows Schafer's most recent tradition in his 1993 work on soundscape. Winds, sea, storms, palaces and voice will be analyzed in this paper. [ABSTRACT FROM AUTHOR]

The poetry of Jorge Fernández Granados is permeated by a veil of experience. Nostalgia, memories and places guide his production line. His poetics delves into the image of subjective recreation and turns memory into a discourse in which time and space are fundamental. The purpose of this paper is to explore and investigate how it is that the voice of the enunciative subject creates space as from the evocation. We can point out that the experience that is built in the poems has not only a discursive importance in what pertains to the representation of memory, but because it offers depth that goes beyond the anecdotal since it is assumed from the perspective of a subject who creates places and spaces. In Principio de incertidumbre (2007) this subject is a defined and delimited "I" who assumes the description. What is peculiar about this subject is his experience that creates the spaces, who tries to generate distance, a retrospective, but that in the end takes us towards an inner world pierced by nostalgia, memory and loneliness. The categories of analysis focus on three main axes: the subject of enunciation, space and temporalities. [ABSTRACT FROM AUTHOR]

The poetic work of Esther Tapia de Castellanos is a key piece for the understanding of two fundamental cultural phenomena in the process of construction of the national project of the Mexican liberals; from the perspective of the political use of literature, it contributes to the configuration of one / another sense of Homeland, because his poems propose feminine images that endow the face of the nation with the idea of a nation that tried to settle down in those years; from the purely literary representation, his poetry is full of portraits of the must be of the Mexican woman. In the communion of both aspects Esther Tapia's poetry is, at the same time, an exercise of acceptance of the roles traditionally imposed on women and a subversive act against them, if we consider that the incursion of women in the field of the literary creation goes beyond the limits of the closed and intimate space of the home and appropriates the public scenarios reserved for the male. In this paper we propose an approach to the poems of Esther Tapia that were published in the nineteenth century press. We took as a starting point the notion of Homeland to analyze from the poetic mechanisms employees, the way in which the female subject is refracted in the texts of this author. [ABSTRACT FROM AUTHOR]

In this paper, we intend to analyze the relationships that may exist between the conceptual metaphor TIME IS SPACE (Lakoff y Johnson, 1999; Raden, 2003; Núñez, 2003; Ellen, 2016) that we use for everyday conceptualization of temporality, on the one hand, and the conceptions of time and of temporality drawn up within the spheres of philosophical thought and poetry, on the other. Specifically, it is our intention to verify the extent to which everyday concepts influence our aesthetic and philosophical conceptualizations; or, viceversa, the degree to which the latter are able to free themselves from the former. Concretely, we shall analyze the phenomenological concept of temporality, as proposed by Edmund Husserl (2002) and Merleau-Ponty (1945), alongside certain poetical theses present in the poems of Jorge Manrique, Goethe, Unamuno, Antonio Machado and Chico Buarque, among others. We anticipate that the principal results will, on the one hand, be to show that the underpinnings of the aesthetic and philosophical proposals are more deeply rooted in the general everyday metaphors. Nevertheless, we will also present evidence that the general metaphors serve as a source space for reconceptualizations that may attain a high degree of cognitive and semantic complexity. These reconceptualizations are produced by the same mechanisms and processes responsible for the intercultural variation of conceptual metaphors (Kövecses, 2005, 2008). [ABSTRACT FROM AUTHOR]

This paper presents a comparative reading of the script Hiroshima mon amour, by Marguerite Duras, and the section "Jabalya mon amour" of the poetry book Empire, by Rocío Cerón, with the objective of reflecting on the particularities of this space of resistance opened up by the arts, particularly literature, in the face of the conclusive self-sufficiency with which they are installed in the functional memory and, subsequently, in the cumulative memory as well (Assmann, 2011). Memories of acts of violence of one people against another; in the specific case of the works- the atomic bomb dropped on Hiroshima by the US army in 1945 and the Israeli government's bombing of Jabalya, a sector of the Gaza Strip, in 2008. The hypothesis is that the tendency to the conclusive and self-sufficient permanence of these traumatic events in the functional memory, which is evident in the official massified versions, implies a loss of seriousness in the presence of the lived experiences that makes its repetition possible. To this simple tendency, however, literature opposes a treatment of the remembrance of traumatic (collective) events that makes possible to maintain intact the seriousness with which memory should be preserved in functional memory. [ABSTRACT FROM AUTHOR]

Lorenzo üliván understands poetry as a pursuit of knowledge through a lucid gaze on everyday world. With this starting point, this paper aims to study the role of the body in his latest works. We will pay special attention to the relations between body and identity and to the meaning of pain in his poetry. Last, we will focus on his understanding of the skin as an palimpsest of life experiences. [ABSTRACT FROM AUTHOR]

In this paper, we propose to discuss two texts: Cristóbal de Acuña’s “relation” (relación) entitled Nuevo descubrimiento del gran Río de las Amazonas (1641) and Pedro de Santo Eliseu’s epic poem Viagem (1746). These discussions are based on rhetorical and poetic precepts and on theological-political conceptions pertinent to the Spanish and Portuguese Empires of the 16th, 17th and 18th centuries. Thus, it is intended to show that, in the travel report of the Spanish Jesuit priest Acuña and in the epic poem of the Portuguese Carmelite friar Eliseu, the “River of the Amazons” representations are made of history, poetry and politics, aiming at the concord between the members of Kingdom’s mystical body. [ABSTRACT FROM AUTHOR]

This paper tackles the lecture carried out by Derrida of Celan's work, from Schibboleth (1986) to the seminar The Beast and the Sovereign (2001-2003), focusing on the concepts of "testimony" and "secret". Thus, it is showed how Celan is a major interlocutor to Derrida, who does not develop just a hermeneutical reading which may take out the concealed meaning of his poems but experiences in Celan's poetry the aporia of memory and of reading, the im-possibility of the testimony in the poem and so the necessity of the impossible affirmation of mourning and translation. In this way, the relation between Celan and Derrida is understood as task of endless lecture, that is to say, as a task for justice and for promise. [ABSTRACT FROM AUTHOR]

This paper proposes an analysis about Gregorio Gutiérrez González and José Eusebio Caro's poetic plays as an axis that allow us to ponder some reaches, variables and characteristics of the 19th Century Colombian romantic poetry. The analysis focuses on how the entanglement between romantic sensibility, nationalistic project, and religious doctrine constitute the root cause of the poetic conflict of Gutiérrez and Caro's nocturnal poetry, from which the scope and limitations of their poetic proposal are formulated. [ABSTRACT FROM AUTHOR]

The following text will try to show that radicalization of the thesis expressed by Plato in the book X does not allow "to "estimate" the value that the Athenian philosopher knows that poetry possesses, since poetry might be a means for the reflexive exercise if it takes advantage of the sobriety that philosophy proposes. To carry out this task it is necessary to define three points on which this paper will be about: first, the author will inform the reader about the old discussion among poetry and philosophy to understand the context of the crisis between these two forms of teaching; Second, criticism established in the book X on the lack of rigor in the search of knowledge that poets have will be addressed. Finally, the paper glimpses or opens an interpretive possibility about the interest that the proposition of a "philosophical poetry" can have in Plato's work. [ABSTRACT FROM AUTHOR]

This paper is based on a wide definition of irony, which is conceived as a mechanism of pragmatic inversion. This definition leads us to an irony in the second degree; i.e. a discourse process that emerges from the form and ends affecting the content of texts. Although it has been commonly assumed that irony is not especially compatible with poetry, this article deals with a poetic corpus in order to analyse the main features of second-degree irony. The authors selected belong to a new literary generation, which aims to revisit tradition (metageneric irony) and to establish an intertextual dialogue (metaformal irony). In sum, this paper highlights the role of irony in the current aesthetic debate and, more generally, in contemporary communication. [ABSTRACT FROM AUTHOR]

In the midst of a society seeking to redefine itself in an antagonistic social context, the decade of the 1860s found the nuns of Santa Catalina de Sena in Buenos Aires making their voices heard as they challenged the hegemonic discourse by composing a series of poems. Desirous of honoring the aspirants who had chosen the sacred life of the cloisters, they wrote to express, define, explain and free themselves; to socialize and create beauty. The aim of this paper is to understand the underlying meaning of the forms of their poetic expression and analyze this exceptional approach to writing in the context of Hispanic American nunneries in the 19th century. [ABSTRACT FROM AUTHOR]

This article seeks to provide a review of León de Greiff's poetry, through its correlation with other poetic works, considered marginal within the Latin American poetic tradition, which are related to each other especially in the forms of representing and assuming the lyrical subject. Through an enunciative and rhetorical analysis of these authors subjectivity, this paper attempt to consider that de Greiff's poetry belongs to an aesthetic aspect whose creative horizons might be key to reinterpret historically the directions of current Latin American poetry. [ABSTRACT FROM AUTHOR]

The aim of this paper is to reveal and explain the way writers use the analogy between writing and giving birth in some metapoetic texts of lyrical poetry. Despite its classical roots, we mostly pay attention to the contemporary use of this metaphor. The paper considers the genre implications, takes a slight glance at feminist debate on the matter and notes the great importance of this analogy in the poetic theory and the works of female poets such as Ángela Figuera Aymerich and Ana María Fagundo. [ABSTRACT FROM AUTHOR]

This paper explores the presence of correspondances and allegory in Walter Benjamin's thoughts on the poetry of Charles Baudelaire. It compares these thoughts with other contemporary critical approaches and points up the relationship, which Benjamin considered essential, between the form of Baudelaire's work and the historical changes of the mid-nineteenth century. [ABSTRACT FROM AUTHOR]

In this paper the author studies a romance of Quevedo applying the method of traditional philology and neo-lachmannian for the fixation of his text. He provides two main sources that the author used: a passage from Leandro by Juan Boscán and the first romance of El caballero de Olmedo, also published in the Primavera y flor de los mejores romances (Madrid, 1621). He even suggests a date for the romance of Quevedo putting it in relation with another sonnet #171;En crespa tempestad del oro undoso». [ABSTRACT FROM AUTHOR]

In the 5th and 6th essays of Commentary on Plato's Republic, Proclus focuses on rescuing both "myth-makers", Homer and Hesiod, as well as their critics, Socrates and Plato (Republic III and X). In this paper we analyze the relationship that Proclus states between the four grades of poetic discourse -inspired poetry, scientific, of reproduction and of appearances-, and a certain way of life. The features Proclus assigns to the myths do not apply to all of them, as it is necessary to distinguish between two types of myths: the educational ones and the divinely inspired, which correspond to two types of listeners: those concerning the young people, and those whose target are the ones who are able to raise their soul through all divine grades. Poets and Plato teach the same lesson on the same things. [ABSTRACT FROM AUTHOR]

Censure and exclusion of The Republic are characteristics of many utopias, which become dystopias precisely because of turning to them. Plato's reasons to censure certain types of poetry are ethical and political ones, although his arguments are epistemological (the poets represent in a wrong way, their myths are false). This paper proposes reading these two aspects of the platonic proposal in the light of three specific points of the Timaeus: 1) the theory of discourse about the concept of verisimilar (eikos), 2) its relation to the question of whether we can represent objects we do not know, and 3) the demiurge model proposed by Plato in this dialogue. The aim is to show that two of the most problematic aspects of The Republic, are dissolved today in the Timaeus. [ABSTRACT FROM AUTHOR]