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Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses 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.)

The paper’s aim is to relate some Portuguese-language contemporary poetry to the most relevant technological phenomenon in the last decades, the computer and digital revolution. Three hypotheses to proceed with such approach are proposed: a) the machine as a poetry-generator, executing the poet’s developed project, as in the work of Antero de Alda and André Vallias; b) the incorporation of tech universe in socalled traditional poetry, such as in the exploitation of barcodes in Manuel de Freitas’ Isilda ou a nudez dos códigos de barra, or the appropriation of advertisement and joke in a visual poem by Patricia Lino, or the cloning of e-mail format in Fabiano Calixto’s correspondence poems; and c) the usage of video platforms and social networks as a means of broadcasting and distributing poetry, especially YouTube, in which formats as videopoem and battle rap registers have become common. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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.)

English: This collection of three poems (written in Spanish) gives voice to the impact that Spanish colonialism has had on the indigenous languages of present-day Latin America, as well as the disconnect that this has engendered between many indigenous youth and their cultures. Each poem encompasses a perspective grounded in a different period of time, resulting in a circular narrative between the first and last poem. The first piece, 'lluvia', elucidates the atrocities—including cultural and linguistic suppression—committed against the indigenous people by Spanish conquistadores when they first arrived and asserted their rule over regions of Central and South America in the 15th and 16th centuries. The second poem, 'marejada', is set in the chronological present and sheds light upon the effect that this historic suppression and consequent assimilation has had on relationships between indigenous children and their ancestors. The final poem, 'ahogamiento', is set in the near future and premises itself upon the endangered status that many indigenous languages face by virtue of a lack of preservation, and the lack of linguistic evolution these languages have undergone as a result. Español: Esta colección de tres poemas intenta dar voz al impacto que ha tenido el colonialismo español en las lenguas indígenas de la América Latina actual, así como la desconexión que esto ha generado entre muchos jóvenes indígenos y sus culturas. Cada poema abarca una perspectiva arraigada en un periodo de tiempo distinto, lo cual resulta en una narrativa circular entre el primer poema y el último. El primer poema, ‘lluvia’, ilumina las atrocidades que cometieron los conquistadores españoles contra los pueblos indígenos al llegar y cimentar su dominio sobre América Central y del Sur en los siglos XV y XVI, sobre todo en cuanto a la represión lingüistica. El segundo poema, ‘marejada’, está ambientado en el presente cronológico y arroja luz sobre el efecto que ha tenido esta represión en las relaciones entre jóvenes indígenos y sus progenitores. El tercer poema, ‘ahogamiento’, tiene lugar en el futuro cercano y se basa en la posibilidad de extinción a la que hacen frente muchas lenguas indígenas a raíz de una falta de preservación, y la escasez de evolución lingüística que han experimentado como consecuencia.

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 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 Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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.)

There is in the prefaces of novels by Émile Zola (Thérèse Raquin, 1868) and by the brothers Jules e Edmond de Goncourt (Germinie Lacerteux, 1861; La fille Elisa, 1876 and Les frères Zemganno, 1879) the evocation of a specific place of the writer or the narrator as a researcher or scientist and of a specific methodology of novel construction from the gathering of notes, clippings and observations, thus composing a particular conception of literature and science. Dwelling on these questions, the aim of this article is to investigate the approximations or dissonances between the propositions of naturalisms (BECKER; DUFIEF, 2017) and two works of Brazilian contemporary art - parque das ruínas, by Marília Garcia (2018), and Viajo porque preciso, volto porque te amo, by Marcelo Gomes and Karim Aïnouz (2009) - with regard to the relationship that is established between art and science. From an analysis of textual aspects to extratextual spheres and other elements of visuality, this paper investigates, echoing the discussions of Bruno Leites (2017), the procedures and proposals that may connect French naturalisms and Brazilian art in contemporaneity. [ABSTRACT FROM AUTHOR]

Copyright of Quaderns: Revista de Traducció is the property of Universitat Autonoma de Barcelona 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 Álabe is the property of Alabe 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 Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

Carta florentina (2018) es el último de los poemarios publicados por Guillermo Carnero. La obra crea y exalta el tú amado, mismo sujeto femenino y destinatario poético al que el autor ya se referiría en Verano inglés, publicado dos décadas antes. La voz poética es el Hacedor de un mundo consagrado a la mujer y es conocedora y testigo de ese hecho: crea para ella un texto prolijo de imágenes y la rescata a través del ejercicio de la escritura. El presente trabajo analiza la evolución en el tratamiento formal de la figura femenina dentro de la poesía de Guillermo Carnero desde su libro Verano inglés a este último de Carta florentina. Cómo se estructura la representación del sujeto amado y en qué medida el propio autor se prefigura dentro del texto son algunos de los aspectos tratados, en continuo diálogo con la tradición clásica, las referencias culturales —prevalencia del mundo pictórico— y su propia obra anterior. [ABSTRACT FROM AUTHOR]

The article analyzes publications by nosotros, an indie publishing house concerned with giving visibility to the production of Argentinean and Brazilian women. For four years, the publishing house portrays the work in progress of women poets in bilingual booklets (Spanish-Portuguese) with thematic and aesthetic diversity. The present text intends to discuss processes of erasure and inclusion of women in institutional environments and poetic anthologies in Brazilian poetry; the difficulty of a mature woman to persist publishing even today; the independent market as the locus that remains possible to articulate resistance and new poetics; the themes of physical displacement in poetry written by women and the search for new roads to find their ways. Statistics on poetic anthologies from the beginning of the century are pointed out to measure the exclusion of women, besides the use of the theoretical aspects of gender studies and feminist criticism to analyze the poems in the methodology. In conclusion, the editorial task of nosostros, and this very text are acts to guarantee the memory of women Brazilian poets, to portray their work in progress, to affirm that they exist and can persist in the future. [ABSTRACT FROM AUTHOR]

Considering that form becomes a crucial issue for the modernity discourse, attached with notions of rhythm, community and criticism, this article seeks to analyze the dismantling tradition and historical revision project that the poet Edimilson de Almeida Pereira carries out to propose his conception of antiform. In dialogue with the Afro-diaspora heritage, among other modern and archaic poetic expressions, the poet's constant interruption verse ends up including in the discourse of the poetry crisis issues related to origin, survival and dissemination, in order to undo any permanent and positive reading of the notion of form. This article questions some theories of verse, such as those of Mallarmé, Giorgio Agamben and Marcos Siscar, in addition to the important contributions of Jacques Derrida to the problem of style and to the task of deconstruction, which are central to the approximation of a poetics notoriously inclined to learning how to disassemble, while also working for continuity, infinity and justice. [ABSTRACT FROM AUTHOR]

This article proposes a reflection on the idea of intervention present in the literary production of recent decades in Mexico. Whether in an evident way, through the graphic marks in the body of the poems, or through an elaboration that seeks to dilate conventional discourses, the intervention here has to do with the strategies created to intercede, through language, in the imaginary of the reader and, therefore, in his or her discourses. Thinking of them as producers of "poetics of intervention", the writings that we present here question the discourses of power, as well as the complex and different forms of authority. Resulting from diverse compositional processes, these writings make us reflect on the present time and the need for imagination for human survival. The dialogue with the mythical is one of the aspects of these processes, which is the subject of this first approach to the "poetics of intervention" in Mexico in the contemporary sphere. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Portugal is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, 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 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.)

In any literary style or period, there are always common factors and contexts between poets and writers that make up the color and public space of that period. One of these contexts are elements and themes that are used in poetic images; Elements such as nature, ordinary and peripheral elements, literary subtleties in image making, etc. are the themes that can lead us to obvious differences between the illustrations of each period in each period and can finally be a basis for evaluation. The artistic and imaginative values and features of each period become and lead us to the important point that the image is a representation of sensory effect in language. This sensory effect also includes: the poet's thoughts, feelings and sensory experiences. The importance of illustration and illustration is such that, in the opinion of many, any change in the illustration of the world also leads to a change in the mechanism of the world. What constitutes the basis of the present research is the study and study of the illustration processes of old and new Persian poetry in two ways, method and subject of the image. The results of the present study show that although the overall image structure of Persian poetry from ancient times to modern times has been based on one principle, but the subject of these images is different in two periods so that the image in ancient poetry is based on "nature and imagination". While the basis of the image in contemporary poetry is "man and society". [ABSTRACT FROM AUTHOR]

The Anthropocene delimits a stratigraphic interval of time in which humanity has become an agent capable of radically modifying the face of the Earth. This new geological time has originated a transversal investigative response that triggers an increasing presence of ecological-like literature in Spain. The winner poet of the XXXVII Juan Gil-Albert Poetry contest, Nieves Chillón, offers us in her most recent poetry book, Arborescente, a sample of this ecological awareness and concern, as well as many of the fatal and observable traces of the Anthropocene in our current reality. This uncertainty and sense of planetary transience generate a meaningful conversation between the biological and the history that takes place in a natural and inhospitable habitat that perfectly describes the cycle of a life that is affected and degraded by human actions. This is why this poetry collection is analysed under an ecocritical perspective that makes us define our nowadays Planet with words such as poverty, inequality, pollution, overproduction of waste and plastics, acidification of seas and oceans and Child Soldiers. Moreover, it permits us to observe how the Anthropocene is rooted in the poetry of our days, giving rise to a profound dialogue and deep criticism of our current situation. [ABSTRACT FROM AUTHOR]

This paper aims to discuss, under the perspective of literary criticism, the practice of reading poetry today. The perspective proposed in our discussion focuses on the analysis of poetry reading and its critical and analytical approach at the Brazilian university. To this end, we draw a methodological path that comprises the following steps: 1) the impasses faced by university literary critics, with special attention to poetry; 2) some of the most recent hypotheses with regard to poetry criticism; 3) the criticism of poetry as a situated practice. In this last point, our emphasis is on the poetic production of the so-called peripheral literature made by women from which we defend the hypothesis that reading poetry today demands the insertion of the critic in the social and cultural context of the poets, which demands an expansion of theoretical repertoire to apprehend issues that intersect the aesthetic, the political and the ethical. [ABSTRACT FROM AUTHOR]

When Silviano Santiago published his essay on Latin American discourse in the 1970s, the theoretical and political conjuncture was characterised by a critique of structuralism and the formation of a historical block that, in the following decade, would participate in the Brazilian constituent process: the start of a cycle. This article aims to rethink this discursivity taking into account that the context in 2020 is bringing back some of these old debates about geoeconomics dependencies. Along with the recent archives of the Casa de Rui Barbosa and some poems by Marília Garcia, Ana Estaregui and Priscilla Menezes, I seek to investigate a relation between the ways of reading archive and land, or between pedagogies and extractive practices. Following on from Silviano Santiago's debates, read with Josefina Ludmer, we may position the emergence of an expanded concept of extraction that allows us to think about some variations in Latin American discourse. [ABSTRACT FROM AUTHOR]

The phenomena of creation and destruction of the land are part of the complex Guarani cosmology, as recorded in As lendas da criação e destruição do mundo como fundamentos da religião dos Apapocúva-Guarani by the ethnologist Curt Nimuendaju. This cataclysmic view of the world led them to believe that the Earth we know today could once again be destroyed. Instead, there would be the Yvy marã'ey, an indestructible land whose location is unknown, which in part could explain the migratory behaviour of the Guarani. The term Yvy marã'ey, translated as "Land without evil", seems to point to a utopian and messianic character, a theme that will be taken up by several contemporary poets, such as Sophia de Mello Breyner, Josely Vianna Baptista, and Waldo Motta. This article aims to discuss to what extent these poets also elaborate a critique of the present by staging a dialogue with indigenous cultures. [ABSTRACT FROM AUTHOR]

Copyright of Íkala: Revista de Lenguaje y Cultura is the property of Universidad de Antioquia 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 Abriu, Estudos de Textualidade do Brasil, Galicia e Portugal is the property of Abriu, Estudos de Textualidade do Brasil, Galicia e Portugal 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 essay is intended to present a full background and the highlights concepts of the Queer Theory. In order to perform a critical reading of the poetry book: Nada de incrustaciones [None of scale], written by Daniel Wance a young poet, born in Michoacan, Mexico. This work pretends to exemplify the influences of the "Queer" Postulates into Mexican poetry, such as social identity constructions as opposed to essentialist hegemonic discourse. Furthermore, this is an approach to the relevance of the relocation of the Queer Theory into Hispanic literature. [ABSTRACT FROM AUTHOR]

Based on a theoretical discussion about quotation, citational poetry, non-creative writing, and other concepts related to the appropriation of text in contemporary poetry, this note intends to analyze some types of quotation in the poem "Blind Light" by Marília Garcia. [ABSTRACT FROM AUTHOR]

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.)

The aim of this paper is to analyse the new perspectives on the locus amoenus put forward by contemporary women poets in Ireland, in particular those by the female authors included in the anthology Our Shared Japan, edited by Irene De Angelis and Joseph Woods (2007). This paper argues that these writers provide alternatives to traditional pastoralism that trigger new reflections on women’s identities and subjectivities. As Donna L. Potts asserts, some constitutive aspects of the pastoral tradition are “the relationship between nature and human nature, and between the present and the mythicised past, the motif of transformation, etc.” (9). These aspects will be scrutinised in the context of travel to the new, exotic space of Japan. The alterity that the poetic voices meet with in their travel provides them with new perceptions of themselves and their affective life in relation to the environment. This renegotiation of identity is mostly made through the body, which becomes a tool for knowledge and communication. The heterotopia (Foucault) of the trip, therefore, provides the perfect space for the poetic subjects to interact, change and reflect about their identity, their sense of belonging or alienation and the impact of travel on their emotional life. [ABSTRACT FROM AUTHOR]

This article reviews a series of specific theoretical contributions related to poetry, fiction and fantastic perception in order to establish two particular theoretical propositions: to affirm a relationship between contemporary poetry and fiction, and to account for a particular link between poetic expression and the discourse of the fantastic. As an example, both contributions are made explicit considering an initial approach to the work of the Chilean poet Diego Maquieira. [ABSTRACT FROM AUTHOR]

Copyright of Prosemas. Revista de Estudios Poéticos is the property of Universidad de Oviedo, 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 Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, 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.)

The purpose of this article is to make explicit the keys of the prose texts of Ricardo Molina in Cántico. Current research about the poets in «Cántico» require setting limits to discover the origins of a possible group poetics and to define their impact in the 20th century up until today. Intimacy, aestheticism and the desire for perfection are key in the poetics that Molina reveals through the short essays from «Uriel», and they highlight the influences and references of the «Cántico» poets, shedding light on possible connection between his poetry and Luis de Góngora. [ABSTRACT FROM AUTHOR]