Conference: “ ‘Presentación en traje ritual’: A Typology of the Double-voiced Poetry in the Argentine Military Dictatorship (1976-1983).” (April, 2024) (original) (raw)
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Editors' Introduction (Special Issue Argentine Poetry Today: New Writing, New Readings)
This special edition brings together an international group of academics and writers to explore new tendencies and readings in Argentine poetry, including contributions by some of Argentina's foremost contemporary poets and interna tionally recognized experts in the field. The last ten or fifteen years have seen a surprising upsurge in poetic produc tion and publishing in Argentina, in spite – or at times because – of the economic and political crisis of the early 2000s. Young writers, independent publishers, and new forms of diffusion have all emerged. Critics have developed innovative approaches, rethinking both the poetic tradition of the last 60 years and the very latest poetry there. This makes Argentine poetry today a fascinating subject for literary and cultural analysis. The collection of essays and reflections builds on papers delivered during the Institute of Modern Languages Research/University of Oxford symposium hosted at Senate House, University of London, in June 2013. Contributions explore the roots of the latest Argentine poetry, its formal and thematic characteristics, and the continued relevance of poetry as a means of cultural criticism and resistance. In 1992, the poet and anthropologist Néstor Perlongher wrote about Argen 1 We are extremely grateful to a number of individuals and organizations for their help in organizing the symposium that gave rise to this special edition. Senate House, London, hosted the event with the support of the Institute of Modern Languages Research at the University of London. The University of Oxford provided funding to support the sympo sium, as did the Argentine Embassy in London. We are grateful to Professor Edwin Williamson, Ambassador Alicia Castro, and Silvina Murphy for their support. Dr Joanna Page and Dr Gwen MacKeith chaired panels, and Professor McGuirk and Luciana di Leone gave papers that are published elsewhere. The event included a screening of the photo graphic exhibition 'Fases' by Karin Idelson and Natalia Fortuny. Ruta40 Wines very gene rously provided refreshments for the evening reception and poetry reading.
Poetics of Enchantment: Language, Sacramentality, and Meaning in Twentieth-Century Argentine Poetry
2011
This dissertation explores the relationship between language, sacramentality, and enchantment in three twentieth-century Argentine poets: Francisco Luis Bernárdez (1900-1976), Jorge Luis Borges (1899-1986), and Alejandra Pizarnik (1936-1972). It seeks to ask and answer two fundamental questions. First, to what extent might it be possible to understand the conception of poetic language characteristic of modern poetry as an articulation, however muffled and secularized, of a sacramental apprehension of language and world? Second, how might such a conception be related to what Max Weber famously called “the disenchantment of the world”? The dissertation begins with a broad overview of the development of the concept of disenchant within Western culture and then proceeds to a reading of the three poets mentioned above. Special attention is given throughout both to historical and political context and to the specific ways in which Bernárdez, Borges, and Pizarnik understand and employ poet...
Abstract: Chilean poetry in the 1990s is characterised by the implicit or explicit criticism to the democratic transition that followed the end of the dictatorship (1973-1990). The poetry written in these times acknowledges that the return to democracy is anything but a façade and that the policies fostered by the dictatorship remain intact. In this context, women’s poetry is articulated from the residual space to which they are relegated through language, social and gendered conventions. It is from there that poets denounce the illusion and the simulacrum of the recovered democracy. For this purpose, there is a latent tone of disappointment in the shape of a lamentation as in the poetry of Escrito en Braille (1999) by Alejandra del Río, who criticises the role of the media, the importance of the market and the legacy of a culture rooted in a lack of referents. On the other hand, the use of gloss and the excess in a carnivalesque atmosphere in Uranio (1999) by Marina Arrate is contrasted with the construction of a phantom world, in a moment when the reality of the transition does not fullfl the expectations of those who opposed Pinochet. The purpose of this analysis is to provide evidence from both poems, in order to demonstrate that women’s poetic discourse takes the task to denounce and/or question the economic model imposed during the dictatorship, which is expressed in a poetry filled with disillusion. Resumen: La poesía chilena de los '90 se caracteriza por la crítica—explícita e implícita—a la transición democrática posterior a la dictadura (1973-1990). La poesía de esta época reconoce que el retorno a la democracia es solo aparente y que las políticas dictatoriales se mantienen intactas. En este marco, la poesía de mujeres se articula desde el espacio residual al que es relegada por el lenguaje y las convenciones sociales y genérico-sexuales. Desde allí, las poetas denuncian la ilusión y el simulacro de la democracia recobrada. Para ello, existe un tono de desilusión latente, expresado a través de una lamentación en la poesía de Escrito en Braille (1999) de Alejandra del Río, quien critica el rol de los medios, la importancia del mercado y el legado de una cultura entrañada en la falta de referentes. Por otra parte, el uso del brillo y el exceso en una atmósfera carnavalesca en el poemario Uranio (1999) de Marina Arrate, va en contrapunto a la construcción de un mundo fantasmal, cuando la realidad de la transición no cumple con las expectativas de quienes se opusieron a Pinochet. El propósito de este análisis es proveer evidencia contundente desde los poemas, a fin de demostrar que el discurso poético femenino se hace cargo de denunciar y/o contestar al modelo económico impuesto desde la dictadura, lo que deviene en una poesía cargada de desilusión. Palabras clave: poesía chilena, poesia femenina, Alejandra del Río, Marina Arrate.
Latin American Literary Review, 2022
Patricio Pron’s "El espíritu de mis padres sigue subiendo en la lluvia" is among the many twenty-first century Argentine novels that grapple with the historical events of the 1960s and 70s and their ongoing repercussions in the present. Based on the title of Pron’s work, one might assume that the text would be focused on the spirit of possibility that characterized his parents’ generation — the “spirit of hope for change” that John Beverley has identified as part of the cultural ethos of the armed struggle. However, Pron never provides a detailed account of his narrator’s parents’ activities as members of the Peronist organization Guardia de Hierro, nor does he offer a thorough depiction of the spirit of the era. This marked contradiction between what the title suggests the novel is about and what it actually addresses gestures to an alternate layer of meaning in the text, conveying the way in which the legacies of both the dictatorship and of neoliberal governance continue to overshadow memories and representations of the political movements that preceded the dictatorship and of the spirit of possibility that accompanied them. At the same time, the novel’s title and the passage from which it emerges also speak to a coexisting desire in twenty-first century Argentine literature to regain access to the spirit of possibility of the political movements of the 1960s and early 70s so as to use it for the country’s future.
Journal of Iberian and Latin American Studies, 2023
The subject of this study is Lira Popular in Chile, printed and distributed between 1866 and 1930. It was a publication halfway between literature and journalism, constituting a “differentiated and autonomous communicational practice” that can be considered a primary source through which to know the world visions and representations of the popular sectors in Chile at the turn of the century, beyond distinction worker – massive. The majority research in this area is one-dimensional studies conducted in response to questions the researchers themselves have prioritized. Instead, the question driving this study is: how to access the content of popular printed poetry in a way in which subjects, topics, and the inherent hierarchical relationships emerge from the very own sources? Through a content analysis, the main finding is an internal consistency on concerns and topics in the works of different poets, showing persons of popular origins acting and thinking politically, both within and outside the modern enlightenment, used as a guide to the concept of absent popular culture. The conclusions aim to the manner in which these findings can contribute to a theory popular culture and their subjects in the context of modern Latin America