A sua pesquisa

El ensayo parte del análisis de la novela “Leviatán” de Paul Auster para reconstruir un contrapunto entre dos formas de concebir una práctica literaria crítica, políticamente comprometida, ligada a diferentes presupuestos acerca del autor, el lenguaje y el lector. A partir del análisis de esas concepciones, se formulan algunos interrogantes que permiten elucidar críticamente las implicaciones de cada posición.

En las páginas que siguen examinaré algunas consecuencias de la inestabilidad funcional del sujeto poético en la poesía actual, entendido este como algo más que una manifestación morfológica o un distribuidor deíctico que operan en el poema para sustentar una determinada cohesión enuncia¬tiva y discursiva. Esos dos parámetros, en concordancia con lo resuelto previamente por la narratología respecto a la figura del narrador en el relato, resultaron largamente privilegiados por las aproximaciones formal-estructuralista y semiótico-sintáctica al texto poético. Lo fueron, es cierto, en un segmento histórico en el que el propio concepto de poema solía ser más restringido en términos formales, elocutivos y culturales que el hoy comúnmente manejado, quizás por ins¬cribirse aquella coyuntura en lo que Jacques Rancière (2005) ha llamado régimen representativo del arte y de la literatura. En él, por cierto, la postulación desde la propia obra de un sentido de comunidad ética se impone a cualquier movimien¬to emancipatorio, algo esto último que para Rancière es más propio de un segundo régimen de identificación actuante en el terreno artístico, el estético. En correspondencia, el público, la audiencia, quienes leen en aquel primer régimen, se recono¬cerían como espectadores antes que como actores en el espacio material y simbólico por ellos ocupado. Justo por esto nos interesará igualmente la proyección que lo anterior introduce en los planos de la intersubjetividad y de lo público. Si bien, para creer que tal proyección resulte en algún sentido efectiva, o por lo menos real, en cualquiera de los dos regímenes de identificación indicados, no es exigible ya la convicción de que la poesía sea un arma cargada de futuro al modo –referencial, temático, retórico, performativo…– en el que determinados programas literarios e ideológicos próximos al socialrealismo comprendieron el lugar político del poema y en general del arte a lo largo de una buena parte del siglo XX.

Este volumen nace con el propósito de producir conocimiento crítico sobre las prácticas poéticas en el espacio público, sus funciones y su eficacia dentro de éste. A la inestabilidad funcional de la poesía y lo lírico en la actualidad se une la noción de espacio público, entendida tanto desde su vertiente conceptual, filosófica y social, como desde su vertiente material, física, ligada a la (re)presentación escénica. Espacios, sujetos e instituciones se redefinen de la mano de esta combinación. Así, la inclusión de la espacialidad en una teoría poética actualizada, la constitución de nuevos sujetos y subjetividades y la identificación de públicos y prácticas en torno a los conceptos de performatividad e intervención constituyen los vectores fundamentales de este libro. Sin acotación de ningún tipo en términos lingüísticos, nacionales o interartísticos, los trabajos aquí recogidos se reparten entre lo teórico-crítico y metodológico, los estudios de caso y las reflexiones en primera persona, teniendo como objetivo último la valoración de la incidencia de la poesía en el espacio público y sus efectos socio-políticos.

After centuries of symbolic and political oppression, Galicia has been recognized by the Spanish constitution as a historic nationality. However, despite a certain degree of political autonomy, Galician identity is threatened by increasing homogenization in the economic, social, cultural and linguistic fields. In the early 1990s the aesthetic movement Bravú constructed an aesthetic community, sustained by an ideological project, and with the aim to, on the one hand, prevent Galician culture from becoming folklore stuck in a time warp and, on the other hand, to validate Galician identity. The Bravú artists refused the historically inherited outsider position and contributed to a reinvention of Galician identity and of a political ideal within a cosmopolitan, internationalist framework and by reversing social stigmas through their works and performances.

Centred around Antonio Gramsci's concept of hegemony, this paper employs a critical globalisation theory framework to argue that the 1990s notion of ‘changing the world from below', understood as resistance to capitalist globalisation through a ‘transnational civil society', requires re-theorisation in the light of the contemporary developments in Our America. I make a methodological case for a neo-Gramscian approach to argue that ‘counter-hegemony', together with an adequate theorisation of the state and power, should be the preferred concept over the inherently apolitical and under-theorised ‘alter-globalisation'. Whilst the alter-globalisation movement's ideational and normative challenges to hegemony (captured in ex-British prime minister Thatcher's There-Is-No-Alternative-Doctrine, TINA) are undisputed, the transformation of the global geographies of power through local actors alone has remained illusory. Rather, the experience of the Bolivarian Alliance for the Peoples of Our America - Peoples' Trade Agreement (ALBA-PTA) strongly suggests that counter-hegemonic globalisation theory will have to consider the roles of both the ‘state-in-revolution' and the ‘transnational organised society'. This will be shown through the analysis and theorisation of the ALBA-PTA as a multi dimensional inter and transnational counter-hegemonic regionalisation and globalisation project that operates across a range of sectors and scales.

The concept of ‘resistance' has turned into a critical tool in different areas of political, philosophical and sociological thought. At the same time, the notion seems to be as productive as it is diffuse. ‘Resistance' is used in very specific contexts in scientific or technical disciplines, and with extreme flexibility in social and cultural studies. In the latter two areas, the concept is often used without prior reflection on its characteristics and limitations. In What is Philosophy?, Deleuze provides a possible framework for conceiving cultural and political practices of resistance as positions of force, when he defines contraction as ‘a contemplation that preserves the preceding in the following'. The purpose of this article is to understand political ecologism in its activist and poetical dimensions, in light of a Deleuzian interpretation of resistance.

Professionalization and political engagement are usually placed as incompatible in the case of journalism and the mainstream press, resulting in an identification of cultural resistance exclusively with alternative/amateur vehicles. I will use the concept of journalistic field as introduced by Pierre Bourdieu to review these assumptions and discuss a form of political resistance that acts in one's own area of knowledge, is not overtly political and whose effects are not immediately accountable for. Drawing examples from my research on two literary newspapers published in the 1950s in Brazil and Uruguay, this paper will focus on the implications of didacticism for literary criticism as a genre of newswriting. The analysis of these newspapers will lead to a reflection on two main issues: a) the conflict between the professionalization and democratization of literature; and b) the definition of resistance as necessarily an action that is against something. The article will reconsider education in journalism as a form of resistance, taking into account its risks of becoming political indoctrination and commercial manipulation, but emphasizing its potential as a way of expanding access to literature.

This article offers a pragmatic and relational analysis of the controversial heuristic of cultural resistance and presents some of the problems that affect the production and distribution of the poetic discourses of resistance and emancipation. To that end, it focuses on the incorporation of the historicity and the historic contingency of conflict as key elements of the subjectification constituted by the poem of resistance as “poem for the political”. It also explores the applicability of certain notions common to the contemporary critical tradition, as developed by scholars such as Badiou, Mouffe, Rancière, Bal and Žižek.

The poetic space, as I see it, is a space of resistance. Resistance against the media which do not need poetry. Communication among poets is a go-between, a web of messages, performances and presentations, the circulation of books and digital materials. These activities are political, functioning as politics in the Greek sense: discussion in a public arena, exchanges of opinion and criticism, interventions, concerted decisions, group projects, a net of relationships around the production of texts, articulating versions and diversions of language. These activities and exchanges give the participants a sense of fulfillment. In this sense to pass is to think, to question a certain regime, to marvel that it is still there, to wonder what makes it possible, going into its enclaves, looking for traces of the movements which formed it and discovering in those stories apparently in ashes, how to think, how to live otherwise.

In this article, I analyze the notions of sequentiality and simultaneity in Ursula K. Le Guin's science fiction novel The Dispossessed: An Ambiguous Utopia (1974). I extrapolate this analysis to the contrasting epistemic sensibilities surrounding the concepts of ‘revolution' and ‘resistance' respectively. I am particularly concerned with the role these concepts play in contemporary academic production in the humanities. My aim is to understand the implications of the different conceptions of time and representation associated with each of those two concepts, and what their actual ideological operativity is in the context of the present status quo.

The following text provides a conceptual and theoretical introduction to a collection of essays written by members of the multidisciplinary network of scholars, artists and cultural producers named ‘Poetics of Resistance', which seeks to analyse and encourage discussion of the relationships between creativity, culture and political resistance, in the context of neoliberal globalization. The introduction also provides a critical glossary of a set of loosely interlinking keywords, following Raymond Williams, that mark points of encounter and departure between the approaches of the various authors (not to be confused with the list of keywords used to index each article). Rather than presenting a completed research project, this issue serves as a basis for continuing collaborative research and dialogue in the field, and invites readers to join in the ongoing debate. The contributors to this issue are Paulina Aroch Fugellie, Burghard Baltrusch, Arturo Casas, Marí­a do Cebreiro Rábade Villar, Roberto Echavarren, Marcos Giadas Conde, Cornelia Gräbner, Nathalia Jabur, Thomas Muhr and David Wood.

This essay is a brief study of translation as a practice of aesthetic resistance seen from a historical and philosophical perspective. Translation is perceived as the process of transition and negotiation within the ‘third space' between various different hybrid cultural contexts and their discursive constraints, and referred to as ‘paratranslation'. It summarises the first attempts to think of translation as an almost ‘holistic' paradigm and the aesthetics of intervention from Romantic philosophy onwards. It attempts to show how Walter Benjamin's master narrative, the utopia of ‘pure language', encourages continuous resistance to the totalitarianism of the idea of the ‘original', to aesthetics (within the sense of the perception of the real) and to dominant discourses. It subsequently defines the idea of ‘progress', which considers translation as aesthetic resistance, as a process of construction in constant deconstruction. It concludes by exemplifying the notion of translation as a paradigm of intervention in modernity with a brief analysis of the transcreation performed by Erin Mouré on Fernando Pessoa/Alberto Caeiro's poetic cycle, O Guardador de Rebanhos (The Keeper of Sheep).

This article contests the popular assumption that literature is ever less politically relevant. Quite the contrary is the case: literature and literary language becomes increasingly important for the alter-globalization movement and for the notion that ‘another world is possible.' The work of four authors - Manu Chao, Eduardo Galeano, Subcomandante Marcos, and José Saramago - are comparatively analysed in light of their contribution to an alternative globalism and to an alternative practice of politics. All four authors contribute from different perspectives to the literary articulation of a political project. Their work shares characteristics such as the permeability of genres, the emphasis on the poetical over the narrative, a meandering structure that expresses the search for and step-by-step construction of a cultural and political alternative, and an emphasis on translation and encounter as principles of interaction with difference.

This article analyses a range of discourses articulated around the figure of the film archive between the late nineteenth and the early twenty-first centuries, accounting for the various possibilities that they open up for considering audiovisual heritage as a potential space either for revolutionary change or for political or textual resistance. Focused mainly on archival discourses in Mexico, the article traces their interaction with both national-historical and anti-imperialist narratives, and the implications of digital and online culture for the encounter between the archiving of film and resistance. It accounts for the position of the archive in negotiations between state and private capital and spaces of artistic autonomy, and for the relationships between the archive, modernity, postmodernity and the notion of posterity.

Leggeremo ancora, forse leggeremo più di prima, allo stesso modo e diversamente, ma qualcosa cambierà nelle nostre abitudini, inequivocabilmente. La diffusione degli strumenti elettronici per la scrittura, la lettura e la comunicazione ha portato a una vera e propria "esplosione testuale": oggi viviamo letteralmente immersi nei testi, li scriviamo, li scambiamo, li stampiamo, li leggiamo su carta, su schermi piccoli e grandi. Ma non è una semplice questione di quantità. Il rapporto con il testo si è modificato profondamente con i supporti digitali. Si legge, si scrive, si pubblica in spazi, tempi e modi mai sperimentati prima. I testi ora si possono leggere ma anche ascoltare, guardare, toccare; si possono attraversare sfuggendo alla lettura lineare; si possono scrivere collettivamente in modo interattivo; si possono mescolare alla realtà in forme inedite di testualità aumentata. Questo libro offre un’illuminante esplorazione delle nuove forme di testualità, di scrittura, di lettura e di pubblicazione, collocando la riflessione in una prospettiva storica. Partendo dall’analisi della tradizione, l’autrice ci guida attraverso considerazioni e sviluppi tecnologici, intuizioni di geniali visionari e abitudini quotidiane, ripresa di forme comunicative e sperimentazioni di un futuro che possiamo solo intravedere. Il testo digitale 1 Presentazione 10 Introduzione 16 Capitolo 1 - Tutti i testi del mondo / 1.1 E-text 18 1.2 Testo/scrittura 22 1.3 Il testo da ascoltare 27 1.4 Un mondo da leggere 30 1.5 Il testo come intenzione comunicativa 34 1.6 Dialogare con il lettore 35 1.7 Il testo come oggetto 38 1.8 Il testo senza materia 40 Capitolo 2 - Il testo per pensare / 2.1 Scrittura e conoscenza 44 2.2 Appunti, commenti, note 46 2.3 Le mappe del testo 51 2.4 Scritture di servizio 54 2.5 Testi in gestazione 58 2.6 Le grammatiche invisibili 64 2.7 Opere aperte 68 Capitolo 3 - Leggere l'alfabeto / 3.1 Leggere libri 72 3.2 Breve storia del testo a stampa 78 3.3 Le parti del testo 83 3.4 Impaginato e pagine 86 3.5 Caratteri 90 3.6 Tra passato e presente 94 3.7 Caratteri liquidi e testi aumentati 97 Capitolo 4 - Testi da guardare / 4.1 Immersi nel testo 102 4.2 Libri illustrati e affini 107 4.3 Immagini da leggere 113 4.4 Leggere le immagini 117 4.5 Audio 122 4.6 Multimedia 128 4.7 Digital storytelling 132 4.8 Magic text 136 Capitolo 5 - Testi da esplorare / 5.1 Navigare tra le pagine 140 5.2 Scritture ipertestuali 143 5.3 La Rete, ipertesto per eccellenza 148 5.4 Alla ricerca di informazioni 152 5.5 Fidarsi di ció che si legge 156 5.6 Testi a scoperta 160 5.7 Il testo di studio 164 Capitolo 6 - Testi condivisi / 6.1 Leggere insieme 170 6.2 Scrivere insieme 173 6.3 Strumenti per la scrittura collaborativa 177 6.4 Esperienze di testi a piú mani 179 Capitolo 7 - I proprietari del testo / 7.1 Autori 184 7.2 Editori 191 7.3 Lettori 195 7.4 Collezionisti e biblioteche 199 Conclusioni - ebook: leggere senza pagine 204 Bibliografia 214 La relación con el texto se ha modificado profundamente desde que el mundo se ha vuelto digital: se lee, se escribe, nos vemos y escuchamos en espacios, tiempos y modos que nunca fueron experimentados hasta ahora. Hoy los textos pueden ser leídos, pero también escuchados. Podemos escribir colectivamente en modo interactivo y se pueden mezclar a la realidad en formas inéditas de textualidad aumentada.

Leggerezza, Rapidità, Esattezza, Visibilità, Molteplicità e Consistenza sono i sei valori - le sei qualità o specificità - al centro delle Lezioni americane, l'ultima opera, rimasta incompleta, di Italo Calvino. Letti con gli occhi di oggi, questi sei promemoria, o "proposte non solo letterarie", si scoprono appartenere a quella nuova sensibilità culturale e sociale emersa sul finire del XX secolo in concomitanza con una evoluzione del sistema dei media, accelerata dalla convergenza tra le tecnologie digitali e le reti di comunicazione. Attraverso una serie di suggestive corrispondenze, lo spirito delle sei Lezioni assume la forma di una inedita trama interpretativa, adatta a sondare le componenti sensibili dell'attuale universo dell'arte e dei media, e delineare luci e ombre dell'esperienza estetica nei fatti artistici e tecnologici del nostro tempo, schiuso sull'orizzonte postmoderno. Riportando il discorso estetico al suo etimo, all'insieme eterogeneo dei fatti materiali e culturali che incidono sulla sfera sensoriale e intellettiva, i nuovi media appaiono per ciò che sono: processi di mediazione col mondo, meccanismi di formazione e di estetizzazione dell'esperienza. L'ambito dell'estetica e quello dei media si ritrovano perciò ad agire all'interno di un progetto unitario, edificati l'uno sul risvolto dell'altro.