A sua pesquisa

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.

In October 2007, over the course of a weekend, several hundred people descended on Coronel Pringles, a small town in the Argentine pampas. For two days they would participate, along with many of the town’s residents, in a series of workshops and performances held under the aegis of the Asociación Civil Estación Pringles, an organization founded in 2006 and headed by the poet Arturo Carrera. This inaugural event centered on the practice of declamation, one of the ‘viejas prácticas sociales y artı́sticas’ (‘timeworn social and artistic practices’) that Estación Pringles seeks to place into dialogue with the work of contemporary artists, writers and performers. In its founding statement, the project casts this dialogue in theatrical terms, calling itself ‘una plataforma o una escena donde prácticas estéticas dispersas en un espacio lateral puedan agregarse, articularse, hacerse visibles’ (‘a platform or scene where aesthetic practices, scattered throughout a lateral space, might come together, be articulated, become visible’). Indeed, an emphasis on theatricality would reappear in Carrera’s closing remarks to the 2007 gathering, in which he couches the practice of declamation in terms of a ‘teatrito,’ a ‘little theater’ (Estación Pringles).

Conversamos con Chus Pato sobre a temática á que refire a convocatoria deste presente nº de Derritaxes, “Filosofía e literatura”, e comezamos facendo referencia explícita precisamente ao texto da convocatoria, a modo de introdución da conversa.

Nos proponemos aquí reconstruir la travesía de la canción amorosa en Joan Manuel Serrat, uno de los íconos consagrados de la canción de autor española. El núcleo problemático de la intimidad intentará abordarse, en principio, en su desbrozamiento como construcción discursiva e histórica, en múltiples niveles. Una segunda cuestión, también expuesta brevemente, intentará trazar un panorama sobre las representaciones del amor en la canción de autor española surgida por los sesenta en su aparente ruptura con los modelos de la «canción folklórica» y otros géneros coetáneos. Finalmente, abordaremos las representaciones del amor trazadas por las canciones de Serrat, en sus diversos y encontrados acentos y matices. Desde la reescritura de la tópica amorosa enmarcada en una nueva «sentimentalidad» histórica, la ironía, la parodia y la reflexión crítica sobre las instituciones sancionadas por el sistema, Serrat dibuja un mapa en el que, a un tiempo, genera en sus receptores el doble efecto de extrañamiento y de reconocimiento, invitándolos a la sorpresa y a la complicidad.

Mucho se está hablando, desde hace algunos años, de la expansión u transformación del concepto de «literatura» y, en lo atinente a esta comunicación, de «poesía», a partir de desplazamientos habilitados por una serie de prácticas culturales diversificadas y, consecuentemente, por las teorizaciones y aproximaciones críticas concurrentes. Del binomio en paridad representado en la expresión «diálogos intermediales», que escenifica la sincronía de dos objetos en comunicación, intersección o, más apropiadamente, hibridación, llegamos a neologismos más rizomáticos como la ex poesía (Romano Sued) que hacen explotar los centros de una práctica y de una institución hacia sus bordes. «Excentricidad» y «experimentación» entonces, manifiestas en nuevas textualidades por fuera de toda consideración genérica considerada inactual, o incluyéndola pero explicitando claramente su territorialidad distintiva.

The different neighborhoods of a city present each a complex of negative and positive traits that both influence and become influenced by marginal cultural activity. Specifically, graffiti, urban writing and drawing or the activity in public places of graffiti writers, street artists or cultural activists, social and political, contribute to constructing and defining the public image of any city area, underscoring or changing the traditional representation of these social spaces. The author discusses two cases in Madrid at the turn of the 20th century: those of the neighborhoods of Vallecas and Malasaña.

Cardboard is hardly a material we associate with new media or digital technology in general. And yet in considering a series of recent editorial projects in several Latin American cities—editorial projects whose last name is always Cartonera and whose defining attribute is a trash aesthetic of hand-painted books made from recycled cardboard—it seems difficult to avoid confronting the present media ecology characterized by these technologies. These editorials produce, on some level, a kind of ‘‘new media,’’ although the mere novelty of their enterprise is only the most superficial of their affiliations with this concept. On the contrary, it seems clear to me that these projects also enact a form of production that should be interrogated within a discussion of the forms of sociality associated with new media and the politico-economic landscape they inhabit and condition.

PRESENTACION / 11 NOS ECHAMOS A LA CALLE / 15 La calle como espacio extraoficial de comunicación / 17 El derecho a la fachada, el deber a la ciudad / 21 Espacio urbano y graffiti / 33 QUE ES EL GRAFFITI? / 39 Hacia una definición / 41 El graffiti americano (¿o es europeo?) 47 QUE ES EL GRAFFITI MOVE? / 65 Ya llegan los bárbaros! / 67 Orígenes del Graffiti Move / 71 La participación de la mujer en la génesis del graffiti Su expansión por Europa / 89 Directrices del Graffiti Move / 95 Motivaciones básicas de los escritores de graffiti 105 Las contradjcciones del sistema / 117 Graffiti y contracultura / 119 GRAFFITI, ARTE, DELITO, JUEGO Y LOCURA / 125 La conciencia histórica y artística del Graffiti Move / 127 La identidad artística del escritor de graffiti / 135 La extravagancia artística y la subversión grafitera / 141 Graffiti y juego / 147 Neo barroquismo y graffiti / 153 Aerosol y ¡¡Madness!! / 157 EL ARTE DEL GRAFFITI / 163 Academicismo Graffiti Move / 165 Y el graffiti entró en los museos / 181 De la calle a la galería / 187 El Postgraffiti / 195 EPÍLOGO / 203 Luces y sombras / 205 BIBLIOGRAFIA E INDICE DE LAS ILUSTRACIONES / 209 *** Graphitfragen. Una mirada reflexiva sobre el Graffiti se concibe como una recopilación de textos realizados entre 1998 y 2005, que incluyen artículos, conferencias, ponencias o capítulos de mi tesis doctoral y que plantean de un modo abierto diferentes aspectos históricos, estéticos, artísticos, antropológicos, políticos, éticos, etc. concernientes al graffiti contemporáneo. Respecto a la publicación digital con el mismo título, realizada en 2001 por Minotauro Digital, se presenta como una revisión y ampliación de sus contenidos, continuando la pretensión que guiaba aquella experiencia de repasar, poner en orden, plantear y suscitar una serie de cuestiones que revolotean en torno a este fenómeno cultural y que, igualmente, tocan a todas aquellas manifestaciones culturales de nuestros días que se emparentan de una u otra forma con él.

O obxectivo deste traballo é vincular a representación de Santiago de Compostela cos procesos de construción da identidade galega contemporánea, privilexiando as diferentes figuracións da cidade no ámbito da poesía. Además de analizar o papel da cidade en distintos poemarios, antoloxías, libros coletivos e coleccións, o artigo detense nas implicacións socioliterarias d inclusións dos textos e fragmentos poéticos en soportes como a tarxeta postal, os catálogos ou as guías de viaxe. En suma, este percorrido pola historia da literatura galega da segunda metade do século XX á luz das figuracións urbanas pretende poñer de relevo a importancia de Santiago como escenario e motor de modelos identitarios diferenciais, cando no abertamente contrapostos.

En el presente trabajo nos proponemos revisar los trasiegos de la canción “de autor” a la luz de una de sus muchas relaciones con el campo literario: la musicalización de poetas consagrados. Esta operación de “traslado”, con el correr de las décadas, ha conformado un corpus dilatado en el tiempo y en el espacio, y registra, en términos teóricos, diversas travesías: de la letra a la voz (y al cuerpo), del libro al disco (y, consecuentemente, a los medios y al escenario), de la soledad de la lectura silenciosa a la recepción grupal, etc. Nuestro interés se centrará en el análisis de estas cuestiones generales y, asimismo, en el de dos ejemplos puntuales, Joan Manuel Serrat y Amancio Prada. En el cruce de imaginarios diversos y a menudo encontrados, estos autores nos ofrecen dos “figuras de artista” enlazadas, naturalmente, con las particulares operatorias de lectura –y puesta en letra– que realizan de una/s determinada/s tradición/es y modelos de la literatura española.