A sua pesquisa

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.

En 1990, Llorenç Barber explicaba nun programa de televisión, Sitio Distinto, como todos os seres humanos levamos un campanario na nosa memoria. O conxunto de badaladas que se produce no noso sistema neuronal e social fai que a vida teña sentido, que teña musicalidade. Porén, o conxunto de badaladas poden derivar nun ruído que deriva en confusión. Isto mesmo é extensible na hora de realizar exercicios memorísticos. Ás veces é o ruído o que non nos permite chegar a un produto que non figura no canon ou tamén nos imposibilita a manexar coa maior autonomía conceptos, ideas ou textos dende os postulados que os orixinan. Isto último é o que pretendemos acometer neste artigo. Escollemos facer memoria dun pasado moi próximo, pero á vez moi afastado por descoñecemento. Para tal finalidade, focalizamos un produto pluridisciplinario: o programa Sitio Distinto, dirixido por Antón Reixa e emitido pola Televisión de Galicia (TVG) en 1990. Con el, contemplamos atinxir dous obxectivos. O primeiro é o de describir e dar a coñecer un produto cultural que define un habitus (Bourdieu, 1992) que se desenvolveu na praxe artística do campo entre a Transición política do franquismo á democracia e o seu asentamento nos anos oitenta.

Ao acentuar a visualidade e o visionarismo das imagens verbais, ou a sua tensão e rapidez, a poesia de tradição moderna apresenta-se muitas vezes como uma espécie de cinema, uma arte na qual o fluxo das imagens desempenha um papel determinante. «O cinema extrai da pintura a acção latente de deslocação, de percurso. Tome-se um poema: não há diferença», escreveu Herberto Helder. Como pensar esta similaridade, esta convergência? Em que consiste o cinematismo da poesia? Os autores estudados neste livro encaminham-nos para algumas respostas. […] Quando são tidos em conta os diálogos da poesia com o cinema, a presença temática do universo cinematográfico é normalmente destacada, pelo que ganham especial relevância os poemas dedicados a filmes, realizadores e actores, ou os poemas que funcionam por processos ecfrásticos e por transposição narrativa. […] Há um outro tipo de relação entre a poesia e o cinema que diz respeito às cumplicidades entre duas artes que partilham uma extensa e multímoda reflexão sobre os processos de fazer imagem. Herberto Helder, Carlos de Oliveira, Luiza Neto Jorge, Al Berto, Luís Miguel Nava, Fernando Guerreiro ou Manuel Gusmão desenvolvem formas de intermedialidade situáveis nesse plano, que este livro procura apreender.

Contemporary visual poetry remains as hybrid and experimental an artistic modality as it was in the 20th century, with a continued emphasis on mixing temporal and spatial elements in a dynamic verbal–sound–visual structure. These essential aspects and techniques, still at work today, which originated in simple pattern poems from earlier centuries, reached their peak of sophistication with the Concretists and Neoconcretists. Today, however, intermedia practices have a tendency to focus more on certain aspects of our technoculture that resonate with an ‘altered’ mode of perception, keen on exploring uncharted territories through the newest technologies and the speed of information. To illustrate this attraction to the functional use of technologies, I have selected two representative artists, Bartolome Ferrando and Eduardo Kac. Their radically different lines of work and artistic intentions reflect, nonetheless, a similar conception of poems as (bio)dynamic objects, existing as living art within a continuum of possibilities. Ferrando is more interested in exploring the possibilities of condensing movement in a 2-D or 3-D surface, whereas Kac wants his poetic performances to interfere with the essentials of life itself. These authors prioritize the importance of non-linear sequencing with the organization of multiple levels of information in micro-units of space-time in order to manipulate the standard experiences and expectations of readers.

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.

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.

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.

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).

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.