A sua pesquisa

Neste artigo, através de uma análise das formas e dos conteúdos de várias pelejas brasileiras, selecionadas de entre muitas centenas de folhetos de cordel, procuramos mostrar de que modo aí se apresentam e confrontam homens e mulheres; e procuramos, ainda, compreender o lugar deste género textual na (re)construção da sociedade brasileira (e não só).

The long and labyrinthine process that Latin America has undergone in its way towards democracy has been marked by the same confrontations and quarrels present throughout the Western intellectual history, which have sometimes been expressed as a fight between "ideas and emotions." In Latin America, this intellectual quarrel may be described in Julio Cortazar’s terms, as a struggle between "Baroque cronopios" versus "Gothic fames," or as a war between two cultures: "that of blood and that of ink," echoing the erosion of the great theories and traditional ideologies. Thus, in the wake of the political and cultural developments resulting from globalization, the Latin American democratic transitions, and the fall of the socialist bloc, we know that we are witnessing the end of an era, but we cannot yet define the new age. This article ponders, thus, what the revival of romantic views and emotions may mean at the beginning of the 21st century. Mexico, in particular, faces a major political and cultural challenge, resulting from the fact that the Mexican society is still immersed in the culture of the Revolution’s nationalism. The perennial struggle between ideas and emotions has become manifest again in the form of a dilemma between attaching to an identity in crisis and trying to reconstruct it, or rather looking ahead with the aim of creating a new democratic civic culture. [P1] Tras los desarrollos políticos y culturales derivados de la globalización, las transiciones democráticas en América Latina y la desaparición del bloque socialista, sabemos que estamos ante el fin de una época, pero aún no podemos definir los nuevos tiempos. A partir de ello, este artículo reflexiona sobre lo que puede significar el retorno de algunas visiones y emociones románticas a comienzos del siglo XXI. En particular, México tiene frente a sí un gran reto político y cultural, que parte del hecho de que su sociedad sigue inmersa en la cultura del nacionalismo revolucionario. Se presenta, así, como nueva expresión de esa perenne lucha entre ideas y emociones, la disyuntiva de dirigir los sentimientos a una identidad en crisis e intentar reconstruirla, o bien mirar hacia adelante para darle vida a una nueva cultura cívica democrática.

When discussing the paradox of displacing the street art aesthetic, i.e. commissioning street artists to create work for art galleries, museums, or public murals, one inevitably has to address issues of co-opting, appropriation, and the institutionalization of a movement that began as a countercultural form of expression. Two commissioned pieces by OSGEMEOS are used as a case study. This paper parses through the discourse surrounding their production and removal. The goal therein is to break down these narratives and gain insight into the mechanisms at work and the inherent contradictions in the process of institutionalizing street art.

The published works of Andi Nachon (Buenos Aires, 1970) comprise more than half a dozen single-authored collections of poetry, inclusion in several recent anthologies, and her own anthology of Argentine women poets. Her name appears in articles and works on recent poetry from Argentina, as in Diana Bellessi’s La pequeña voz del mundo. She also gives frequent readings on the Buenos Aires poetry circuit. Her work, though, lacks a sustained critical study. This is surprising. Nachon’s poetry occupies, in form and technique, a space between the dominant trends of 80s and 90s poetry – broadly speaking, the neobarroco and objectivismo – whilst her themes take in contemporary pop culture, political memory and resistance, and what might be termed the psychogeography of the city. Ambiguity – of subject or narrative position; of syntax; of geographical or physical position; and of gender – characterizes much of her work. For these and other reasons, a detailed reading of a selection of poems from throughout her career is somewhat overdue. This paper sets out to examine a number aspects of her poetry: the context from which her earliest work emerges; its development of novel forms of address, in relation to comparable near-contemporary poets; explorations of space, including a form of psychogeography, in both her early collections and her volume Taiga (2000); the subtle political engagements found in her poetry, including a later collection Plaza real (2004); before looking at her most recent poetry and its interaction with non-poetic forms. Questions of the lyric and what has been called by Baltrusch and Lourido (2012) and Casas (2012), amongst others, “non-lyric poetry”, are central to these analyses.

The article presents the celebrated peleja (verse exchange) between Inácio da Catingueira and Romano da Mãe d'Água in the Brazilian North-East. The polemic peleja de cordel (a kind of chapbook), which evokes a poetic contest that allegedly took place in 1874 or 1875 in Recife, is regarded as the first of a kind that forms one of the most important phases in Brazilian cordel literature. On the one side stands a slave poet and on the other a landowner; each aims to defend and to characterize the race and social class to which he belongs. The article aims to demonstrate the influence of scientific thinking in popular literature, particularly with regard to ethnic and cultural miscegenation.

Tomam-se como corpora três folhetos de literatura de cordel para discutir sobre os modos de construção do conceito de identidade política, sua relação com a memória social e discursiva, os discursos repetíveis, os deslizamentos e as subversões de sentido. A análise de discurso considera que a identidade é um movimento que se faz na história e que, por isso, dá-se entre unidade e dispersão: refere-se às posições do sujeito, as chamadas identidades de posicionamento, e às suas filiações aos interdiscursos. O suporte teórico respalda-se em autores, tais como Michel Pêcheux, Dominique Maingueneau, Roberto DaMatta, Karina Kuschnir e Max Weber, que contribuem com reflexões pertinentes sobre o conceito de identidade política. Abstract: Three papers of the cordel literature were taken as "corpora" in order to discuss about the ways of building the concept of political identity, its relation with the social and discursive memories, with the repeatable discourses, with the slides and with the subversions of the senses. The discourse analysis considers that the identity is a movement made in history and, therefore, between unity and dispersion: it refers to the positions of the subject, what is known as “identities of position”, and its filiations to the inter-discourses. The theoretical support is based on authors such as Dominique Maingueneau, Roberto DaMatta, Karina Kuschnir and Max Weber who also contribute with pertinent considerations about the concept of political identity.

La poesía experimental latinoamericana se posiciona frente a la tradición textual que priva a la palabra escrita de sus potencialidades escénicas, gráficas y rituales, y cuestiona los límites del lenguaje, al tiempo que exalta su libertad. La reflexión sobre la letra y la sonoridad de la poesía nos permite considerar a la escritura no como portadora de significados externos a ella, sino como un pensamiento que se despliega por la página y más allá. El aquí y ahora de la escritura se encuentra con el aquí y ahora de la escena, lo cual abre camino a una poesía performativa. Este ensayo reflexiona acerca de estas cuestiones a través del análisis de un caso particular: el trabajo poético y de arte-acción de Raúl Zurita, fundador del Colectivo Acciones de Arte (CADA), el cual tuvo gran impacto en las manifestaciones de arte político durante la dictadura militar de Augusto Pinochet, así como en la manera de concebir los límites entre la literatura y el arte del performance.

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.

Este trabajo se propone señalar las prácticas de poesía ligadas a la performance y la teatralidad en la región del Río de la Plata durante los procesos de finalización de la dictadura y comienzos de la democracia, hacia finales del siglo XX. Menciona brevemente una historia del género y los problemas metodológicos que presenta la investigación. Desarrolla, además, la emergencia de formas de la teatralidad en las producciones artísticas y políticas de comienzos de 1980 en Argentina, período marcado por la transición democrática, para ubicar en este marco la producción del poeta y dramaturgo Emeterio Cerro.

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.

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).

El objetivo de este trabajo es realizar un análisis comparativo de la semiosis del espacio urbano en cinco poemarios publicados recientemente en la ciudad de Buenos Aires: Aquel corazón descamisado (2002) de Luis Tedesco, El carrito de Eneas (2003) de Daniel Samoilovich, La rebelión del instante (2005) de Diana Bellessi, Solos y solas (2005) de Tamara Kamenszain y Poemas del sin trabajo (2007) de Eduardo Mileo. En todos ellos se textualizan voces, miradas e itinerarios que atraviesan la ciudad contemporánea, apelando a una gran diversidad de imágenes, tópicos y estrategias discursivas. La tríada conceptual crisis-deconstrucción-empatía permitirá leer en conjunto diferentes modalidades en que los textos poéticos traducen y reenvían a las complejidades del imaginario social.

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.

Al examinar hace ya algunos años la obra poética del boliviano Pedro Simoshe, por entonces cerrada con Bolero de Caballería (1985), creí escuchar en ella al menos dos voces: la de alguien covencido de que sus versos iban a correr de boca en boca, y de que la palabra “crea, canta y augura”, y después la de otro decepcionado con su oficio, que “fue ser nadie junto a las palabras”. No es difícil comprobar que con esa evolución ha tenido que ver el proceso de la poesía hispanoamericana de las últimas décadas.

La canción «de autor» española emergente en los '60 como modelo poético alternativo exhibe, en su misma factura, los estados de hibridación que atraviesan la mayor parte de los discursos culturales de la actualidad. Como gesto semiótico plural, se constituye en el cruce de tres sistemas: la literatura, el espectáculo y los medios de comunicación. En su naturaleza multifronte polemizan los paradigmas de oralidad yescritura, la premodernidad y la modernidad, las categorías de «culto», «popular», «masivo». Su relación con la literatura consagrada es, a un tiempo, de sumisión y de rechzo: se recuesta en ella en tanto modelo expresivo yrepertorio a musicalizar, pero se aparta de sus circuitos tradicionales para volverla sonido, cuerpo, texto que salta del cenáculo a la calle, de la letra a la voz, del libro al disco. En este sentido, la puesta en música de poesía en lengua española constituye uno de los aspectos más interesantes del género, aspecto que lleva nuestra reflexión hacia problemas teóricos específicos en tomo a la «traducción», en este caso, entre sistemas de modelización cultural diferentes.

(1992). Argentina's secret poetry boom. Travesia: Vol. 1, No. 2, pp. 178-184.

[P]: Se habla mucho en estos días del "testimonio". ¿Pero qué es, precisamente, un testimonio? ¿Una forma discursiva o varias? ¡Algo con un valor esencialmente "documental", extraliterario, o un nuevo género literario? Y si es de hecho un nuevo género literario, ¿en qué consiste su efectividad estética particular? ¿Cómo se distingue de formas como la autobiografía o la novela narrada en primera persona, como la picaresca? Pensando en estas preguntas, logro reunir de los materiales que tengo por casualidad en casa el siguiente corpus testimonial ad hoc (que refleja en parte mis intereses como profesor de literatura, en parte mi militancia en el movimiento de solidaridad con Centroamérica en mi ciudad).