A sua pesquisa

Reconheço na literatura e nos estudos literários um lugar central na História e na evolução do ser humano e da sociedade, e este livro, dividido em duas secções (Poesia e Ficção), é o reflexo disso mesmo; reflexo, também, de obras teóricas que, independentemente dos seus princípios de base (mais biografistas, psicologistas ou socioculturais, mais formalistas e estruturalistas, mais de estilística e retórica, etc., ou mais de síntese entre as várias orientações), têm sido decisivas para a constituição da crítica literária moderna e do seu propósito de determinação, na medida do possível, dos sentidos e valores de um texto literário ou de um sistema de obras literárias.

Artes poéticas mexicana (de los Contemporáneos a la actualidad) nace de la necesidad de abordar un aspecto esencia a la hora de acercarnos a la poesía, el estudio, el análisis detallado de aquellos poemas en los que los escritores, en este caso mexcianos, intentan dilucidar y en ocasiones exponer su postura ante el hecho poeético, y ello desde una perspectiva que sin duda es fruto de toda una tradición pero a la que se acude para registrar una visión candente de la poesía. Este volumen parte de un estudio general, panorámico, en el que se analizan las diferentes propuestas metapoéticas desde los Contemporáneos hasta las últimas tendencias. A esta primera aportación le siguen estudios específicos de las artes poéticas de algunos poetas (Xavier Villaurrutia, Jorge Cuesta, Gilberto Owen, Octavio Paz, Efraín Huerta, Rosario Castellanos, Jaime Sabines, Gabriel Zaid, José Emilio Pacheco, Hormero Aridjis, Francisco Hernández, Alberto Blanco, Vicente Quirarte, Julián Herbert; y una reflexión sobre poesía mexicana reciente a partir del estudio de los metapoemas de algunas poetas), muestra de la buena salud de la que las artes poéticas siguen gozando en México. El lector podrá comprobar en estas páginas cómo con el paso de los años la concepción de lo poético ha ido variando y aportando nuevas formas de entender aquello que podríamos denominar la esencia de la poesía desde la misma poesía.

Poetry began as a spoken art and remains one to this day, but readers tend to view the poem on the page as an impenetrable artifact. This book examines the performance of poetry to show how far beyond the page it can travel. Exploring a range of performances from early twentieth-century recitations to twenty-first-century film, CDs, and Internet renditions, Beyond the Page offers analytic tools to chart poetry beyond printed texts.Jill S. Kuhnheim, looking at poetry and performance in Spanish America over time, has organized the book to begin with the early twentieth century and arrive at the present day. She includes noteworthy poets and artists such as José Martí, Luis Palés Matos, Eusebia Cosme, Nicomedes Santa Cruz, Pablo Neruda, César Vallejo, and Nicolás Guillén, as well as very recent artists whose performance work is not as well known. Offering fresh historical material and analysis, the author illuminates the relationship between popular and elite cultural activity in Spanish America and reshapes our awareness of the cultural work poetry has done in the past and may do in the future, particularly given the wide array of technological possibilities. The author takes a broad view of American cultural production and creates a dialogue with events and criticism from the United States as well as from Spanish American traditions.Oral and written elements in poetry are complementary, says Kuhnheim, not in opposition, and they may reach different audiences. As poetry enjoys a revival with modern media, performance is part of the new platform it spans, widening the kind of audience and expanding potential meanings. Beyond the Page will appeal to readers with an interest in poetry and performance, and in how poetry circulates beyond the page. With an international perspective and dynamic synthesis, the book offers an innovative methodology and theoretical model for humanists beyond the immediate field, reaching out to readers interested in the intersection between poetry and identity or the juncture of popular-elite and oral-written cultures.

1. Exploring the sights and sounds of experimental poetry. 2. Heard words: the resonance of the sound on the page. 3. Latin American origins of poetic performativity. 4. From the past into the future 5. The performativity of word, space, form. 6. Poetic performativity. Between art and poetry. 7. Futuristic innovations of past formulations.

Prólogo Capítulo I: Testimoniar en oxímoron (El caso César Vallejo) Capítulo II: Testimoniar sin lengua (El caso Alejandra Pizarnik) Capítulo III: Testimoniar sin metáfora (Los casos Washington Cucurto, Martín Gambarotta, Roberta Iannamico). *** Testimoniar en oxímoron, testimoniar sin lengua, testimoniar sin metáfora. Con estas tres fórmulas, Tamara Kamenszain bordea lo dicho por la poesía en los casos César Vallejo, Alejandra Pizarnik, Washington Cucurto, Martín Gambarotta y Roberta Iannamico. El testimonio no es prueba de la realidad sino en todo caso una muestra de vida. La poesía como testimonio mantiene viva la posibilidad de decir. Poniendo los saberes en falta, la poesía dice, da cuenta de la realidad, pero sin que esto signifique apelar a los realismos. En la imposibilidad indecible de todo testimonio, allí la poesía encuentra su boca. En este marco, los ensayos de Kamenszain registran una nueva lectura, tejen otros textos: el Vallejo de España, aparta de mí este cáliz pone en fecha los hechos, recibe en el propio aliento la boca del otro, mata la muerte. Y así como Vallejo deja entrar lo que de vida hay en la muerte, Pizarnik tramita lo que de muerte hay en la vida, en el punto de cese de la lengua que habla en sus últimos libros. Intentando despegar la escritura poética de su herramienta retórica por excelencia, la metáfora, los nuevos poetas buscan pinchar el efecto de show de la realidad. El realismo atolondrado en Cucurto, la búsqueda de lo real en Gambarotta, y el uso en Iannamico son modos de poner al poema en circulación, justo antes de que la ‘literatura’ se extinga. Precisa, lúcida y emotiva, la mirada de Kamenszain renueva las lecturas de dos grandes poetas de la poesía latinoamericana y descubre modos posibles de leer a las nuevas generaciones de la poesía argentina.

Close Listening: Poetry and the Performed Word brings together seventeen essays, written especially for this volume, on poetry readings, the sound of poetry, and the visual performance of poetry. While the performance of poetry is as old as poetry itself, critical attention to modern and contemporary poetru performance has been negligible, despite the crucial importance of performance to the practice of the poetry of this century. This collection opens many new avenues for the critical discussion of the sound and performance of poetry. Paying special attention to innovative work. More important, the essays collected here offer original and wide –ranging elucidatiions of how twentieth-century poetry has been practiced as a performance art. Introduction. Charles Berstein I.-Sound´s Measures 1. Letter on Sound. Susan Stewart. 2. The Aural Ellipsis and the Nature of Listening in Contemporary Poetry. Nick Piombino. 3. Praxis: A Political Economy of Noise and Information. Bruce Andrews. 4. After Free Verse: The New Nonlinear Poetries. Marjorie Perloff. 5. Ether Either. Susan Howe. II. Performing Words 6. Visual Performance of the Poetic Text, Johana Drucker. 7. Voice in Extremis. Steve McCaffery. 8. Toward a Poetics of Polyphony and Translatabilityl. Dennis Tedlock. 9. Speech Effects: The Talk as a Genre. Bob Perrelman. 10. Sound Reading. Peter Quartermain. III-Close Hearings/Historical Settings 11. Understanding the Sound of Not Understanding. Jed Rasula 12. The Contemporary Poetry Reading. Peter Middelton 13. Neon Griot: The Functional Role of Poetry Readings in the Black Arts Movement. 14. Was That “Different”, “Dissident” or “Dissonant”? Poetry (n) the Public Spear: Slams, Open Readings, and Dissident Traditions.Maria Damon. 15. Local Vocals: Hawaii´s Pidgin Literature, Performance and Postcoloniality. Susan M. Schltz Afterword: VWho Speaks: Ventriloquism and the Self in the Poetry Reading. Ron Silliman Audio Resources Bibliography

The "public sphere" is widely debated in contemporary literary and cultural studies circles in the United States. The topic's significance underscores the pressing problem of the location of these contemporary debates: Is the "public sphere" a single authoritative and universal space in which the various positions in these debates compete for recognition, or does it consist of multiple local spaces spread over diverse collectivities? The term "public" has emerged with new urgency in different disciplines and contexts history, cinema and television studies, art criticism, feminist, gay and lesbian, postcolonial, and subaltern perspectives, and is proliferating in titles of books, articles, and college courses. "Public Sphere and Experience" opens the discussion of the material conditions of experience into an arena that had previously figured only as an abstract term: the media of mass and consumer culture, in particular the so-called new media.

El siglo XX se terminó –y el XXI empezó o, todavía, espera– con una crise de vers no menor de la que Mallarmé diagnosticó –y contribuyó a precipitar– a finales del XIX. El signo de la crisis, sin embargo, es distinto: con el simbolismo se trataba de una tensión no resuelta entre los instrumentos tradicionales de la poesía y la búsqueda de algo nuevo, de recomienzo. El mundo cambiaba visiblemente y a poesía buscaba su lugar en una situación demasiado volátil para su necesidad de pisar suelo firme. En esa zona de transición se carga el resorte que va a impulsar las primeras vanguardias. La crisis de hoy es menos un desconcierto que un compás de espero.