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