Resultados – POEPOLIT II

CASANELLA CUÉ, Liliana, 2002. Textos para bailar. ¿Una polémica actual? La Jiribilla [em linha]. 2002. no. 76. [Acesso em 16 março 2024]. Disponível em: https://web.archive.org/web/20070824091557/http://www.lajiribilla.cu:80/2002/n76_octubre/1793_76.html

El doble sentido y la picardía, la utilización de términos eminentemente populares son inherentes a esta música desde sus orígenes, aunque es indudable que existen diferentes formas de abordarlos. Entonces, hay que buscar el cambio en el necesario reflejo de nuevas realidades, de lo cual la música ―como hecho estético― no puede escapar.

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GONZÁLEZ FERNÁNDEZ, Helena, 2002. Encrucilladas identitarias: sobre xénero, nación e literatura. Anuario de estudos literarios galegos [em linha]. 2002. no. 2002, p. 241–250. [Acesso em 11 março 2024]. Disponível em: https://dialnet.unirioja.es/servlet/articulo?codigo=1393602

Conforme as teorías posmodernistas, a estructura social non xorde das experiencias das persoas senón dos discursos. Neste artigo imos abordar estes interrogantes: ¿Cómo se sitúan a si mesmos os discursos sobre o xénero e a nación, como posicións de resistencia, na complexa encrucillada das posicións do suxeito? ¿Cómo se plasma na literatura?

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MORRISSON, Mark, 2000. Performance Poetry and Counter-Public Spheres: Geoff Goodfellow and Working-Class Voices. Labour History [em linha]. 2000. no. 79, p. 71–91. [Acesso em 16 março 2024]. DOI 10.2307/27516730. Disponível em: https://www.jstor.org/stable/27516730

This article explores the role of poetry in working-class counter-public spheres by examining the work of South Australian working-class performance poet Geoff Goodfellow. Goodfellow's performances at venues like construction sites, maximum security prisons, and pubs create a public space for groups of people usually seen as excluded from literary culture and from the institutions of the dominant public sphere. Goodfellow's readings allow for communal self-reflection and deliberation on such subjects as domestic violence, labour issues, racial questions, and other topics significant to the changing nature of working-class life and identity, and they have had an impact upon corporate and governmental policy in areas like prison reform and labour disputes. His performances suggest the need for working-class studies not only to examine literature by working-class writers, but also to explore issues of reception and performance, and to ask how this literature functions in the social contexts of its production.

Ver em www.jstor.org

Close Listening: Poetry and the Performed Word, 1998. [em linha]. Oxford University Press. [Acesso em 8 março 2024]. ISBN 978-0-19-985526-1. Disponível em: https://academic.oup.com/book/11423

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

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CHOUCIÑO FERNÁNDEZ, Ana, 1997. Radicalizar e interrogar los límites: poeśia mexicana, 1970-1990. 1. ed. México, D.F: Universidad Nacional Autónoma de México, Coordinación de Humanidades. Biblioteca de letras. ISBN 978-968-36-6149-4.

GONZÁLEZ FERNÁNDEZ, Helena, 1997. Rompente, «poderosa pomada». Anuario de estudos literarios galegos [em linha]. 1997. no. 1997, p. 47–84. [Acesso em 16 março 2024]. Disponível em: https://dialnet.unirioja.es/servlet/articulo?codigo=1400077

En 1976 a poesía galega estaba a vivir un período de potentes cambios no que a renovación poética, ideolóxica e política camiñaban da man. A poesía estaba a decidir cál tiña que ser a súa relación coa realidade e cáles ían ser os camiños estéticos e formais a seguir, en pleno auxe da poesía epigonal socialrealista. Este mesmo ano xorde Rompente, o primeiro intento colectivo de renovar a poesía desde a convicción da vangarda permante. A súa proposta artellábase atendendo a catro principios elementais: comunicación, innovación, multidisciplinariedade e compromiso coa realidade. Fronte á poesía máis transcendente que logo ha callar nos anos oitenta, o grupo de Vigo aposta decididamente polo compromiso inmediato para servir como revulsivo na transformación da sociedade galega e por iso non lle ten medo ningún a transgredir calquera tipo de fronteira (formato, xénero, rexistro, temas, medio de expresión...). Neste artigo tentaremos explicar desde unha perspectiva historicista en qué consistiu Rompente.

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STOCKMAN, Katia, 1997. La poesía en la era de la difusión electrónica. Valencia: Episteme. Eutopías. ISBN 978-84-89447-81-3.

PERLONGHER, Nestor, 1992. Argentina’s secret poetry boom. Travesía. Journal of Latin American Cultural Studies [em linha]. 1 novembro 1992. vol. I, no. 2, p. 178–184. [Acesso em 4 março 2024]. DOI 10.1080/13569329209361793. Disponível em: https://www.tandfonline.com/doi/abs/10.1080/13569329209361793

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

Ver em www.tandfonline.com

CHAMBERLAIN, Daniel F, [sem data]. Radical Meeting Places, Poetry and the Public Domain. Liminalities: A Journal of Performance Studies. vol. 11, no. 13, p. 1–16.

The intertwining of poetry and space has been a subject of scholarly research and debate for many years, but its study has acquired new vigor with transformations in media and the advent of the Internet. Indeed, a shared concept of space cannot be taken for granted and its facets have been reconfigured to the degree that research initiatives, like that of the Contemporary Poetry in Public Space group1, have become important reference points regarding its nature for researchers exploring the topic. Bearing in mind that, through perception, space and time are bound together, this group’s recent discussion of poetry’s temporal roots in rhythm and corporal gesture (Chamberlain 45-58) necessarily calls for a corresponding reflection on poetry’s rootedness in space. It calls for a reflection understood in the etymological sense of running thoughts backward from the conceptual, through the perceptual, to approach the deep-rooted experience of poetic discourse, understood broadly as a celebration of language.

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DOBRY, Edgardo, [sem data]. Orfeo en el quiosco de diarios ensayos sobre poesía Edgardo Dobry [em linha]. Buenos Aires. [Acesso em 15 março 2024]. Disponível em: https://catalogo.rebiun.org/rebiun/record/Rebiun03474889

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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