Resumen A la hora de traducir poesía, la alternativa entre prosa y verso se ha planteado frecuentemente como paralela al más amplio dilema entre fidelidad y libertad de la traducción. Sin embargo, este paralelismo puede ser puesto en cuestión hasta el punto en que la estricta oposición teórica entre fidelidad y libertad resulta superada, como se muestra aquí por medio de un panorama comparativo de las prácticas traductoras seguidas por José Rafael Larrañaga, Joaquín Arcadio Pagaza y Rubén Bonifaz Nuño en sus respectivos traslados en verso de las tres obras mayores de Virgilio.

Abstract In translating poetry, the alternative between prose and verse has often been posed as parallel to the broader dilemma between faithfulness and liberty in translation. Yet this parallelism can be called into question to the point of overcoming the strict theoretical opposition between faithfulness and liberty, as it is shown here by way of a comparative overview of the translation practices employed by José Rafael Larrañaga, Joaquín Arcadio Pagaza and Rubén Bonifaz Nuño in their respective verse translations of the three major works of Virgil.

Resumen: el presente texto es una breve muestra de la obra poética Tenbilal antsetik / Mujeres olvidadas (2022), de Susi Bentzulul, publicada por el Fondo de Cultura Económica, en coedición con el Fondo Editorial Tierra Adentro. El libro se compone de tres apartados, escrito en tsotsil/ español, y emerge con una voz que remueve aquellas “bisagras” sostenidas por imaginarios construidos socialmente: el padre, el hermano, la familia.

Abstract: This document is a review of the book Tenbilal antsetik/ Mujeres olvidadas (2022), written by Susi Bentzulul, published by the Fondo de Cultura Económica, in co-edition with the Fondo Editorial Tierra Adentro. The book is compossed of tree sections, writted in tostsil/ Spanish, and emerges with a voice that removes the “hinges” held by socially constructed imaginaries: the father, the brother, the family.

RESUMEN En este trabajo se parte de una lectura interdisciplinar y crítica de los distintos actores y perspectivas que intervienen en la investigación baudelairiana, enfatizando la relación existente entre música y poesía. El conocimiento musical y la pasión por la música de Charles Baudelaire están presentes en su obra, en la que tanto citas directas como alusiones resultan esenciales para el develamiento y la comprensión de su yo poético. No obstante, es en el ámbito de la filosofía donde música y poesía van a encontrarse conciliándose, ya que ambas artes no solo se ven arrastradas naturalmente a la reflexión filosófica, sino que, al igual que la poesía genera "ideas", la música, por sí misma, compone "ideas-melodías".

ABSTRACT This paper is based on an interdisciplinary and critical reading of the different actors and perspectives involved in Baudelaire's research, emphasizing the relationship between music and poetry. Charles Baudelaire's musical knowledge and passion for music are present in his work, in which both direct quotations and allusions are essential for the unveiling and understanding of his poetic self. However, it is in the field of philosophy that music and poetry will find themselves reconciled, since both arts are not only naturally drawn to philosophical reflection, but just as poetry generates «ideas», music, by itself, composes «ideas-melodies».

Abstract: Although the work of Federico García Lorca has been widely studied, little has been said about the Poesía inédita de juventud. This article examines an important aspect of his early poetic production: the configuration of the forest in “La balada de Caperucita”. It hopes to show how this image is used to symbolize the young poet’s vision of human existence, one that is closely related to a particular interpretation of Christianity.

Resumen: Aunque la obra de Federico García Lorca ha sido muy estudiada, poco se ha dicho de la Poesía inédita de juventud. Por tal motivo, este texto examina un asunto relevante para la producción poética juvenil: la configuración del bosque en la “La balada de Caperucita”. Como veremos a lo largo del análisis, este espacio simbólico fue creado para ilustrar la visión de la existencia humana que el poeta manifiesta en sus primeros poemas y que está emparentada con una interpretación particular del cristianismo.

Abtsract: This article brings to light the only known copy of Bernardo de la Vega’s Ramillete de flores divinas. Published in Mexico City in 1605, and written by a man who was born in Spain but who settled in the New World, this collection of religious poems was up until now thought to be lost. An examination of this volume allows us to reassess significant issues with regards to the authorship of the work as well as of others attributed to Bernardo de la Vega (some of them printed in Spain, others in New Spain). At the same time we are also able to make an important contribution to current knowledge of the development of poetry in the capital city of New Spain in the early seventeenth century.

Resumen: El presente artículo da a conocer el único ejemplar del Ramillete de flores divinas de que se tenía noticia, y que hasta la fecha se consideraba perdido. Se trata de un libro de poemas religiosos publicado en la Ciudad de México en 1605 por Bernardo de la Vega, poeta nacido en España pero afincado en el Nuevo Mundo. El estudio del ejemplar permite esclarecer cuestiones importantes en cuanto a la autoría de esta obra y de otras atribuidas a Bernardo de la Vega (impresas en España y en Nueva España), además de suponer una aportación fundamental para el mejor conocimiento del desarrollo de la actividad poética en la capital novohispana a principios del siglo XVII.

Abstract: This article examines the importance of William Wordsworth’s The prelude for the composition of Octavio Paz’s Pasado en claro. It approaches the two autobiographical poems in relation to the linguistic theories of each author. In more concrete terms, it analyses the diverse effects, on the one hand, of the doctrine of association and synesthesia for Wordsworth’s poem and, on the other, of the influence of structuralism and its off-shoots on Paz’s poem. Constant reference to, and contrast with, William Wordsworth helps us to see Paz’s poetical autobiographies as a point of convergence and divergence between the individual and the political, the intimate and the historical.

Resumen: Este artículo examina la importancia de El preludio de William Wordsworth para la composición de Pasado en claro, de Octavio Paz. A partir de esta influencia, la investigación estudia ambos poemas autobiográficos en relación con las teorías lingüísticas de los autores. En concreto, se ponderan los diversos efectos que para la escritura autobiográfica tienen la doctrina de la asociación y de las correspondencias -en el caso de Wordsworth-, y el influjo del estructuralismo y sus derivas -en el caso de Paz. La constante referencia y contraste con William Wordsworth servirán para analizar la autobiografía poética de Paz como punto de encuentro y desencuentro entre lo individual y lo político, lo íntimo y lo histórico.

Met die lees van Antjie Krog se bundel Mede-wete (2014) asook resensie-artikels wat daaroor geskryf is, val dit die leser op dat Krog veral belangstelling toon in die werk van die Roemeens-gebore Duitse skrywer en vertaler Paul Celan (1920-1970), 'n Holocaust-oorlewende uit 'n Joodse familie. Celan se werk behels die gebruik van sekere tegnieke wat innoverende neologismes en morfologiese afwykinge insluit om woorde op te breek en iets "medemensliks" daaruit te kry en só deur verwringing 'n "nuwe taal" te skep. Krog maak kennis met dié tegnieke in 2008 tydens haar verblyf in Duitsland en maak dit haar eie nadat sy privaat onderrig oor die werk van Celan ontvang en van sy gedigte vertaal. Dié tegnieke beïndruk die leser van Mede-wete deur die wyse waarop Krog die taal en spesifiek woorde verander en nuut maak deur verskillende woordvormingsprosesse. Meer spesifiek is dit die wending weg van Standaardafrikaans wat Krog in die laaste afdeling, getiteld "vier pogings in linguistiese sinaps-opsporing", neem. In hierdie artikel word aandag gegee aan 'n morfologies-sistematiese analise van die laaste afdeling ('n korpus van 196 leksikale items) in Mede-wete. Aan die hand van die morfologiese ontledings en woordvormingsreëls van JGH Combrink (1990:53-58) word daar na die verskillende woordvormingsprosesse in Afrikaans gekyk. Die leksikale items word ook op 'n semantiese vlak in konteks met die bestaande temas in die res van die bundel geëvalueer.

In reading Antjie Krog's volume ofpoetry, Mede-wete (2014), as well as review articles written by Helize van Vuuren (2014), Marlies Taljard (2014), Louis Esterhuizen (2014), Jacomien van Niekerk (2014), Louise Viljoen (2014 and 2016), Andries Visagie (2015), Ihette Jacobs (2015) and Susan Smith (2016), it strikes the reader that Krog shows particular interest in the work of the Romanian-born German writer and translator Paul Celan (1920-1970). Paul Celan is a poet and Holocaust survivor from a Jewish family. Although he could speak several languages at a young age, he spoke and wrote German at his mother's insistence. Due to a dislike for this language (the language of his mother's killers) but also a love for it (in memory of his parents), he creates a "new language" (actually a distortion of this language) by using certain techniques to break up words and get something "humane" out of it. Krog became acquainted with these techniques during her stay in Germany in 2008 and made them her own after receiving private instruction about the work of Celan and translating some of his poems with Michael Fried (art historian and poet). According to Krog, these techniques include innovative neologisms and morphological deviations. These techniques impress the reader of Mede-wete, especially how Krog changes and revitalises words through word-formation processes. These word formation processes and techniques have also been used by other Afrikaans poets, as seen in the work ofinter alia Peter Blum ("Rooinekke op Hermanus" (Blum, 1955:9) and "Man wat mal word" (Brink, 2008:432); Breyten Breytenbach ("5", "oorlewingskuns", "Koong Byten 1" (Breytenbach, 2007: 47, 147, 152), "5.5.2", "9.1 Bedroomde woordetal dinkdinge en uithoud (Die soetpoesiegedig)" and "9.4 die nagselfie 1" (Breytenbach, 2019:94, 202, 205-206)); and Marlene van Niekerk ("Oggend van 'n waterfiskaal", "limerence 1" and "limerence 2" (Van Niekerk, 2013:9, 24, 25). Krog's latest collection of poems, plunder (pillage) (2022), also contains poems such as "dit kom nie meer op my af nie", "3. Aria vir die universum", and "6. Sanctus", in which neologistic word formation processes occur (Krog, 2022:11, 110, 113). Where Krog uses techniques that deviate morphologically from the usual forms, Van Niekerk, in her poetry collection Kaar (2013), uses different varieties of Afrikaans to distort the language. In an article in which Pieterse (2017:375) examines the variation and varieties of Van Niekerk's use of language in Kaar, he refers to Deleuze and Guattari's views about a dominant major language (which is spoken by the oppressor and also by an oppressed minority) and a minor language. The minor language arises when the major language is "deterritorialised" by grammatical errors and the change of accents, alienating the language while also "renewing" it. Stander (2012:30) also refers to a major and minor language in a study on Die sneeuslaper (2010) by Van Niekerk. Stander refers to Deleuze and Guattari's publication Kafka: Toward a Minor Literature (1975) and comments that a minor language uses the same consonants, vowels, and vocabulary as the major language, but uses it differently. Stander says this technique involves a "strategic letting go of the old". Van Niekerk uses different varieties of Afrikaans in Kaar (Pieterse, 2017:372), and Krog creates new words in Mede-wete or deforms and distorts existing words to deterritorialise Afrikaans as a dominant language. In her study of Van Niekerk's Die sneeuslaper, in which the author creates the same minor language as in Kaar, Stander (2012:112) concludes that the stuttering ("stottering") of Afrikaans may be the result of a language experiencing political pressure. By creating a new language, Van Niekerk prevents the language from stagnating and ensures that it lives on dynamically. Stander 's (2012:112) conclusion, namely the "stuttering of Afrikaans" as a result of political pressure, is similar to Krog's last four poems in Mede-wete in which she (Krog) experiences the result of political pressure on Afrikaans. Krog then creates new words to renew the language. In Krog's case, more specifically, it is the deviation from Standard Afrikaans that she uses in the last section, entitled "vier pogings in linguistiese sinaps-opsporing" ("four efforts in linguistic synapse tracing"). Until now, no research on this process has been undertaken. This article tries to describe and analyse a possible morphological systematics of the last section in Mede-wete based on the morphological analysis and word-formation rules of JGH Combrink (1990:53-58), which include REDUCTIONS (Acronyms, Clippings, Back-formations or Abbreviations), COMBINATION-FORMS (Derivations and Compounds) and other combination-forms such as Reduction derivations, Techno derivations as well as Fusions. A corpus of 196 lexical items, as a representative sample, is analysed from a morphological-systematical perspective. Furthermore, these lexical items are evaluated on a semantic level, together with existing themes in the rest of the volume, to determine whether specific processes led Krog to the formation of these neologisms, and to determine the extent to which she dealt with such processes creatively - themes such as the relationship between the self and the A/other (Taljard, 2014); man's relationship to the land in the South African political context (Van Vuuren, 2014); postcolonial differences between place and space (Taljard, 2014); violence and disorder in our land; the burden of collective guilt borne by white South Africans (Van Vuuren, 2014); the connection between land and identity (Jacobs, 2015); connections on a cosmic level (a quest for greater unity with nature and the universe) (Visagie, 2015), and, in an autobiographical manner, Krog's position in a larger picture within the South African setting with regard to kindness towards different cultures, and gender groups (Taljard, 2014).

Die mens was nog altyd 'n maker, 'n skepsel van poiëse. Maar in 'n tyd waar ekologiese verwoesting sommige skepties laat oor die verdienstelikheid van Homo Faber se vermoëns, ondersoek hierdie artikel die ontluikende moontlikheid van saamskepping of simpoiëse. Om die implikasies van die verskuiwing van poiëse na simpoiëse te verstaan, bied hierdie artikel 'n hermeneutiese poging om die wese en aard van die menslike maak-gebeurtenis (poiëse) onder woorde te bring, asook die tipe denke wat die kreatiewe proses op 'n besonder ontblotende manier laat ontvou. Die diepte van sterflike poiëse word benader deur die Duitse filosoof Martin Heidegger (1889-1976) te raadpleeg, en deur verskeie maak-narratiewe in Etienne van Heerden se roman Die swye van Mario Salviati (2000) te ondersoek. Die eerste afdeling skets 'n oorkoepelende interpretasie van Heidegger se verstaan van sterflike skepping en sy formulering van aanvangsdenke as alternatief vir die tekortkominge van voorstellingsdenke. Die vertakkings van poiëse word in die tweede afdeling verder verruim deur Van Heerden se roman te ontleed aan die hand van vier hermeneutiese sirkelvlugte. Daar word aangevoer dat die idee van saamskepping (simpoiëse) latent is in Heidegger se konsep van Gelassenheit en dat dit aannames rakende die eksklusiwiteit van menslike poiëse ondermyn. Die derde afdeling dien as slot en spekuleer kortliks oor die wyse waarop Heidegger se verstaan van poiëse, as manier om die skeppingsoomblik te benader, sterflikes gereedmaak vir simpoiëse.

People have always been makers, creatures of poiesis. However, in a time where many are growing sceptical about the desirability ofHomo Faber's gifts due to the ecological destruction they so often cause, this article investigates the emergent possibilities offered by co-creation or sympoiesis. In order to understand the implications of this shift from poiesis to sympoiesis, the article offers a hermeneutic attempt to come to grips with the essence and nature of the human making-event (poiesis), and the kind of thinking that lets this creative process unfold in a particularly revealing way. The article relies on the influential writings of the German philosopher Martin Heidegger (1889-1976) to plumb the depths of mortal making. For Heidegger, all making stands under the sway of the ancient Greek notion of poiesis. Despite sounding like the word used for poetry, poets merely practice one form of poiesis. This article attempts a more encompassing approach to mortal making by appreciating the ontological associations of poiesis as it relates to Heidegger's understanding of people as beings of care (Sorge). In order to elaborate on the richness and depth of mortal poiesis, and to show how a heroic understanding of poiesis may undermine the potential for sympoiesis, the article will study various making-narratives posited in the novel by Etienne van Heerden, The long silence of Mario Salviati, originally published as Die swye van Mario Salviati (2000). Drawing on the circular (hermeneutic) tendencies Heidegger identifies in mortal existence, and the role played by angels in the novel (and in the Duino Elegies of Rainer Maria Rilke), the article presents four spiralling flights dipping into aspects of poiesis as developed in Van Heerden's novel. The article is structured in three sections. The first section sketches an overarching interpretation ofHeidegger's understanding ofmortal poiesis and his formulation of inceptual thinking (das anfangliche Denken) as alternative for the shortcomings of representational thinking (das vorstellende Denken). In the second section, the Heideggerian interpretation of mortal making is elaborated by interpreting various making-events in Van Heerden's novel. It is shown that the characters in The long silence of Mario Salviati carry an unnecessarily heavy burden when they attempt creative endeavours, because they misunderstand (and are not able to endure) the silent openness imbuing mortal poiesis. In an attempt at challenging their understanding of making, it is argued that Heideggerian Gelassenheit implies an additional move from poiesis to sympoiesis (making-with). The third section serves as conclusion and speculates briefly on the implications of this sympoietic augmentation of poiesis. As such, the article considers the way poietic thinking and poiesis are interwoven in the moment of creation, augments this interpretation by studying several making-narratives in Van Heerden's novel, and uses the resulting understanding to reappraise the way people think about making in terms of sympoiesis. Consequently, the article can be seen as a retrospective reflection on human making amid the harbingers of sympoiesis. The article is both an attempt at making-sense (of poiesis) and making-ready (for sympoiesis). Ultimately, drawing on the latent implications of Heidegger's notion of Gelassenheit, it is proposed that people need to abdicate their claim of being the sole authors of poiesis. To shift from poiesis to sympoiesis is to acknowledge that making is an open yet entwined endeavour: iterative, contingent, impure, awaiting yet guilty, dense, ecstatic-leaping, and fundamentally, care-full. In the same way that Heidegger challenged Cartesian dualism by proposing that people are intimately entangled in the world, making is also shaped by entanglements steeped in mortal care. Sympoiesis, by granting creative agency to these entanglements, is even more open and entangled than poiesis. Therefore, it could be argued that sympoiesis is more in tune with the way people live as beings of care than poiesis, since it engages more kinds of mattering. The article concludes that sympoiesis is the more venturesome form of making that Being seems to be calling us towards.

RESUMEN El presente artículo analiza cómo el poemario Susy, secretos del corazón (1989) de la poeta, dramaturga y gestora cultural argentina Susana Villalba (Buenos Aires, 1956) establece un diálogo crítico con la historieta del mismo nombre, publicada en Latinoamérica en los años sesenta y setenta. El poemario dialoga, además, con otros referentes culturales, a partir de un proceso de enunciación que hace evidentes los constructos sociales que buscan definir y fijar la feminidad. La posición crítica del texto emerge al manifestar cómo está codificada la experiencia del amor romántico en las mujeres. A nivel discursivo, a partir del empleo de mecanismos textuales relacionados con el collage y el pastiche, se genera una voz poética abierta, móvil, múltiple, lúdica, que se despliega para develar el rol de lo social en la construcción de la subjetividad.

RESUMO O presente artigo analisa como a coletânea de poemas Susy, secretos del corazón (1989) da poetisa, dramaturga e gestora cultural argentina Susana Villalba (Buenos Aires, 1956) estabelece um diálogo crítico com a história em quadrinhos de mesmo nome, publicada na América Latina nos anos sessenta e setenta. A coletânea de poemas também dialoga com outras referências culturais, a partir de um processo de enunciação que evidencia as construções sociais que buscam definir e estabelecer a feminilidade. A posição crítica do texto emerge ao manifestar como é codificada a experiência do amor romântico nas mulheres. A nível discursivo, a partir do emprego de mecanismos textuais relacionados com à colagem e o pastiche, gera-se uma voz poética aberta, móvel, múltipla, lúdica, que se desdobra para revelar o papel do social na construção da subjetividade individual.

ABSTRACT This article analyzes how the poetry collection Susy, secretos del corazón (1989) by the Argentinian poet, playwright and cultural manager Susana Villalba (Buenos Aires, 1956) establishes a critical dialogue with the comic strip of the same name, published in the sixties and seventies in Latin America. The collection of poems also engages in dialogue with other cultural references through an enunciative process that reveals the social constructs aiming to define and establish femininity. The critical stance of the text becomes evident as it illuminates how the experience of romantic love in women is codified. At the discursive level, from the use of textual mechanisms related to collage and pastiche, an open, mobile, multiple, playful poetic voice is generated- it unfolds to reveal the role of social factors in the construction of subjectivity.

Resumen Este artículo se basa en el proyecto “Archivo de Revistas Culturales de Córdoba”, dedicado a la recuperación, consignación y estudio crítico de las revistas culturales independientes producidas en la provincia de Córdoba, Argentina, durante los siglos XX y XXI. Se trata de un eslabón más en las investigaciones sobre revistas argentinas que pretende ampliar el desarrollo archivístico y crítico, en este caso circunscripto al territorio provincial. En particular, aquí abordamos un fenómeno observado en la ciudad de Villa María entre 1980 y 1992, donde se editaron diez revistas culturales en una llamativa secuencia temporal, casi sin solaparse entre sí. Analizaremos las revistas Impulso, Huérfanos y Río de Pájaros, tomando un periodo tan importante para la historia política y cultural argentina como fue la transición democrática. Nuestras preguntas de investigación remiten a lo que el archivo es capaz de decir sobre la época: en primer término, cómo historizar desde el detalle los rasgos de producción estética, experimentación y debate (temas, escrituras, problemas reconocibles, vínculos autorales) que se desplegaron en las revistas con la intención de pensar el regreso de la democracia. En segundo lugar, qué interpretaciones surgen al pensar el corpus como un friso temporal, para analizar los rasgos de una lengua joven que comenzaba a hacerse visible a través de distintos géneros (narrativa, poesía, notas de opinión, historias gráficas, ilustraciones, cómics, producción crítica).

Abstract This article is based on the project "Archive of Cultural Magazines of Córdoba," dedicated to the recovery, archiving, and critical study of independent cultural magazines produced in the province of Córdoba, Argentina, during the 20th and 21st centuries. It is another link in the research field on Argentine magazines aimed at expanding archival and critical development, in this case focused on the provincial territory. Specifically, we address a phenomenon observed in the city of Villa María between 1980 and 1992, where ten cultural magazines were published with almost no overlap. We will analyze the magazines Impulso, Huérfanos, and Río de Pájaros, which have a journalistic profile, starting from a period as important for Argentine political and cultural history as the democratic transition. Our research questions refer to what the archive is capable of revealing about the era: firstly, how to historicize from the detail the characteristics of aesthetic production, experimentation, and debate (themes, writings, recognizable issues, authorial dialogs) that unfolded in the magazines with the intention of reflecting on the democratic transition. Secondly, what interpretations emerge when considering the corpus as a temporal frieze, to analyze the characteristics of a young language that began to become visible through different genres (narrative, poetry, opinion pieces, graphic stories, illustrations, comics, critical production).

Este artigo apresenta uma análise de parte da produção poética de Laura Conceição e Luz Ribeiro, multiartistas que compõem o movimento do poesia slam no Brasil. Com base no que seus poemas e suas performances nos oferecem, lanço um olhar a essa modalidade de poesia falada, explorando suas imbricações com a escritavência, logosvivência e autorrepresentação dos poetas. Uma vez que percebemos uma emergência, no âmbito desse movimento artístico-literário, de vozes de sujeitos, concentrei-me em duas mulheres por serem indivíduos alterados pelo silenciamento. Ao destacar-se a heterogeneidade e pluralidade de seus corpos e identidades, conceitos como feminismo decolonial e interseccionalidade, entre outros, são fundamentais para entendermos as múltiplas questões que caracterizam a poesia desses slammers e os slams de poesia no Brasil.

This article analyses part of the poetic production of Laura Conceição and Luz Ribeiro, multi-artists who make up the poetry slam movement in Brazil. Based on what their poems and performances offer us, I take a closer look at this form of spoken poetry, exploring its imbrications with the poets’ escrevivência, logosvivência and self-representation. Since we see the emergence, within this artistic-literary movement, of the voices of altered subjects, I focused on two women because they are traditionally individuals marked by silencing. By highlighting the heterogeneity and plurality of their bodies and identities, concepts such as decolonial feminism and intersectionality, among others, are fundamental to understanding the multiple issues that characterize the poetry of these slammers and poetry slams in Brazil.

Abstract: This article proposes a dialogue and reflection on the teaching of poetry at school. From a knowledge that is built based on thinking about the experience of the person who teaches. Knowing that it is configured alongside the stories, and thoughts of the teacher and poet Rosabetty Muñoz. It was approached from the narrative inquiry method, the epistolary writings that contain the teacher's stories are analyzed. Among the main findings are the relationship that the poet establishes between her beginnings as a reader and her teaching work, as well as the importance that she gives to poetry as a possibility of creation, attention and encounter, both with others and with the world. The thoughts and reflections that the encounter with the teacher provides, open new dimensions from which to think about the teaching of the poetic and confirm the important link between meanings, beliefs and pedagogical practices.

Resumen Este artículo propone un diálogo y reflexión en torno a la enseñanza de la poesía en la escuela, desde un saber que se construye en base al pensar la experiencia de quien enseña. Saber que se configura junto a las historias, relatos y pensamientos de la maestra y poeta Rosabetty Muñoz. Abordado desde el método de indagación narrativa, se analizan los escritos epistolares que contienen relatos y reflexiones de la maestra. Entre los principales hallazgos se encuentran la relación que la poeta establece entre sus inicios como lectora y su quehacer docente, junto a la importancia que confiere a la poesía como posibilidad de creación, atención y encuentro, tanto con el otro como con el mundo. Los pensamientos y reflexiones que arroja el encuentro con la maestra abren nuevas dimensiones desde las cuales pensar en la enseñanza de lo poético y confirman la importante vinculación entre sentidos, creencias y prácticas pedagógicas.

O campo digital pode ser visto de modo polissêmico, com dinâmicas de controle e vigilância, mas também como espaço criativo para emergência de novas sociabilidades. O presente trabalho enfatiza a segunda dimensão, investigando as contribuições das culturas digitais para o fortalecimento do campo social da Literatura de Cordel (LC) em suas articulações em redes, e na difusão e visibilidade dos seus atores sociais. A Literatura de Cordel  uma forma de poesia popular tradicional do Nordeste do Brasil, tem exibida uma nova vida nas mídias sociais. Muitos cordelistas divulgam seus projetos no Instagram, Facebook e YouTube para compartilhar seus legados e alcançar maior número de pessoas possível. Nessas mídias sociais circulam versos tradicionais de cordel, mas também adaptações para o ambiente digital, como vídeos de cordelistas recitando poemas, e até mesmo interações em tempo real com os seguidores. Isso tem contribuído para a preservação da tradição, da memória e identidade da LC e para a sua divulgação. O artigo investe na abordagem qualitativa da etnografia com observação participante para analisar os fluxos de interações de alguns cordelistas nas mídias sociais. Como resultado parcial, observa-se que as mídias sociais oferecem plataformas potentes para a divulgação e promoção de obras de Literatura de Cordel; bem como ambiente para encontros dos poetas e cordelistas em geral.

The digital field can be seen in a polysemic way, with dynamics of control and surveillance, but also as a creative space for emerging new sociabilities. This paper emphasizes the second dimension, investigating the contributions of digital cultures to strengthening the social field of Cordel Literature (LC) in its articulations in networks, and in the dissemination and visibility of its social actors. LC, a traditional form of popular poetry from the northeast of Brazil, has been given a new lease of life on social media. Many poets publicize their projects on Instagram, Facebook, and YouTube to share their legacies and reach as many people as possible. In these social media, traditional verses of Literatura de Cordel circulate, but also adaptations for the digital environment, such as videos of poets reciting poems, and even real-time interactions with followers. This has contributed to preserving the tradition, memory, and identity of the LC and its dissemination. This is a qualitative study that uses ethnography and participant observation to analyze the flow of interactions between some poets on social media. As a partial result, it was observed that social media offer powerful platforms for the dissemination and promotion of works of Cordel Literature, as well as an environment for meetings between poets and cordelistas in general.

Abstract The text recalls the meeting between Paul Celan and Martin Heidegger that took place on July 25, 1967, which, despite their mutual admiration for poetry, especially that of Hölderlin, was marked by unresolved tensions. Following the interpretations of Georg Steiner, Rüdiger Safranski, Ezra Pound, Walter Otto, and John Banville, among others, this essay brings together, based on what can be inferred from that meeting in the Black Forest cabin, Heidegger's relationship with his Nazi past, the experience of the Holocaust in Celan's life, the role of language and nomination, and the concept and importance of silence.

Resumen El texto evoca el encuentro entre Paul Celan y Martin Heidegger que tuvo lugar el 25 de julio de 1967 que, a pesar de la admiración mutua por la poesía, especialmente la de Hölderlin, estuvo marcado por tensiones no resueltas. En el camino de las interpretaciones de Georg Steiner, Rüdiger Safranski, Ezra Pound, Walter Otto y John Banville, entre otros, esta nota hace converger, a partir de lo que puede suponerse en aquella reunión en la cabaña de la Selva Negra, la relación de Heidegger con su pasado nazi, la experiencia del Holocausto en la vida de Celan, el papel del lenguaje y la nominación y el concepto e importancia del silencio.

Resumo A formação de uma "resistência íntima" na obra do poeta chileno Jorge Teillier (1935-1996) opera a partir do desdobramento nostálgico do falante diante do desenraizamento moderno em um ambiente em ruínas. Trata-se de articular o paradoxo entre a experiência íntima e acolhedora do falante no quotidiano e o sentimento de orfandade da precária existência atual que o instiga a resignificar o presente e expandir-se no futuro. Dessa forma, na poética de Teillier, surge um jogo pendular de antagonismos: a vida e a morte, a felicidade e a desilusão, o enraizamento e o desenraizamento; com uma tendência vital do falante para a desintegração, que é contraposta pela resistência íntima a partir das ruínas de sua memória, onde persiste em sua alteridade e finitude.

Resumen : La conformación de una “resistencia íntima” en la obra del poeta chileno Jorge Teillier (1935-1996) opera a partir del despliegue nostálgico del hablante frente al desarraigo moderno en un entorno ruinoso. Se trata de articular la paradoja entre la experiencia íntima y hospitalaria del hablante en lo cotidiano y el sentido de orfandad de la precaria existencia actual que le concita resignificar el presente y expandirse en el futuro. De esta manera, en la poética de Teillier surge un juego pendular de antagonismos: la vida y la muerte, la dicha y la desilusión, el arraigo y el desarraigo; con una tendencia vital del hablante a la desintegración que es contrarrestada con la resistencia íntima desde las ruinas de su memoria donde persiste en su alteridad y finitud.

Abstract The formation of an "intimate resistance" in the work of the Chilean poet Jorge Teillier (1935-1996) operates from the speaker’s nostalgic unfolding in the face of modern uprooting within a ruinous environment. This entails articulating the paradox between the speaker’s intimate everyday life experience and the sense of orphanhood caused by his current precarious existence, which encourages him to resignify the present and expand into the future. In this way, a pendular game of antagonisms arises in Tellier’s poetics: life and death, happiness and disappointment, rootedness and uprooting; a vital tendency of the speaker to disintegrate, counteracted with the intimate resistance from the ruins of his memory where he persists in his alterity and finitude.