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: 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.

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.

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.

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.

Resumen La hipótesis principal de este trabajo sostiene que lo político en la escritura de Roberto Santoro se redefine y actualiza mediante el juego y la risa como dispositivos desde los cuales leer e interpretar la violencia dictatorial y las militancias de izquierda. Lejos de la denuncia o la protesta a secas, su poesía transgrede los lugares comunes o las formas cristalizadas de acercarse a la realidad histórico‒política de los años 70, a través del humor negro, la ironía y la reescritura de juegos infantiles, rondas y canciones populares. Se tendrán en cuenta para el análisis sus últimas dos publicaciones en vida —Poesíaen general (1973) y No negociable (1975)— y poemas que permanecieron inéditos hasta la aparición de su Obra poética completa (2009). Allí se puede advertir un procesamiento del contexto represivo y sus efectos sobre los cuerpos y las subjetividades que no niega el dolor o la bronca, tampoco el entusiasmo militante, pero sí incorpora nuevos tonos y figuras a la imaginación revolucionaria, como el chiste, el calambur, el baile o los rituales infantiles.

Abstract The main hypothesis of this paper maintains that the political in Roberto Santoro’s writing is redefined and updated through play and laughter as devices from which to read and interpret dictatorial violence and leftist militancy. Far from simply denouncing or protesting, His poetry transgresses commonplaces or crystallized ways of approaching the historical-political reality of the 1970s, through black humor, irony and the rewriting of children's games, rounds and popular songs. His last two publications during his lifetime —Poesía en general (1973) and No negociable (1975)— and poems that remained unpublished until the appearance of his Obra poética completa (2009) will be taken into account for the analysis. There one can see a processing of the repressive context and its effects on bodies and subjectivities that does not deny pain or anger, nor militant enthusiasm, but it does incorporate new tones and figures to the revolutionary imagination, such as jokes, calambur, dance or children’s rituals.

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.

Resumo Parte da poesia de Abigael Bohórquez (1936-1995) pode ser lida como poesia de testemunho homossexual. Especificamente, sua última coletânea de poemas, seu testamento poético, Poesida (1996), permite essa leitura, pois esse documento cruel, mas solidário, busca envergonhar o discurso heteronormativo, aquele que reagiu condenando as práticas homossexuais no auge da pandemia Hiv/Aids nas décadas de 1980 e 1990 do século XX. A Poesida será estudada a partir da poética da deturpação, como proposta de análise para a resistência dissidente à normalização discursiva que a coletânea de poemas oferece, tanto no confronto da tradição literária, quanto no espaço poético e na autobiografia referências. Bohórquez constrói um mural, um testemunho, uma série de canções e retratos para não esquecer, dignificar e resistir à vergonha com que tentaram classificar aqueles que morreram com o peso do estigma e da culpa.

Resumen Parte de la poesía de Abigael Bohórquez (1936-1995) puede leerse como poesía de testimonio homosexual. Específicamente, su último poemario y testamento poético, Poesida(1996), avala esa lectura, puesto que se trata de un documento cruel pero solidario que busca poner la vergüenza del lado del discurso heteronormativo, aquel que reaccionó condenando las prácticas homosexuales en el apogeo de la pandemia de VIH/sida entre los años ochenta y noventa del siglo XX. Se estudiará Poesida desde la propuesta de una “poética del tergiversar”, con el objetivo de analizar las resistencias disidentes que ofrece el poemario a la normalización discursiva tanto en la confrontación con la tradición literaria, como en el espacio poético y en las referencias autobiográficas. Bohórquez construye un mural, un testimonio, una serie de cantos y retratos para no olvidar, para dignificar y resistir la vergüenza con la que se trató de encasillar a quienes murieron con el peso del estigma y de la culpa.

Abstract Part of the poetry of Abigael Bohórquez (1936-1995) can be read as poetry of homosexual testimony. Specifically, his last collection of poems, his poetic testament, Poesida (1996), allows for this reading, since this cruel but supportive document seeks to put shame on the side of the heteronormative discourse, the one that reacted by condemning homosexual practices at the height of the Hiv/Aids pandemic in the 1980s & 1990s of the 20th century. Poesida will be studied from the poetics of misrepresentation, as a proposal for analysis for the dissident resistance to the discursive normalization that the collection of poems offers, both in the confrontation of the literary tradition, as well as in the poetic space and in the autobiographical references. Bohórquez builds a mural, a testimony, a series of songs and portraits so as not to forget, dignify and resist the shame with which they tried to classify those who died with the weight of stigma and guilt.

Abstract: The special treatment that Alejandra Pizarnik offers in her poetic production regarding memory invites to establish a rhetorical analysis of her metaphors. Through this examination, we intend to elucidate how important memory and the process of reminiscence are for the Argentine poet and how these condition her concept of identity. This study proposes a catalog of the main rhetorical appearances of memory based on Weinrich's generic classification (1961) into warehouse metaphors and wax tablet metaphors, which includes another set of spatial range metaphors intertwined in islands and abandoned paradises; with all this, we aim to contribute to the rhetorical analysis of Pizarnik's complex poetry, indebted to a vast poetic tradition

Resumen: El especial tratamiento que Alejandra Pizarnik ofrece en su producción poética a la memoria invita a establecer un análisis retórico de sus metáforas. Por medio de su examen pretendemos dilucidar cuán importantes resultan el recuerdo y el proceso de reminiscencia para la poeta argentina y cómo estos condicionan su concepto de identidad. En este estudio se propone un catálogo de las principales apariciones retóricas de la memoria a partir de la clasificación genérica de Weinrich (1961) en metáforas almacén y metáforas tablilla de cera, la cual admite otro conjunto de metáforas de rango espacial imbricadas en islas y paraísos abandonados; con todo ello se aspira a contribuir al análisis retórico de la compleja poesía de Pizarnik, deudora de una vasta tradición poética

Abstract: In this essay a network is traced between various poets from different eras and languages: the Provençal troubadour Arnaut Daniel, the Tuscan poet Dante Alighieri, the modernist Ezra Pound and the brothers Haroldo and Augusto de Campos, members of the Noigandres group and founders of the movement of Concrete poetry in Brazil. This network corresponds to a series of mentions, tributes and versions that respond to a common vision of poetry as a technical challenge. In the same way, the translations made in the 20th century seek to emphasize the sound aspects and the procedures used in the originals to constitute new, totally contemporary works

Resumen: En este ensayo se traza una red entre varios poetas de distintas épocas y lenguas: el trovador provenzal Arnaut Daniel, el poeta toscano Dante Alighieri, el modernista Ezra Pound y los hermanos Haroldo y Augusto de Campos, miembros del grupo Noigandres y fundadores del movimiento de la poesía concreta en Brasil. Esta red corresponde a una serie de menciones, homenajes y versiones que responden una visión común de la poesía como un desafío técnico. Del mismo modo, las traducciones realizadas en el siglo XX buscan enfatizar los aspectos sonoros y los procedimientos utilizados en los originales para constituir nuevas obras, totalmente contemporáneas

Abstract: The idea of the sacred in Pura López Colomé’s work is rooted in the same conception that this author has of poetry. From her childhood poems that she left in her notebooks, the spiritual bouquets for her mother or the diary that allowed her to dialogue with God —as she refers to with Adriana Pacheco in Let’s Talk Writers—, to her latest book Borrosa imago mundi, published in 2021, Pura reveals that the poetic word manifests the deep meaning of things, of being. However, for the purposes of this critical approach, we will only focus on the book Éter es, which refers us from the title to the verticality of a time in which we locate the search for our poet, considering vision as revelation and interiority as space of that revelation.

Resumen: La idea de lo sagrado en la obra de Pura López Colomé está enraizada en la concepción misma que ella tiene. Desde sus poemas de infancia que dejaba en sus cuadernos, los ramilletes espirituales o el diario que le permitía el diálogo con Dios —como lo refiere con Adriana Pacheco en Hablemos escritoras—, hasta su último libro Borrosa imago mundi, López Colomé deja ver que la palabra poética revela el sentido profundo de las cosas, del ser. Sin embargo, para fines de este acercamiento crítico nos centraremos únicamente en el poemario Éter es, que nos remite desde el título a la verticalidad de un tiempo en el que ubicamos la búsqueda de nuestra poeta, considerando la visión como revelación y la interioridad como espacio de esa revelación.

Abstract: As Irlemar Chiampi points out, any debate on Modernity and its crisis in Latin America that does not include the Baroque is partial and incomplete. On this basis we propose that this American imbrication between Baroque and Modernity can be enlighteningly glimpsed in a masterpiece of the Latin American avant-garde such as Trilce, a book published a century ago by the Peruvian poet César Vallejo, in which the Baroque is not merely a stylistic question but a “sensibility”, as the poet called that capacity of the true new poetry to express the modern experience, thus becoming an art of the “counter-conquest”, as the Cuban José Lezama Lima imagined it, as a poetic device capable of testifying the tragic excess of the American Modernity through its immanent baroquism.

Resumen: Como señala Irlemar Chiampi, cualquier debate sobre la Modernidad y su crisis en América Latina que no incluya al Barroco resulta parcial e incompleto. Partiendo de esta base planteamos que esta imbricación americana entre el Barroco y la Modernidad puede vislumbrarse de forma esclarecedora en una obra cumbre de la vanguardia latinoamericana como es Trilce, libro publicado hace ya un siglo por el poeta peruano César Vallejo y en el cual el Barroco no constituye meramente una cuestión estilística sino una “sensibilidad”, como llamaba el poeta a esa capacidad de la verdadera poesía nueva de expresar la experiencia moderna, convirtiéndose así en un arte de la “contraconquista”, tal como lo pensó el cubano José Lezama Lima, en tanto dispositivo poético capaz de testimoniar la trágica desmesura de la Modernidad americana a través de su barroquismo inmanente.

Abstract: John Ashbery’s work has been widely translated and studied; however, there is little research on the translation of his poetry into Spanish. In this essay I propose that the professional profile of the translators affects the decisions that shape the final text. The translation of poetry demands special attention to the rhythm and the effect that each word has on the lines and on the poem, so it should consider the conventions of the target culture to determine whether to adhere to them. The focus on enjambment allows productive observations to be made about translation decisions and their effect on the rhythmic structure of the poem.

Resumen: La obra de John Ashbery ha sido ampliamente traducida y estudiada; sin embargo, existen pocas investigaciones que aborden la traducción de su poesía al español. En este ensayo propongo que el perfil profesional de los traductores incide en las decisiones que dan forma al texto final. La traducción de poesía demanda una atención especial al ritmo y al efecto que cada palabra tiene en los versos y en el poema entero, por lo que debería tomar en cuenta las convenciones de la cultura meta para determinar si ceñirse a ellas. El enfoque en el encabalgamiento permite hacer observaciones productivas sobre las decisiones de traducción y su efecto en la estructura rítmica del poema.