149 research outputs found
A Dialogue with Experimentation: Bernadette Mayer’s Poetry
Este assaig Ă©s un acostament analĂtic a l'obra poètica de Bernadette Mayer, nascuda en Brooklyn en 1945. Des de la seua època d'aprenentatge a Nova York en la dècada dels 60, els seus textos s'han caracteritzat per un esperit d'innovaciĂł i experimentaciĂł amb el llenguatge i les formes poètiques. En este sentit cal ressenyar la influència de Gertrude Stein en el seu estil, que ella ha reconegut en diverses ocasions. A mĂ©s de la faceta innovadora de la seua poètica cal mencionar tambĂ© la seua posada en prĂ ctica del principi de «make it new», formulat per Ezra Pound, perquè Mayer ha insistit aixĂ mateix a renovar algunes estructures clĂ ssiques, com el sonet i l'epigrama. En definitiva, este assaig pretĂ©n donar una visiĂł panorĂ mica de la poètica d'esta autora, la metodologia de la qual es basa en els conceptes d'intuĂŻciĂł i espontaneĂŻtat, i que atĂ©n igualment al llenguatge simbòlic i a les expressions onĂriques que emboliquen al ser humĂ . A mĂ©s d'açò, un dels meus propòsits ha sigut mostrar la unicitat i originalitat de Bernadette Mayer, tant en els seus textos creatius com en els seus pronunciaments teòrics sobre l'escriptura poètica.Este ensayo es un acercamiento analĂtico a la obra poĂ©tica de Bernadette Mayer, nacida en Brooklyn en 1945. Desde su Ă©poca de aprendizaje en Nueva York en la dĂ©cada de los 60, sus textos se han caracterizado por un espĂritu de innovaciĂłn y experimentaciĂłn con el lenguaje y las formas poĂ©ticas. En este sentido hay que reseñar la influencia de Gertrude Stein en su estilo, que ella ha reconocido en varias ocasiones. Además de la faceta innovadora de su poĂ©tica hay que mencionar tambiĂ©n su puesta en práctica del principio de «make it new», formulado por Ezra Pound, pues Mayer ha insistido asimismo en renovar algunas estructuras clásicas, como el soneto y el epigrama. En definitiva, este ensayo pretende dar una visiĂłn panorámica de la poĂ©tica de esta autora, cuya metodologĂa se basa en los conceptos de intuiciĂłn y espontaneidad, y que atiende igualmente al lenguaje simbĂłlico y a las expresiones onĂricas que envuelven al ser humano. Además de esto, uno de mis propĂłsitos ha sido mostrar la unicidad y originalidad de Bernadette Mayer, tanto en sus textos creativos como en sus pronunciamientos teĂłricos sobre la escritura poĂ©tica.This essay approaches analytically the work of Bernadette Mayer, born in Brooklyn in 1945. Since the 1960s, when she began to write in New York, her texts are characterized by the innovation and experimentation with language and poetic forms that have become emblematic traits of her style. In this respect it is worth noting the influence of Gertrude Stein, that she has acknowledged in several occasions. Apart from the innovative aspect of her poetics, it is also relevant to highlight her practicing of the Poundian principle of «make it new». Indeed, Mayer has insisted in the re-construction of classical structures, such as the sonnet or the epigram. In short, this essay tries to give a general view of Mayer’s poetics, based on the concepts of intuition and spontaneity, and which attends simultaneously to symbolic expressions and to the language of dreams. Moreover, it has been my purpose to make evident the unique and original character of her oeuvre, mirrored both in her poetic texts and in her theoretical statements about poetic writing
Reflexiones acerca de un feminismo foucaultiano
Reseña de: Jana Sawicki, Disciplining Foucault, Feminism, Power and the Body, Routledge, New York, 1991
A Gendered Style: Gertrude Stein's Generic Transgressions
Es reseña de: Gender and Genre in Gertrude Stein. Franziska Gygax. London : Greenwood, 199
'Aphorisms of Futurism' y 'Feminist Manifesto': Conjunción estética e ideológica en la poética de Mina Loy
Mina Loy, a relatively unknown modernist American poet, has been
rediscovered recently by feminist and non-feminist scholars. This essay
deals with her poetry only in an indirect way, since its main purpose
is to show the linking connections between her poetic credo, deployed
in “Aphorisms on Futurism”, and her ideological standpoint regarding
women’s issues of her time, which she discusses in her “Feminist Manifesto”.
Both texts appear to be closely imbricated when we read her
main poetic compositions and hear their echoes translated into the peculiar
and original lyrical narratives she created. Intended as an introduction
to the reading of her poetic output, the following text attempts
to underline the theoretical keys necessary for the comprehension of
the poems as a reflection of her vital and aesthetic experience as woman
and artist
Innovative writing in southern california: a local poetry anthology. Messerli, douglas, ed. The pip anthology of world poetry of the 20th century. Vol. 5. Intersections: Innovative poetry in southern california. Los angeles: Integer, 2005
Review
Voces «impertinentes»: en torno a algunas estrategias en la poesĂa femenina americana contemporánea
Reseña de: Yorke, Liz (1991) Impertinent Voices. Subversive Strategies in Contemporary Women’s
Poetry, London: Routledg
Be(com)ing a Woman: Subjectivity and Poetic Vision in Denise Levertov
This essay examines Denise Levertov’s approach to the female subject
in the way it is problematized both in her poems and essays. In so
far as her commitment to a poetry deriving from experience characterizes
her approximation to language and her relationship with the outside
world, some of her poems clearly hint at a self-consciousness attained
through her literary, political and personal vision. In the wake of
the theoretical elaborations that feminist theory has engaged throughout
the last two decades, this paper intends to show to what extent
Levertov’s poetry articulates textually the pivotal notions that feminists
have addressed critically in connection with the self
A Backward Glance: Theorizing Edith Wharton’s Autobiographical Subjectivity
Este ensayo sostiene que bajo el decoro y distanciamiento que caracterizan la autobiografĂa
de Edith Wharton, A Backward Glance (1934), se encuentra una subjetividad autoimpuesta
y adoptada conscientemente. Basándome en el paradigma de la autoformación de Michel
Foucault, que Ă©l definiĂł como “tecnologĂas del ser”, y en la más reciente refundiciĂłn de la
categorĂa crĂtica “mujer” llevada a cabo por Toril Moi, intentarĂ© articular la teorĂa de la
subjetividad que subyace en la autobiografĂa de Wharton. El texto muestra además hasta
qué punto su autorretrato se deriva de un sometimiento voluntario a la vigilancia social y
personal, mientras que la evidente auto-censura paradĂłjicamente sugiere cuestiones personales
de importancia crucial para la autora.This article will claim that beneath the restraint and detachment that characterize Edith
Wharton’s autobiography, A Backward Glance (1934), lies a self-imposed and consciously
adopted subjectivity. Drawing on Michel Foucault’s paradigm of self-formation that he
defined as “technologies of the self ” and on Toril Moi’s more recent reworking of the critical
category “woman,” I will try to work out the theory of subjectivity that underlies Wharton’s
autobiography. Her text further shows to what extent her self-portrait derives from a
voluntary subjection to self and social surveillance, while the self-censorship evident in the
text does paradoxically intimate a number of private concerns of crucial importance to the
author
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