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Resistance and Emancipation

Cultural and Poetic Practices

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Edited By Arturo Casas and Ben Bollig

This book is a collection of essays developed from the meetings of the ‘Poetics of Resistance’ network in Leeds (2008) and Santiago de Compostela (2009). The volume contains contributions from an international group of researchers and cultural producers, who are committed to the activation, promotion and analysis of counter-hegemonic practices both in the development and transmission of knowledge and in the emancipatory tools of cultural production. The essays in the collection are written by scholars, activists and artists from around the world and concern subjects as diverse as poetry, film, philosophy, literary theory, plastic arts and television.
The relationship between cultural production and resistance lies at the heart of the book’s concerns. Creativity and its manifestations in art, cultural production and knowledge production are a vital resource for a type of resistance that draws upon the resolve and contribution of the individual to the same degree that it emphasizes the importance of collective reflection and action. The interaction between artistic production, emancipation and resistance therefore cannot be reduced to a commitment to particular ideologies as expressed in art or writing. Rather, the poetics of resistance and emancipation are produced through the negotiation of the subjective and the collective, of reflection and action, and of cultural practices and ideologies.
The volume contains contributions in English and in Spanish.

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Part I 11

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Part I William Rowe De los sujetos de la resistencia y los sujetos que se resisten a resistir: sujeto lírico y emancipación Hablar del sujeto poético reúne una serie de dificultades, entre ellas el hecho de que desde hace más o menos cincuenta años se viene hablando del eclipse del yo lírico por parte de otras modalidades poéticas, sin espe- cificar en la mayoría de los casos en qué consista la lírica. En la actividad poética latinoamericana los años 1950 marcan un hito importante, con la antipoesía de Parra y la poesía concretista del grupo Noigandres, que según Eduardo Milán constituye ‘un horizonte actual de escritura’. Milán ha afirmado que ya desde ese momento se le hizo necesario al poeta escribir contra la amenaza de la poesía lírica, dado que ésta se habría puesto del lado del conformismo con la realidad para permitir que el lector, en una especie de estado sonámbulo, se conformara a la sociedad capitalista posterior a la Segunda Guerra Mundial.1 Examinemos brevemente dos casos. El primero es uno de los poemas más conocidos del concretismo brasileño, ‘Beba coca cola’, de Decio Pignatari, que se publicó en 1957: 1 Esto lo afirmó Milán en una charla ofrecida en marzo de 2008 en Caixa Forum de Barcelona. En la versión que se publicará, en lugar de considerar la lírica genérica- mente...

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