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Resistance and Emancipation

Cultural and Poetic Practices

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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 II 117

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Part II Florencia Garramuño Poderes de la afectividad: la destitución del sujeto y su potencial de resistencia I am, as it were, dispossessed by the very language that I use. — Judith Butler Una de las discusiones más importantes sobre la poesía contemporánea argentina y brasileña ha girado en torno a la idea del debilitamiento y trans- formación radical del sujeto lírico. Para algunos críticos, este debilitamiento se traduciría en una poesía concentrada en los objetos, que ha expulsado la emoción subjetiva de la escena del poema. Para otros, en cambio, podría hablarse de un retorno espectral – afantasmado – del sujeto, luego de déca- das en que la teoría acompañó una anterior supuesta ausencia del sujeto.1 Me quedo aquí, de esa discusión que es polémica y hasta podría ser viru- lenta, con la postulación de Tamara Kamenszain en La boca del testimonio: se trataría, por lo menos en la poesía argentina que ella analiza en ese libro – Martín Gambarotta, Washington Cucurto y Roberta Ianamico –, de post-yoes, esto es, de yoes que se vacían para dejar entrar un exterior.2 La discusión me interesa porque creo que algunos ejemplos de esa poesía contemporánea permiten explorar de modo detallado un problema 1 Cf. Martín Prieto y Daniel García Helder, ‘Poesía argentina actual’; Edgardo Dobry, Orfeo en el quiosco de diarios; Flora Süssekind, ‘A poesia andando....

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