The eroica cadence of the arrhythmia of time in Diana Bellessi’s poetry

With the return to democracy, the local literary field experienced an unprecedented phenomenon: the proliferation - noted by Alicia Genovese in La doble voz (1998) - of literature written and signed by women. In those years, another remarkable event occurred, although little studied by critics: fold...

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Autor principal: Pampín, Ayelén
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades. Escuela de Letras 2021
Materias:
Argentine poetry;
Bellessi;
Lesbian affectivity;
Rhythm;
Temporality;
Poesía argentina;
Afectividad lesbiana;
Ritmo;
temporalidad;
Acceso en línea:https://revistas.unc.edu.ar/index.php/heterotopias/article/view/33708
Aporte de:
Heterotopías de Universidad Nacional de Córdoba
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spelling I10-R333-article-337082021-07-24T11:37:15Z The eroica cadence of the arrhythmia of time in Diana Bellessi’s poetry La cadencia eroica de la arritmia en Diana Bellessi Pampín, Ayelén Argentine poetry; Bellessi; Lesbian affectivity; Rhythm; Temporality; Poesía argentina; Afectividad lesbiana; Ritmo; temporalidad; Bellessi; With the return to democracy, the local literary field experienced an unprecedented phenomenon: the proliferation - noted by Alicia Genovese in La doble voz (1998) - of literature written and signed by women. In those years, another remarkable event occurred, although little studied by critics: folded and insinuated among the verses, or explicitly deployed in them, traces of lesbian sensibilities, bodies, affectivities and desires that began to modulate a multiple and heterogeneous voice appeared with greater systematicity on the textual surface of Argentinian poetry. Eroica (1988), by Diana Bellessi, was the first collection of poems published in Argentina in which the manifestation of lesbian desire and bodies burst forth without masks, without euphemisms and in a celebratory and defiant tone. That is why it became a milestone of this phenomenon. In this paper, on the one hand, I review some fundamental critical readings of this book in order to provide other perspectives from which to read the lesbian imaginary and its (re)presentation in Eroica. On the other hand, I propose to investigate the intertwining relationship between the appearance on the textual surface of a lesbian voice that (self-)affirms itself and the modulations of temporality, based on the analysis of the tempos of the writing and the rhythm of poems. I will carry out this exploration by working with the figures of the arrhythmia, the instant, the discontinuity, and the circular temporality. Con el retorno a la democracia, el campo literario local experimentó un fenómeno inédito: la proliferación –señalada por Alicia Genovese en La doble voz (1998)– de literatura escrita y firmada por mujeres. En esos años, la poesía argentina dio lugar a otro acontecimiento notable, aunque poco estudiado por la crítica: plegados e insinuados entre los versos, o explícitamente desplegados en ellos, aparecieron con mayor sistematicidad en la superficie textual huellas, rastros de sensibilidades, cuerpos, afectividades y deseos lesbianos que comenzaron a modular una voz múltiple y heterogénea. Por ser el primer poemario publicado en Argentina en el que la manifestación del deseo y los cuerpos lesbianos irrumpe sin máscaras, sin eufemismos y –novedosamente– en tono celebratorio y desafiante, Eroica (1988), de Diana Bellessi, se constituyó como un hito de este fenómeno. En este trabajo, por un lado, revisito algunas lecturas fundamentales de este libro por parte de la crítica con el propósito de aportar otras perspectivas desde las cuales leer el imaginario lesbiano y su (re)presentación. Por otro lado, propongo indagar la relación de imbricación entre la aparición en la superficie textual de una voz lesbiana que se (auto)afirma y las modulaciones de la temporalidad, a partir del análisis de los tempos de la escritura y el ritmo del poemario. Llevaré adelante esta exploración a partir del trabajo con las figuras de la arritmia, el instante, la discontinuidad, y la temporalidad circular.         Facultad de Filosofía y Humanidades. Escuela de Letras 2021-06-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Scientific articles Artículos científicos application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/33708 Heterotopías; Vol. 4 No. 7 (2021): "Readings from/about pandemics. Anticipation and anachrony".; 1-18 Heterotopías; Vol. 4 Núm. 7 (2021): “Lecturas de/sobre pandemia. Anticipación y anacronía”; 1-18 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/33708/34013 https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-333
container_title_str Heterotopías
language Español
format Artículo revista
topic Argentine poetry;
Bellessi;
Lesbian affectivity;
Rhythm;
Temporality;
Poesía argentina;
Afectividad lesbiana;
Ritmo;
temporalidad;
Bellessi;
spellingShingle Argentine poetry;
Bellessi;
Lesbian affectivity;
Rhythm;
Temporality;
Poesía argentina;
Afectividad lesbiana;
Ritmo;
temporalidad;
Bellessi;
Pampín, Ayelén
The eroica cadence of the arrhythmia of time in Diana Bellessi’s poetry
topic_facet Argentine poetry;
Bellessi;
Lesbian affectivity;
Rhythm;
Temporality;
Poesía argentina;
Afectividad lesbiana;
Ritmo;
temporalidad;
Bellessi;
author Pampín, Ayelén
author_facet Pampín, Ayelén
author_sort Pampín, Ayelén
title The eroica cadence of the arrhythmia of time in Diana Bellessi’s poetry
title_short The eroica cadence of the arrhythmia of time in Diana Bellessi’s poetry
title_full The eroica cadence of the arrhythmia of time in Diana Bellessi’s poetry
title_fullStr The eroica cadence of the arrhythmia of time in Diana Bellessi’s poetry
title_full_unstemmed The eroica cadence of the arrhythmia of time in Diana Bellessi’s poetry
title_sort eroica cadence of the arrhythmia of time in diana bellessi’s poetry
description With the return to democracy, the local literary field experienced an unprecedented phenomenon: the proliferation - noted by Alicia Genovese in La doble voz (1998) - of literature written and signed by women. In those years, another remarkable event occurred, although little studied by critics: folded and insinuated among the verses, or explicitly deployed in them, traces of lesbian sensibilities, bodies, affectivities and desires that began to modulate a multiple and heterogeneous voice appeared with greater systematicity on the textual surface of Argentinian poetry. Eroica (1988), by Diana Bellessi, was the first collection of poems published in Argentina in which the manifestation of lesbian desire and bodies burst forth without masks, without euphemisms and in a celebratory and defiant tone. That is why it became a milestone of this phenomenon. In this paper, on the one hand, I review some fundamental critical readings of this book in order to provide other perspectives from which to read the lesbian imaginary and its (re)presentation in Eroica. On the other hand, I propose to investigate the intertwining relationship between the appearance on the textual surface of a lesbian voice that (self-)affirms itself and the modulations of temporality, based on the analysis of the tempos of the writing and the rhythm of poems. I will carry out this exploration by working with the figures of the arrhythmia, the instant, the discontinuity, and the circular temporality.
publisher Facultad de Filosofía y Humanidades. Escuela de Letras
publishDate 2021
url https://revistas.unc.edu.ar/index.php/heterotopias/article/view/33708
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AT pampinayelen lacadenciaeroicadelaarritmiaendianabellessi
AT pampinayelen eroicacadenceofthearrhythmiaoftimeindianabellessispoetry
first_indexed 2024-09-03T21:09:39Z
last_indexed 2024-09-03T21:09:39Z
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