Voces plurales en la poesía de Piedad Bonnett

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Campo DC	Valore
dc.identifier	ECF_article_848
dc.title	Voces plurales en la poesía de Piedad Bonnett
dc.contributor.author	Cervera Salinas Vicente
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.type	Articolo
dc.language.iso	es
dc.identifier.uri	http://edizionicafoscari.it/it/edizioni4/riviste/rassegna-iberistica/2014/101/voces-plurales-en-la-poesia-de-piedad-bonnett/
dc.description.abstract	This article examines an essential part of the poetical work of the Colombian writer Piedad Bonnett, where the concept of ‘plural voices’ is combined with the term of ‘verbal bodies’. The analysis of several poems of his work, from her titles Ese animal triste (1996), Todos los amantes son guerreros (1998) or Las tretas del débil (2004) reveals an essential voice in the field of the most recent Latin American poetics in this century, where the practice of the poetic genre drift towards a different plurality culture, in a place of intersection between the universality voice of Jorge Luis Borges and the melancholy of Alejandra Pizarnik.
dc.relation.ispartof	Rassegna iberistica
dc.relation.ispartof	Vol. 37 \| Num. 101 \| Giugno 2014
dc.issued	2014-06-09
dc.identifier.issn
dc.identifier.eissn	2037-6588
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.14277/2037-6588/81
dc.peer-review	yes

Articolo
open access peer reviewed

Vicente Cervera Salinas Universidad de Murcia, España

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abstract

This article examines an essential part of the poetical work of the Colombian writer Piedad Bonnett, where the concept of ‘plural voices’ is combined with the term of ‘verbal bodies’. The analysis of several poems of his work, from her titles Ese animal triste (1996), Todos los amantes son guerreros (1998) or Las tretas del débil (2004) reveals an essential voice in the field of the most recent Latin American poetics in this century, where the practice of the poetic genre drift towards a different plurality culture, in a place of intersection between the universality voice of Jorge Luis Borges and the melancholy of Alejandra Pizarnik.

Pubblicato

09 Giugno 2014

Lingua

permalink http://doi.org/10.14277/2037-6588/81

Copyright: © 2014 Vicente Cervera Salinas. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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