Cuerpos resonantes : sonidos y voces en la poesía del Caribe y el Cono Sur 1930-1980

dc.contributor.advisorCárcamo-Huechante, Luis E.
dc.contributor.advisorArroyo, Jossianna
dc.contributor.committeeMemberBorge, Jason
dc.contributor.committeeMemberRobbins, Jill
dc.creatorStaig Limidoro, James Christian
dc.creator.orcid0000-0001-8947-0719
dc.date.accessioned2017-03-16T21:53:17Z
dc.date.accessioned2018-01-22T22:31:48Z
dc.date.available2017-03-16T21:53:17Z
dc.date.available2018-01-22T22:31:48Z
dc.date.issued2016-05
dc.date.submittedMay 2016
dc.date.updated2017-03-16T21:53:18Z
dc.description.abstractIn the present research I approach the sonic materiality in the works of poets of the 20th Century from Chile, Argentina, Cuba, and Puerto Rico. I analize the works of Gabriela Mistral (1889–1957), Nicolás Guillén (1902–1989), Néstor Perlongher (1949–1992) and Pedro Pietri (1944–2004); all of them presenting particular approaches to the production, consumption, and representation of sound through poetry. This research works with notions of sound studies, performance, animal, sex-gender, and cultural studies, to explore the different forms in which these authors use sound as part of a poetic-politic of the spoken word. I explore also how in their uses of sound they problematize notions of cultural identity, political revolution, nation building, censorship and belonging. In the present study I propose that these four poets—Mistral, Guillén, Perlongher, and Pietri—use their sound production as a tool for a political and aesthetic exercise that materializes notions of identity, agency, and belonging. Also, I claim that each poet presents a sonic conscience, bot in the production of sound and hearing.; that is, from their behalf there is a performatic notion of their work as sound and voice. This allows them to explore topics of gender, race, politics, diasporas, and aesthetics that amplify their “resonance” no only in writing but also in the sono-sphere of language and body. Thus, I explore the recording of their voices and performances as archives in which is possible to practice a critical, material, and bodily listening. Together with that, on methodological terms, I propose mi own reading as part of a escucha profunda, in dialog with the elaborations of close listening by Charles Bernstein and an attention to the effects of “resound” (Jean-Luc Nancy) that leads the poetic phenomenon in a sense level, physical experience and perception (Don Idhe).
dc.description.departmentSpanish and Portuguese
dc.format.mimetypeapplication/pdf
dc.identifierdoi:10.15781/T2KD1QR1W
dc.identifier.urihttp://hdl.handle.net/2152/46104
dc.language.isoes
dc.subjectSound
dc.subjectMateriality
dc.subjectClose listening
dc.subjectLatin American poetry
dc.subjectMistral
dc.subjectGuillen
dc.subjectPerlongher
dc.subjectPietri
dc.subjectChile
dc.subjectArgentina
dc.subjectPuerto Rico
dc.subjectCuba
dc.titleCuerpos resonantes : sonidos y voces en la poesía del Caribe y el Cono Sur 1930-1980
dc.typeThesis
dc.type.materialtext

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