“El hueso se convirtió en un hueso que escribe”: Gelman between “juan” and “Juan”

  • Sebastián Urli Bowdoin College
Keywords Gelman, Argentine Poetry, Self-figuration, Poetry and Politics

Abstract

Abstract

This article studies the self-figuration processes that argentine poet Juan Gelman displays in his first four books of poetry and the connections that these practices have with his following and most important books of the late Seventies and Eighties. By using some ideas by Agamben, Robin and Rancière among others, this article analyzes the relationship between politics and self-figuration and the tension in the first books between a, in appearance, self-referential “Juan” and a more politically and socially involved “juan”. These two “juanes” are the first manifestation of a broader question that seems to haunt Gelman’s poetry: how to portray himself, how to create a literary persona “Gelman” that is socially aware of the political struggles of those other “juanes” but who doesn’t confine his practice as a poet to a unilateral anticipatory cluster of meanings that, in fact, ends up undermining politics and political possibilities of resistance?

 

 

Author Biography

Sebastián Urli, Bowdoin College
Sebastián was born in Quilmes, Buenos Aires, Argentina. He is an Andrew Mellon Postdoctoral Fellow in the Department of Romance Languages and Literatures at Bowdoin College. In 2016 he earned a Ph.D. in Hispanic Languages and Literatures from the University of Pittsburgh and a second Ph.D. in Études ibériques et latino-américaines from the Laboratoire d’Etudes Romanes, part of the School of Pratiques et théories du sens at the Université de Paris 8. Sebastián has published critical articles and reviews in journals such as Cuadernos LI.RI.CORevista de la Biblioteca Nacional de UruguayRevista Iberoamericana and Variaciones Borges, among others.
Published
2017-09-18
Section
Articles / Artículos