Please use this identifier to cite or link to this item: http://hdl.handle.net/11707/5439
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dc.contributor.authorCervera Salinas, Vicente-
dc.date.accessioned2016-05-03T10:08:48Z-
dc.date.available2016-05-03T10:08:48Z-
dc.date.issued2014-06-
dc.identifier.urihttp://hdl.handle.net/11707/5439-
dc.description.abstractThis 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.en_US
dc.language.isoesen_US
dc.publisherVenezia: Edizioni Ca' Foscarien_US
dc.relation.ispartofseriesRassegna Iberistica;101/2014-
dc.subjectIberisticaen_US
dc.subjectLatin American poetry -- 20th century-
dc.subjectBonnett, Piedad (1951- )-
dc.subjectIspanoamericanistica-
dc.titleVoces plurales en la poesía de Piedad Bonnetten_US
dc.typeArticleen_US
Appears in Collections:Rassegna iberistica

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