I always wondered about that shadow by on the swing. It was a girl. She didn't even go far into the sky. I pondered at the girl's shadow before taking my risk and. Type: Article; Author(s): Alexandra Fitts; Volume: 24; Issue: 1; Page start: 23; Page end: 35; Check for local electronic subscriptions; Web address. La condesa sangrienta [SANTIAGO CARUSO ALEJANDRA PIZARNIK] on *FREE* shipping on qualifying offers. «, Sentada en su trono.


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An Interdisciplinary Readerfills in this gap. She is as multi faceted as a brightly lit disco ball and whether she is working on her books, creating and recording her music, training at Dressage or arguing the case for both disabled and sighted counterparts her mind is always engaged.

In addition to author entries, other themes are explored, such as humor in contemporary Latin American fiction, lesbian literature in Latin America, magic, realism, or mother images in Latin American literature.

Pizarnik's father is dead at the time of the poem marked by the deictic "entonces," literally from an autobiographic point of view in and dead in terms of "la lengua muerta y fria en la boca" which may also be taken as a reference to a languageperhaps la condesa sangrienta pizarnik the sense of a sociolect-spoken by the father and eliminated by the Holocaust or-as an ideolect-by whatever general extermination the poet has in mind.

The "[no] A, sino B" structure of the poem, whereby the father's song cannot be sung "en este mundo de jardines obscenos y de sombras," but can be sung "desde la torre mas alta de la ausencia," is metonymized both in terms of the mouth whose tongue is the source of poetic expression and the eyes that contemplate the exterior world and the voice that projects the song back out into the world from which it came to the extent that he is repeating "cantos de su tiempo de muchacho".

Alejandra Pizarnik's "La condesa Sangrienta" and the Lure of the Absolute

What is truly remarkable about this poetic text is that, in the face of so many inscriptions of emotional and physical fragmentation in Pizarnik's writing, along with an abundance of images of violence and death, "Poema para el padre" is essentially integrative, and it is based on the recovery of the function of the dead tongue and the efficacious production of the absent anatomical features that give shape to the restored song.

The images of the final la condesa sangrienta pizarnik of the poem, with their apparent overdetermined reference to the counterproductivity of poetic discourse- the opaque, the occult, silence, and empty spaces that are, moreover, shifting-ultimately refer to a fullness of expression, through the daughterly agency of the surrogate father, that is otherwise quite the la condesa sangrienta pizarnik of the failure of expression in Pizarnik's poetry.


Furthermore, if the daughter is speaking on behalf of la condesa sangrienta pizarnik David William Foster HR 62 father which is why the poem is entitled "para el padre" and not "del padre" or "por el padre"she cannot be said to be revalidating a phallocentric, patriarchal discourse; I am overlooking the discourse politics involved in anyone attempting to speak for anyone else, especially one judged by the speaker to require someone else's voice.

The point is that this father's voice is the voice of the oppressed, the marginal, and the silenced, and she is engaging in a process of revoicing it.


The process of revoicing depends on the recovery and reintegration of the bodily instruments of the father that had become absent because they had died, and it is the memory of that death that brings the song back, just as the circumstances of suffering and death had brought the songs of collective memory into the father's consciousness.

And it is this restored song that ultimately echoes in the writing of the words by the poet with which the poem closes. From a feminist point of view, Pizarnik suggests a significant alternative dimension to the phallocentric voice: This is hardly a revindication of phallocentrism, since the anatomical points of reference of the father underscore his own victimization at the hands of the masters "que no [10] dejaron cantar.

The phallocentric silencing by a direct menace to the body is the basis of la condesa sangrienta pizarnik important composition, The Body in the Poetry ofPizarnik a sequence of fragments taken from one of Pizarnik's most important compositions, the title poem of Extracci6n de la piedra de locurawhich is dedicated to her mother: Rapido, tu voz mas oculta.

Se transmuta, te transmite.


Tanto que hacer y yo me deshago. Te excomulgan de it. Sufro, luego no see En el sueiio el rey moria de amor por mi.

Aqui, pequeiia mendiga, te inmunizan.

La Condesa Sangrienta Por Alejandra Pizarnik | eBay

Y aun tienes cara de niiia; varios aiios mas y no les caeras en gracia ni a los perros. Paisajes prodigiosos para la infancia mas fiel. La condesa sangrienta pizarnik falta de eso-que no es mucho- la voz que injuria tiene razon.

La tenebrosa luminosidad de los sueiios ahogados. Rather, the sequence seems to shift between a direct reflexive characterization and the characterization of the self via a disengaged second-person vocative "Se transmuta, te transmite".

The fact that a disengaged personal referent is involved is likely most apparent in the deprecatory parenthetical statement. In any case, what at most is involved la condesa sangrienta pizarnik a mirrored doubling of the poetic voice cf.

The poem turns on the hyperbolic description of both "mi estar y de mi ser" as confused and dispersed, which involves something like a hypostasis of any attributes associated with estar, since, by definition, they cannot, in the realm of everyday language, constitute material attributes.

The iterative references to destruction are accompanied by specific verbs that refer to acts la condesa sangrienta pizarnik agents of power which, with David William Foster HR 62 the exception of the dream-land "rey," are unnamed: In this context "la que fue sofiada" may even be construed as referring to the object of an act of power, especially to the extent that if the threatening other dreams you, you cannot properly dream yourself, and the other determines your being both ser and estar in a way contrary- cf.