Contemporary Women's Poetry

Paradise of thorns, Kosuke Ajiro People who read poetry People who write poetry O coñecemento poético "The world is divided into the subject of knowledge and experience -a position which humans claim exclusively for themselves -and the object of knowledge, a position which humans assign to all else. As a result, we humans are unable to experience and think of ourselves relationally, as part of the world, and we certainly cannot articulate such an experience." -Cornelia Gräbner, "Knowing Poetically: Notes on a Speculative Poetry Event" (2025) "Tínhamos a justiça codificação da vingança. A ciência codificação da Magia. Antropofagia. A transformação permanente do Tabu em totem." -Oswald de Andrade, "Manifesto antopofago" (1928)

arta Font Espriu (coord.) Sóc la foradada vertiginosa que escup aigua en un salt magnífic. Atrevim-nos a mirar-la. Ella s'afirma, gairebé, com a mite. Ens col•loca davant del somriure de la medusa per arriscar la mirada, sentir el vertigen i viure així l'anagnòrisi del cos. I del mirall de l'aigua en trenca la imatge espúria i immòbil per convertirse en una autèntica font que brutament toca la bellesa. Així, guiades pels versos d'Anna Dodas, obrim aquest breu recull de poemes. És el resultat de la Taula de joves poetes (2009) que organitza el Centre Dona i Literatura cada tardor. L'objectiu de reunir les quatre poetes que van participar-hi és crear un espai que sigui no només mostra de l'efervescent activitat poètica catalana amb diferencial femení sinó també l'afirmació d'un triple diàleg: primerament, veurem com Martina Escoda, Glòria Julià, Blanca Ripoll i Blanca Llum Vidal engeguen una autopoètica des del mateix punt de partida -els versos que hem posat com a epígraf i fil conductor de tot el discurs. En segon lloc, pretenem establir una reciprocitat amb l'apartat de creació de Lectora, 12, fet que ens porta al tercer punt, això és, la voluntat d'aportar una contribució palpable a la construcció in progress d'una antologia de joves poetes dones en català. Així, doncs, aquí presentem quatre veus poètiques que escriuen essent i estant en el "salt magnífic". Unes veus tan diferents entre elles com les se- Una taula per a quatre veus Marta Font Espriu (coord.

Este curso propõe uma abordagem interartística da literatura galega em diálogo com outras formas de expressão, como a música, as artes visuais, o cinema, a performance e o teatro. Através do estudo de obras centrais da tradição literária galega - da lírica medieval à poesia contemporânea -, explora-se a dimensão performativa, visual e simbólica da criação literária, bem como as suas ressonâncias em contextos artísticos diversos. Cada módulo analisa autores e obras significativas, relacionando-os com manifestações artísticas paralelas ou posteriores, a partir de comparações com autores portugueses. O curso privilegia uma perspetiva transdisciplinar, focando temas como o corpo, a voz, a imagem, a memória, a identidade e a política, em diferentes suportes e linguagens.

asentado que os dicionarios existentes en calquera das linguas analizadas eran androcéntricos 1 e sexistas 2 e contiñan no seu interior un tratamento desigual para a muller que, nalgúns casos, chegaba a ser denigratorio. O impacto social destas investigacións e o establecemento dunha corrente na sociedade que se inclina, ás veces con moita dificultade, á eliminación dos comportamentos anteditos, supuxeron que nos dicionarios redactados con posterioridade a estes estudos se intentase evitar o sexismo e o androcentrismo, aínda que non sempre con moito éxito.

HAL is a multidisciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

“ਮੇਰੀ ਮਾਂ ਦੀ ਕੁੱਖ ਮਜ਼ਬੂਰ ਸੀ!
 ਮੈਂ ਭੀ ਤਾਂ ਇਕ ਇਨਸਾਨ ਹਾਂ ,
 ਆਜ਼ਾਦੀਆਂ ਦੀ ਟੱਕਰ ਵਿੱਚ ਉਸ ਸੱਟ ਦਾ ਨਿਸ਼ਾਨ ਹਾਂ ,
 ਉਸ ਹਾਦਸੇ ਦਾ ਚਿੰਨ ਹਾਂ ,
 ਜੋ ਮਾਂ ਮੇਰੀ ਦੇ ਮੱਥੇ ਉੱਤੇ ਲੱਗਣਾ ਜ਼ਰੂਰੀ ਸੀ…..”

“When they forced my mother’s womb; I came as every child must come; [but] I’m the mark of that wound of freedom that has seared my mother’s face…”  - Excerpt from Majboor by Amrita Pritam

About 83,000 women were abducted during the Partition of Colonial India in 1947, highlighting how women’s bodies, especially their honour, become contested sites of power, rendering them the most vulnerable during wars. This vulnerability has led to the internalisation of trauma: visible in the scarcity of female voices in 1947 testimonies.
Understanding this silence today is especially difficult as firsthand accounts are dwindling fast, increasing reliance on intergenerational memories and Partition literature. Amongst Partition writers, one author who has not been as widely studied as her contemporaries is Amrita Pritam (1919-2005). Most known for ‘Pinjar’ and ‘Aaj Ankhan Waris Shah Nu’, Pritam gives agency to the silent – the women – by letting them unfold the narratives of their trauma. Employing Pritam’s literature and testimonies personally collected, this paper aims to investigate how abducted women embodied their trauma and passed it on through generations.
Keywords: Partition — trauma — testimonies — Amrita Pritam

This paper examines Sylvia Plath’s creativity in portraying taboo topics in
an artistic way. In “Lady Lazarus”, she fictionalized her own suicide attempts
and created a sympathetic persona to captivate the attention of the readers.
Nonetheless, Plath managed to navigate through taboo topics like suicide,
and she raised awareness on mental illness.

Este traballo céntrase na análise de Porque te quero, do poeta e artista visual Baldo Ramos. Este poemario conta con dúas edicións: unha de carácter comercial, publicada por Galaxia; e outra, realizada polo propio autor. Trátase dun libro caixa, de edición limitada e numerada. Este libro de artista presenta unha materialidade que condiciona a experiencia lectora e anima a unha exploración máis alá das convencións lóxicas da linguaxe e da racionalidade da páxina impresa en dúas dimensións. Por iso, desenvolvemos una análise comparativa entre as dúas edicións de Porque te quero. O propósito é determinar como a materialidade, as técnicas artísticas e de impresión, a disposición e representación do texto e a relación icónicoverbal inflúen na configuración de sentidos e mesmo na educación e goce estéticos.
This work analyzes Porque te quero, by the poet and visual artist Baldo Ramos. This book of poems has two editions: one of a commercial nature, published by Galaxia; and another, made by the author himself. This is a boxed book, limited edition and numbered. This artist's bookpresents a materiality that conditions there adding experience and encourages an exploration beyond the logical conventions of language and the rationality of the two-dimensional printed page. Therefore, we developed a comparative analysis between the two editions of Porque te quero. The purpose is to determine how materiality, artistic and printing techniques, the arrangement and representation of the text and the iconic-verbal relationship influence the configuration of senses and even aesthetic education and enjoyment.

Drawing on the theoretical framework developed by Camelia Elias, the paper focuses of the literary fragment in Slovak poetry. Together with the theoretical approaches of Fedor Matejov and Andrea Bokníková, it briefly points out the importance of the fragment in the development of Slovak poetry in the second half of the 20th century, resulting in the experimental-deconstructive line of Slovak poetry of the late 20th and early 21st century, for which fragment is a typical constructional textual element. The article traces how, using intertextuality, appropriation and irony, the fragment serves to reflect on cultural change. Particular attention is paid to the poetry of Michal Habaj, within which the fragment does not merely function as an incomplete remnant of the whole, but acts as a dynamic element capable of creating new links of meaning. Fragmentation appears in Habaj's poetry on the thematic and formal level, and also in the construction of authorial identities or subjects. The analysis of the subject-the cyborg is presented against the backdrop of the interpretation of the poem "Nezabudnúť: dnes, zajtra, včera" [Not to forget: today, tomorrow, yesterday] from the collection Korene neba. Básne z posledného storočia (Roots of heaven. Poems from the last century, 2000).

Letraheridas. Año 7. Núm. 41. Junio 2025. Bimestral
Revista de libros y cultura
Grupo Letraheridos

Petalografías. Montse González de Diego. GAIA
Bocadillos de colores. Juan Pablo Fuentes. Cómics
Ensaladilla rusa. Irina Mishina. El país de los hubieras
Pausa poética. Antonio Castilla. Hay cantera
Bioletras. Miriam Jareño Comellas. Iván el terrible
Cine y literatura. María Haro Cruz. El cine de Yasujiro Ozu
Crimen y libro. José María Tovillas Moran. Carmen Mola 2.0
Tú, Robot. S. Bonavida Ponce. Nucleomitofobia
Artículo. Jorge Navarro. El Decálogo
Artículo. María Haro Cruz. Va de festivales de cine
Artículo. Lesley Galeote. Mitos lingüísticos
Ficción.
Algo sobre mi madre (Julián Mut)
Polvo de tierra, sal de tierra (CŒMGENVS RYSSCANDVS)
Los últimos pasos del amor (Javier Huamán)

El antólogo es el escritor y diplomático español Eduardo de Ory, meritorio por su abnegada labor en favor de las relaciones entre España e Hispanoamérica. A pesar de sus buenas intenciones, el panorama de poetas argentinos que presenta su obra queda fuera del debate estético que tiene lugar en la Argentina en la segunda mitad de la década del 20, en el que las antologías cobran un papel relevante.

Todo contexto é situado, e esta tese non é unha excepción. Nas etiquetas dos produtos do agro, a normativa esixe que consten os ingredientes e a súa procedencia cando se trata de agricultura ecolóxica. A alegoría da terra venme ao caso porque o campo que fixo xermolar esta semente é a granxa familiar na que nacín. Estas páxinas non terían existencia sen as longas sesións de rozado de silvas dos camiños, traballo que con dedicación e entrega asumiron con ilusión Lucía, Pepe e Álvaro, a quen llo debo todo. A miña nai como a de Manolo Rivas sempre tivo claro que anovaba leiras a costa do lombo e as mans para que os chupóteros puidesen chegar ata o ceo. Nos camiños xa debrozados atopei profesores/as que me brindaron ferramentas novas, que como os lentes de Galileo mudaron o meu ollar para sempre. Comecei a reflexionar sobre a necesidade dunha ética igualitarista de man de Xavi, o meu profesor de Filosofía do instituto de Fontiñas. A el e a varias mestras máis débolle os sinais polo sendeiro, por veces escuro e solitario. Grazas a Teresa Moure, Chus Juanatei, Andrés Romarís, Loli Pose, e tantas outras. Son varias as persoas que regaron a miña semente do amor pola sabedoría, a etimoloxía da Filosofía, non lonxana ao resto das Letras. As bridas que fixeron medrar dereita a árbore da ciencia foron moitas, pero hóuboas especialmente certeiras na súa tarefa que aquí agradezo. Cada unha das follas, folium en latín, desta árbore do pensamento débelle a súa forma e agudeza á mestra de bata violeta que me convidou ao seu laboratorio das ideas cando só era un enxerto de púa de Comunicación e raíces de Filosofía. María Xosé Agra guiou e alimentou o crecemento desta árbore enxertada, interdisciplinar ao fin. Sempre brindándolle un espazo propio para facultar un crecemento autónomo, pero vixiada de preto por se os ventos ou as estacións a facían torcer ou estancaban o seu crecemento e precisaba dunha manta térmica. Nas follas desta árbore tamén están reflectidos os contactos con outras da mesma especienomeadamente aquelas coas que se intercambiou fontes onde beber e bosques aos que viaxar co maxín -pola rede-ou en presenza -os congresos-. O meu máis sincero agradecemento a Alicia Reigada,

"Il roveto" (sequence of 4 poems) with an Introduction to the collection by Luca Lenzini: The translator's notes. Brian and Anna Cole.

About the Translators

Anna and Brian Cole are a husband-and-wife translation team united by their deep engagement with contemporary Italian poetry. Their collaboration here centers on four poems from the section "Il Roveto", which gives its name to Erminia Passannanti’s full collection (Il Roveto, Troubador Publishing Ltd., 2005). Their partnership is grounded not only in literary acumen, but in a shared commitment to exploring challenging texts through both a linguistic and emotional lens. Brian Cole previously translated Passannanti’s Macchina (Manni Editore, 2000), introducing Anglophone readers to the author’s distinct poetic voice—philosophically complex, formally adventurous, and rich in allegorical resonance. With "Il Roveto", Anna joins the endeavour, bringing her interpretive clarity, philosophical insight, and poetic sensitivity to the translation process. Together, they approach Passannanti’s writing not merely as translators, but also as close friends of the poet. Their work on the four-part poem cycle Il Roveto reflects a partnership finely attuned to nuance: Anna’s background in philosophy and literature complements Brian’s experience with European poets such as Bartolo Cattafi and with Passannanti’s earlier work. The result is a translation that remains faithful to the original's density while opening its resonances to English-speaking readers, aided by their thoughtful commentary. Their collaboration is a testament to the relational nature of translation—between languages, between authors and interpreters, and, in this case, between two people joined by both creative vocation and personal affection.

The study analyses programmatic poems and poems about poetry or the status of a poet on the basis of selected texts by Ivan Krasko (1876 – 1958, poem Poetics of the Old Lyric) and Vladimír Roy (1885 – 1936, poem It is as if I have two souls...) from the first decade of the 20th century. Within the framework of interpretation, the author focuses on selected poetic features such as imagery, concentration, intensity, ambiguity, self-referentiality, authenticity and economy. She shows how conceptual and reflective thought led artists not only to delimitation of modern poetry and modernist subject, but to self-definition as well. Krasko’s modernist poetic programme challenged the notion of tradition and expressed his perceived place between the old and the new writing. The programme is aesthetically universal and connects in its basics to Paul Verlaine (his poem Art poétique), but it also has strong national and social aspects. However, the poem was not published until 1954, so it had no influence on contemporary cultural debates or on the poetics of Slovak modernist poets of the early 20th century. Although literary historians have subsequently classified it as a manifesto of Slovak symbolism, they have only retrospectively attributed to it a certain cultural and historical function that it did not fulfil at the time. These circumstances show that a poem with the potential of a (generational, group) manifesto remained at the level of an (individual) programme poem. Another type of reaction to modernity is Roy’s attempt to find language and form to express existential ambivalence of life, crisis and ambiguity of subject. His poem was read as an exalted and decadently stylized lyric gesture by a young poet, and despite the potential for generational statement, the expression of the individual psychic self was emphasized. Its designation as an individual programmatic poem is also secondary; it was created as part of a literary-historical reflection. Searching for a new relationship between modern sensitivity and poetic stylisation was a distinct part of these poetic expressions. While Krasko’s work represented modernism that was precise, restrained and balanced between subjectivity and objectivity, Roy chose the position of exerted subjectivity rooted in the modernist rupture and disintegration of the subject that originated in the simple fact that disintegrated world can only produce a disintegrated subject. Despite their different authorial intentions, genres and aesthetics, both poems confirm the modernist poetics of ambiguity. The ambiguity is already contained in their titles, which both characterise the text and suggest to the reader a realm of possible expectations. The poets thematise the ontological status of binary opposition, to which they add a binary imagery based on the figurative concretisation of individual ideas and their metaphorical elaboration. For them, ambiguity is a concept that links aesthetics and ethics (or aesthetics with a code of ethics and morality), not just a rhetorical correlate of binary thinking.

Entre luces y sombras, entre vigilia y sueño, entre realidad y ficción, la obra se convierte en un espejo en el cual el autor y el lector se ven reflejados y confrontados: desnudos, vulnerables, pero también llenos de potencial y posibilidad creativa. En cada página, el autor invita a cuestionar creencias, a explorar contradicciones y a abrirse a nuevas posibilidades de comprensión. El viaje interior lleva a explorar las profundidades de la psique y a descubrir las verdades más íntimas del ser humano. Cada etapa, cada capítulo, es una transformación, una metamorfosis del autor y del lector, una invitación a sumergirse en la experiencia de la libertad y la autenticidad. Es un llamado a enfrentar la caída libre hacia el abismo del conocimiento, donde la única certeza es la búsqueda y la asunción responsable de la propia vida.

This chapter focuses on works from Colette Bryce and Sinéad Morrissey – two poets born and raised amid the peace walls and the sectarian violence of the Troubles –  to seek out shared spaces in Northern Ireland. In this pairing of lyrics from Bryce – “Line,” 2000, and “The Residents,” 2008 – and Morrissey – “Advice,” 2005, and “The Singing Gates,” 2017 – both poets privilege interlinking ecologies over sundered borderscapes. Their works call forth and question border phenomena to disrupt the construction of a national identity that is territorially divisive, advancing the goal of nurturing a sensitivity to the effects of bordering. Karen Barad’s theory of “quantum entanglement,” alongside Jane Bennett’s concept of “vibrant matter,” ground this examination into the textual practices of border poems. By reinforcing the potentiality of shifting boundaries as sites of mutual responsibility, these lyrics embody materialist ontologies that make matter, especially shared matter, matter. Thus, the textual borders, peace lines, and interfaces that readers encounter therein become frontiers of cultural pluralism.

Zhou, Yan. “Whole and Without Blessing: Selected Translations of Female Poets for the 2023 International Women’s Day”, including Marianne Moore (1 poem), Anna Akhmatova (1 poem), Eavan Boland (1 poem), Wisława Szymborska (5 poems), Brigit Pegeen Kelly (4 poems), Jorie Graham (4 poems), and Linda Gregg. (22 poems). Commissioned by Enclave Poetry. March 2023.

This article is devoted to an analysis of the identity of a woman in the poetic book Tuż-tuż byJulia Fiedorczuk, published in 2012. This volume of poetry is also the first in Fiedorczuk’s oeuvrein which the poet touches upon the subject of motherhood – this feminine experience can be putwithin the framework of the notion of chthonicity belonging to the theory of sympoietic reading (Ubertowska, Koza 2023). The theme of female identity is considered in relation to the volumeTuż-tuż, as wellas the recognitions in the field of literary theory made by Fiedorczuk herself. Above all, through her poetry, but also through Julia Fiedorczuk’s theoretical and literary reflections, the ways in whichvarious roles can be understood: woman-poet, woman-researcher, woman-ecofeminist, woman-mother in times of anthropocentricity of poetry and culture are shown.

This article explores Troy as a multi-layered site of memory, narrative, and cultural heritage, within the context of a graduate-level heritage education course. Inspired by Pierre Nora’s concept of lieux de mémoire, the study interprets Troy not merely as an ancient city, but as a symbolic memory space reconstructed through myths, archives, silences, and reinterpretations. From Homeric epics to Hittite treaties, and from museum practice to digital culture, it argues for a deeper understanding of cultural identity through memory.

Este traballo céntrase na análise de Porque te quero, do poeta e artista visual Baldo Ramos. Este poemario conta con dúas edicións: unha de carácter comercial, publicada por Galaxia; e outra, realizada polo propio autor. Trátase dun libro caixa, de edición limitada e numerada. Este libro de artista presenta unha materialidade que condiciona a experiencia lectora e anima a unha exploración máis alá das convencións lóxicas da linguaxe e da racionalidade da páxina impresa en dúas dimensións. Por iso, desenvolvemos una análise comparativa entre as dúas edicións de Porque te quero. O propósito é determinar como a materialidade, as técnicas artísticas e de impresión, a disposición e representación do texto e a relación icónicoverbal inflúen na configuración de sentidos e mesmo na educación e goce estéticos.
Palabras chave
Libro de artista, poesía, materialidade.

This work analyzes Porque te quero, by the poet and visual artist Baldo Ramos. This book of poems has two editions: one of a commercial nature, published by Galaxia; and another, made by the author himself. This is a boxed book, limited edition and numbered. This artist's bookpresents a materiality that conditions there adding experience and encourages an exploration beyond the logical conventions of language and the rationality of the two-dimensional printed page. Therefore, we developed a comparative analysis between the two editions of Porque te quero. The purpose is to determine how materiality, artistic and printing techniques, the arrangement and representation of the text and the iconic-verbal relationship influence the configuration of senses and even aesthetic education and enjoyment.
Keywords
Artistbook, poetry, materiality.

Hoy tenemos un breve ejercicio de écfrasis, o escritura a partir de imágenes, realizada por Megumi Andrade Kobayashi, quien con estas líneas deja entrever el carácter libre y abierto de su trabajo como investigadora, escritora y curadora. El texto surge a partir de la exposición "Volver de noche", de Vicente Fuenzalida, realizada en la Galería Tiki-Taka en octubre del año pasado, pero vale como ejercicio autónomo, que nos conduce de la exposición al poema.

Texto literario en prosa publicado en la antología de poesía joven española 'Cuando dejó de llover. 50 poéticas recién cortadas' (Sloper, 2021), que actúa a modo de reflexión ensayístico-poética sobre los temas más centrales que subyacen a la antología y los problemas actuales de las generaciones jóvenes, desde el aspecto sociológico al ámbito lingüístico y literario.

Anais do II Encontro de Iniciação Científica e de Extensão da Unila - Sessão de Música, Linguística e Literatura - 03/07/13 – 13h30 às 18h30 - Unila-PTI - Bloco 09 – Espaço 03 – Sala 03El presente trabajo tiene como objetivo reconocer algunas voces femeninas contempor ́aneas de la literatura de la regi ́on rioplatense y dar a conocer esas producciones en Brasil, tra- duci ́endolas al portugu ́es y difundi ́endolas a trav ́es de Internet, con la pretensi ́on de contribuir con el proyecto de integraci ́ on latinoamericana, que es uno de los pilares de UNILA. Los poemas traducidos, como resultados parciales de la investigaci ́on, pertenecen a dos autoras uruguayas: Cristina Peri Rossi e Idea Vilari ̃ no, quienes comparten en su obra po ́etica algunas semejanzas a nivel estil ́ ıstico y tem ́atico, motivo por el que decidimos reunirlas. Utilizando los presupuestos de Stefanie Wimmer (2011) y aplic ́andolos a la traducci ́on literaria, traducimos de forma inversa, es decir, teniendo como...

Abstract

This study explores the intersection of stylistics in the English language and inflectional patterns in Nigerian languages, with a specific focus on Yoruba. Stylistics, as a field of linguistic analysis, examines how language choices influence meaning, tone, and communication in different contexts. English stylistics is characterized by phonological, lexical, syntactic, and discourse features that shape literary and non-literary texts. Meanwhile, Yoruba, a Niger-Congo language, exhibits a rich system of inflection primarily through tonal variations, reduplication, and auxiliary markers rather than affixation, as seen in English.

The study investigates how English and Yoruba differ in their stylistic applications, particularly in literature, poetry, and oral traditions. While English employs stress-based emphasis, extensive morphological inflection, and syntactic variation to convey meaning, Yoruba relies heavily on tonal inflection, contextual pluralization, and oral stylistic features such as proverbs (òwe), praise poetry (oríkì), and incantations. The research highlights the impact of these linguistic structures on communication, literature, and cultural identity.

Comedy attempts closeness, while tragedy distances, and perhaps, laughter is the best way to turn the tables on conventional storytelling, the erasure of feminine memory, and a prosthetic creation of a tradition, mythical or otherwise, for/of/by women. Carol Ann Duffy, in her revolutionary collection of poems, The World’s Wife, creates a startling, acerbic backdrop against which she holds stories from myriad sources—celebrated myths, figures of popular culture, stalwarts in different pedagogical fields, et cetera—into plain sight, but from the perspective of the other, the woman. This paper attempts to highlight the duplicitous function of humor and/or irony in the text in appropriating and subverting established discourse and the social function of laughter as a kind of social gesture. In Each of Duffy’s poems are, narrated by the oft-ignored woman dans les coulisses, who appropriates the universe of a fable or culture of which her husband is considered the precursor and reduces it to an endless catalog of moralizing platitudes. (Piat 242). Of course, Duffy does not ignore the more problematic nature of language in the process of representation and rewriting a story to be told from a perspective not heard before. Unlike male writers who suffer from the anxiety of influence with a heap of predecessors to take inspiration from, Duffy ingeniously signals the lack that women face—of motivation, individuality, and creativity, only to be judged by the naked eye. And to Duffy, the only solution is loud and defiant feminine laughter. Towards the end, this project expands to include the larger political and discursive significance of feminine laughter and humour, drawing on stand-up comedy and recent political events in India and the US and also opening up the scope of the paper to include the politics of black laughter.

In the general area of linguistics, although there is general stylistics that analyzes non-literary texts from diverse areas such as advertising, politics, religion, and daily conversations, the term stylistics stands to more commonly refer to the analysis of the literary language. Stylistics is a vital discipline that bridges the gap between language and literature. In its essence, stylistics is the study of linguistic features-such as syntax, phonology, morphology, and semantics-and how they contribute to the aesthetic and interpretive qualities of literary texts. The study of stylistics allows the readers to delve deeper into the artistry of language. Additionally, the field of stylistics reveals the subtle nuances and underlying structures that shape meaning and evoke emotional responses, two elements that make meaning. Stylistics provides linguists with invaluable tools for analyzing a wide range of literary texts, ranging from classical literature to modern media. The linguistic tools examine the stylistic devices employed by authors, to gain insights into their unique voices, intentions, and the cultural contexts in which their works were produced. This analytical approach not only enhances the readers' appreciation of literary works but also equips them with the skills to critically interact with the linguistic choices of the authors.

Descrição e análise da actuação perfopoética de Silvia Penas com o título “Uma mulher ainda não parou o mais longo gemido do mundo — Revisitar O Ano de 1993 de José Saramago”, realizada no contexto da exposição “Graça Morais e José Saramago: a Arte de Pensar O Ano de 1993” (Vigo, Afundación, 27/10/2022).

Ambitos Feministas vol. 10 otoño 2021
ÍNDICE
FEMINISTAS UNIDAS ESSAY AWARD
Convocatoria 2021
Ángela Acosta. Imagining Queer Futures through the Autobiographical Self:Queer Womanhood in Elena Fortún’s Oculto sendero 7
CRÍTICA
Irene Gómez-Castellano. ¿Feminismo para flacas?: La normalización de las dietas en el arte de las mujeres españolas desde los 90 hasta hoy 27
Diana Norton. #ThanksFor(Not)Typing Richard: Misogyny, “Himpathy”
and La tesis de Nancy in the #MeToo Era 49
Inmaculada Pertusa Seva. El extrañamiento de la violencia expresiva contra la mujer en Flor seca de Graziella Moreno 67
María Elva Echenique. Escritura femenina y violencia social:
Bajo el oscuro sol de Yolanda Bedregal 85
Katie Vater. Body Language: Disordered Eating, Feminism,
and the Immigrant Experience in Najat El Hachmi’s La filla estrangera 111
Sarah Valentín-Sánchez. Debate feminista sobre la prostitución en el cine español: En la puta vida y Biografía del cadáver de una mujer 131
Emily E. Frankel. (Re)Signifying Spaces of Violence in Present-Day Chile:
The Herstories of Colectivo de Mujeres Sobrevivientes
Siempre Resistentes 149
CREACIÓN
Anita Cantillo
Hispanic 181
Nepenthe 182
Proof 18

This paper examines the syntactic forms and aesthetic functions in Niyi Osundare's essay (1987) "The Distance of Power" from a discourse stylistic perspective. The goal is to describe the syntactic forms employed in the essay to convey the abuse of power by Nigeria's ruling class and the aesthetic functions of the syntactic forms. Drawing on the findings of descriptive textual analysis, ten excerpts from the essay were subjected to critical analysis using the Discourse-Stylistic model. Findings reveal that complex sentences, parallel structures, and interrogative clauses form the configuration of the syntactic forms used in the essay. Complex sentences were used to extend ideas and elaborate on details. Parallel structures were used throughout the essay for rhetorical emphasis, multidimensional representations, and specification. Interrogative structures elicit sentiments of disappointment, indignation, and fear in readers regarding the essayist's discourse topic.