出版社：Universidad de Chile. Facultad de Filosofía y Humanidades
摘要：The aim of this work is to study Joaquín Giannuzzi´s books of poems Señales de una causa personal (1977) and Principios de incertidumbre (1980) published during the Argentine military dictatorship. The two other follow-ups, Violín obligado (1984) and Cabeza final (1991), maintain the disillusioned tone and the withdrawn kind of look that prevailed in the first two works, thus establishing a clear difference with his previous poetry, published before the military dictatorship. As a matter of fact, a certain faith in the power of words having an effect on the social context is noticed in volumes like Contemporáneo del mundo (1962) and Las condiciones de la época (1967). A look turned on to the outside world, a world where the coordinates of History could be discerned, clearly prevailed in those early works. A turning point starting during the "age of plumb" poems is sustained by the retreat of his look towards an innerworld, accompanied by an increasing presence of the physical, to a point where the body becomes a metaphor of social illness. Therefore, (as the unbearable is experienced), we propose that the writing strategies for concealing its own discourse establish themselves as a way of poetry- and of self- preservation.
其他摘要：The aim of this work is to study Joaquín Giannuzzi´s books of poems Señales de una causa personal (1977) and Principios de incertidumbre (1980) published during the Argentine military dictatorship. The two other follow-ups, Violín obligado (1984) and Cabeza final (1991), maintain the disillusioned tone and the withdrawn kind of look that prevailed in the first two works, thus establishing a clear difference with his previous poetry, published before the military dictatorship. As a matter of fact, a certain faith in the power of words having an effect on the social context is noticed in volumes like Contemporáneo del mundo (1962) and Las condiciones de la época (1967). A look turned on to the outside world, a world where the coordinates of History could be discerned, clearly prevailed in those early works. A turning point starting during the "age of plumb" poems is sustained by the retreat of his look towards an innerworld, accompanied by an increasing presence of the physical, to a point where the body becomes a metaphor of social illness. Therefore, (as the unbearable is experienced), we propose that the writing strategies for concealing its own discourse establish themselves as a way of poetry- and of self- preservation.
