| Popis: |
I approach the work of Rosa Araneda, first, as part of the peasant poets who, at the end of the 19th century, emerge from rural areas to the city of Santiago and publish popular poetry printed on sheets, which today is known as lira popular. I examine how what operates in Rosa Araneda's production— the only female poet among her male peers—is a process, albeit partial, of dismantling the subject as a monolithic image, with a romanticidealist origin, harmonious in class and gender. I adopt Antonio Cornejo Polar's stance on the conflicted heterogeneity of our societies, fragmentation, the tension of subjectivities torn between diverse traditions and projects, in a constant process of transformation and appropriation. The definition of the subject would depend on the affiliation to which agendas, sectors, or cultural spaces it assumes throughout its social trajectory. Thus, the notion of subject in Rosa Araneda's work always operates as a relational category, in which the contradictions of the social system are embodied, internalized in her as a cultural agent and in her social practices. This text is organized by situating Rosa Araneda's production within the lira popular and then examining the configurations of gender. |
