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The paper aims to analyze a growing figure in Spanish-language literature – the independent writer-editor, using the case of the Argentine avant-garde writer and independent editor Damián Tabarovsky. The paper is structured in two sections of analysis that seek to provide a comprehensive view of a complex issue involving both writing and publishing. The first section critically examines the relationship between literature and work, questioning Bernard Lahire’s sociology of literature by introducing notions such as “recognition” or “valorization.” The second part uses the example of Damián Tabarovsky and Mardulce Editora to simultaneously consider Tabarovsky’s aesthetics and politics of aesthetics on the one hand, and the editorial poetics of Mardulce on the other, aiming to offer insights into the impact the Argentine writer-editor had on the literature of his time. El presente texto se propone analizar una figura en expansión en la literatura en castellano, como es el escritor-editor independiente, tomando para ello el caso del escritor de vanguardia y editor independiente argentino Damián Tabarovsky. El trabajo se articula en dos bloques de análisis que tratan de ofrecer una visión completa de un hecho complejo que involucra a la escritura y a la edición. El primer bloque piensa, de forma crítica, la relación entre literatura y trabajo, problematizando, entre otras, la sociología del hecho literario de Bernard Lahire mediante la introducción de nociones como «reconocimiento» o «valorización». En la segunda parte, se utiliza el ejemplo de Damián Tabarovsky y de Mardulce Editora con el objetivo de pensar, en un mismo movimiento, la estética y política de la estética de Tabarovsky, por un lado, y la poética editorial de Mardulce, por otro, tratando de aportar una mirada sobre la intervención del escritor-editor argentino en la cultura literaria de su tiempo. Namen tega besedila je analizirati uveljavljajoči se lik v literaturi v španskem jeziku, neodvisnega pisatelja založnika, na primeru argentinskega avantgardnega pisatelja in neodvisnega založnika Damiána Tabarovskega. Delo je razdeljeno na dva sklopa, ki poskušata ponuditi celovit pogled na kompleksno situacijo, ki vključuje pisanje in založništvo. Prvi sklop kritično preučuje odnos med literaturo in delom ter med drugim problematizira sociologijo literarnega dejanja Bernarda Lahira z uvedbo pojmov, kot sta »priznanje« in »valorizacija«. V drugem delu na primeru Damiána Tabarovskega in založbe Mardulce Editora avtorja razmišljata o estetiki in politiki estetike Tabarovskega na eni strani in Mardulcejevi uredniški poetiki na drugi ter skušata prikazati, kako je argentinski pisatelj založnik posegel v literarno kulturo svojega časa. El presente texto se propone analizar una figura en expansión en la literatura en castellano, como es el escritor-editor independiente, tomando para ello el caso del escritor de vanguardia y editor independiente argentino Damián Tabarovsky. El trabajo se articula en dos bloques de análisis que tratan de ofrecer una visión completa de un hecho complejo que involucra a la escritura y a la edición. El primer bloque piensa, de forma crítica, la relación entre literatura y trabajo, problematizando, entre otras, la sociología del hecho literario de Bernard Lahire mediante la introducción de nociones como «reconocimiento» o «valorización». En la segunda parte, se utiliza el ejemplo de Damián Tabarovsky y de Mardulce Editora con el objetivo de pensar, en un mismo movimiento, la estética y política de la estética de Tabarovsky, por un lado, y la poética editorial de Mardulce, por otro, tratando de aportar una mirada sobre la intervención del escritor-editor argentino en la cultura literaria de su tiempo.

At the beginning of the 21st century, there is still no generally accepted comprehensive definition of the lyric or differentiated modern toolkit for its analysis. The reception of poetry is largely characterised either by an empathetic identification of critics with the lyric persona or by exclusive interest in formal patterning. The present volume seeks to remedy this deficit. All the contributors 'theorise' the lyric to overcome the impasse of an impressionistic and narrowly formalistic critical debate on the genre. Their papers focus on a variety of different questions: the problem of establishing a framework for definition and classification; the search for dynamic and potent critical approaches; investigations of poetry's cultural performance and its fundamental relevance for the construction of group cohesion. The essays collected in this volume offer a consciously polyphonic range of theories and interpretations, suggesting to the reader a variety of theoretical frameworks and practical illustrations of how a discussion of poetry may be firmly grounded in modern literary theory.

Blotted Lines rebuffs centuries of mythologization about the creative process-the idea that William Shakespeare \"never blotted out line\"-to argue that by studying how early modern writers faced the challenges of writing poetry, instructors today can empower their students' approaches to critical writing. Adhaar Noor Desai offers deeply researched accounts of how poetic labor intersected with early modern rhetorical theory, material culture, and social networks. Tracing the productive struggles of such writers as George Gascoigne, Philip Sidney, John Davies of Hereford, Lady Anne Southwell, and Shakespeare across their manuscripts, Desai identifies in their work instances of discomposition: frustration, hesitation, self-doubt, and insecurity. Inspired to unmake their poems so that they might remake them, these poets welcomed discomposition because it catalyzed ongoing thinking and learning. Blotted Lines brings literary scholarship into conversation with modern composition studies, challenging early modern literary studies to treat writing as both noun and verb and foregrounding the ways poetry and criticism alike can model for students the cultivation of patience, collaboration, and risk in their writing.

Modernity's Mist explores an understudied aspect of Romanticism: its future-oriented poetics. Whereas Romanticism is well known for its relation to the past, Emily Rohrbach situates Romantic epistemological uncertainties in relation to historiographical debates that opened up a radically unpredictable and fast- approaching future. As the rise of periodization made the project of defining the \"spirit of the age\" increasingly urgent, the changing sense of futurity rendered the historical dimensions of the present deeply elusive. While historicist critics often are interested in what Romantic writers and their readers would have known, Rohrbach draws attention to moments when these writers felt they could not know the historical dimensions of their own age. Illuminating the poetic strategies Keats, Austen, Byron, and Hazlitt used to convey that sense of mystery, Rohrbach describes a poetic grammar of future anteriority--of uncertainty concerning what will have been. Romantic writers, she shows, do not simply reflect the history of their time; their works make imaginable a new way of thinking the historical present when faced with the temporalities of modernity.