English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

In this essay, I consider three of Luis Cernuda’s poems dealing in art and spectatorship as models for how he might have imagined queer erotic desire. Analyses of two of Cernuda’s ekphrastic poems show how the poet made both aesthetic and erotic experience perceptible and palpable within intertwined bodily and temporal relations. I read these ekphrastic exercises in light of Daniel Aguirre-Oteiza’s “poetic memory” as a concept that anchors poetic forms to a spectral and recurrent temporality exacted in the bodies of poet and reader. Then, I turn to one of Cernuda’s later poems, “Luis de Baviera escucha  Lohengrin ”, in order to demonstrate how poetics and performance converge in the poet’s work. “Luis de Baviera” exemplifies the experience of materially felt desires across time and links Cernuda (and, us, his readers) to a history of (male homo)erotic attachments. In the article’s conclusion, I suggest centering Luis’s modes of feeling as a method to make reverberations of affect and relation cohere as a shared knowledge outside of and against historical time.

Luis listens to Lohengrin : Luis Cernuda’s desire across queer time