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 a recent article defining his concept of “poesía postpoética,” Agustín Fernández Mallo chides and challenges his contemporaries for being behind the times. While not completely eschewing more traditional techniques of intertextuality and imagery, Fernández Mallo does stress the need to incorporate scientific and mathematical imagery. His book-length poem,  Joan Fontaine Odisea (mi deconstrucción)  (2005), exemplifies his “poesía postpoética” in its use of allusions to high and popular culture, and scientific concepts, along different types of discourse, to disrupt the commonplace perception of a unified poetic voice. This article will focus on  Joan Fontaine Odisea  as a modern poetic sequence that includes paratextual elements, framing devices, and images such as Dirac’s Delta function in particular, to provide readers with some preliminary strategies for reading and appreciating this work and Fernández Mallo’s “poesía postpoética.” The theoretical basis will rely on the philosophy of Deleuze and Guattari and on a recent book by Elizabeth Grosz,  Chaos, Territory, Art

Beyond the Pale: “Poesía Postpoética” in Agustín Fernández Mallo’s Joan Fontaine Odisea