Summary, in English
Parting from Henri Meschonnic’s poetics of rhythm, this study explores the rhythmic configuration in eight poems of Juan José Saer’s barely commented poetry collection, El arte de narrar. Poemas (2000). Meschonnic’s poetics conceives of rhythm as the movements of a form, which is open and multiple and whose dispositions reveal a poetic subject’s voice, orality and corporeal nature. This study departs from the observation that the poems present vibratory or oscillatory rhythmical movements in the textual body’s structure, from which a variety of voices are projected. In the poems I analyze and discuss the rhythmic configurations of a multiplicity of elements on a thematic axis (configurations of voices), a generic axis (phonetic, accentual, lexical, figural configurations) and a metaphorical axis (configurations of poetic images). This study shows that the movements and dispositions of linguistic, rhetoric and discursive elements link language, poetry and discourse in a continnuum of significance, which directs the semantic value and the meaning of the poems. This approach reveals that such movements and dispositions bring about a pan-rhythmics, where a rhythm of thought, arrhythmical structures, polymetric rhythms, regressive and syntactic rhythms converge simultaneously. Moreover, through rhythm the poems exhibit a relation to literary tradition marked by the inclusion of primitive or arcaic rhythmical patterns, modern poetry’s search for rhythmic sound patterns and avant-garde poetry’s search for visual rhythms. El arte de narrar presents, thus, intense rhythmic and poetic experimentation in brief texts, which examine minuscule processes that connect spaces, times, bodies and genres.