The constitution of lyric poetry as a literary category encouraged the correlating indefinition of the concept of poetry, and, as a result, the conceptual convergence between poetry and lyric poetry, with four decisive historical moments:
1) the absence of classical theoretical referents and a classicist readjustment of the lyrical genre with fluctuating criteria, inscribed, in certain cases, in the thematic;
2) the unification of “non epic” poetic forms in a common catalogue;
3) the tendency towards the medial and functional hybridization of these forms through the orality - song - dance convergence, and later through plastic and visual connections, or, in another dimension, towards didactic, narrative, confessional, metapoetic discourse, etc.;
4) the romantic concretion of an elocutive and sentimental theory of poetic language and a simultaneous abandon of pre-Kantian subjectivity. This fourth dimension caused a pragmatic shift with repercussions to I/you poetic identity and discursive conditions such as brevity, intensity, or presentness.

This project will study the mode in which this confusion was reformulated in modernity and postmodernity. The initial objective is to analyze the consequences of the functional instability of subject/author in the constitution of the poetic I and in the social and cultural projection of poetry in the public sphere, with the parallel questioning of the critical, cultural, and political dimensions of poetry, as well as attention tending toward the diversification of medial and discursive hybridization practices and their localization in specific spaces.

The incorporation of narrativity and dialogism (dramatizing and otherwise) in poetic discourse will be studied, as well as the essayistic expansion of poetic diction. The latter implies a functionality different from the dispositive, argumentative, and performative elements of poetry and, together with other options, represents an important break with the inscription of lyric poetry in that which is private (personal, aulic, and corporative…), favoring an extension towards the public. Of equal interest are the interartistic, intermedial, and hypertextual connections of poetry in its pragmatic, sociological, and culturalogical dimensions; as well as new subjects, new publics, and new spaces.

A consequence of the specified objectives will be the appearance of comparative readings at a spatial and historical level. The latter refers in particular to the coexistence of premodern and postmodern poetic practices such as the coexistence of forms of orality linked to neo-indigenism in Latin America, for example. Another point of interest is are peripheral and intercultural subjectivities, in relation to non-lyric poetic practices. Linked to this perspective, the language and the culture’s translative character will be addressed in relation to the experience of the world and its narrative.