{"title":"翻译中的跨诗学","authors":"Liz Rose","doi":"10.1215/23289252-10273238","DOIUrl":null,"url":null,"abstract":"\n In their poem “I, Monster Mine” (“Yo monstruo mío”) Argentine activist and self-proclaimed trans* sudaca artist Susy Shock demands the right to be “whatever my pinche desire fucking feels like.” By centering desire, Shock's poem echoes contemporary feminist theorizing in Argentina and calls into question the construction of normative human subjects via the semantic claim to the word monster, yet evades recourse to global North theories of trans* subjectivity.","PeriodicalId":44767,"journal":{"name":"TSQ-Transgender Studies Quarterly","volume":null,"pages":null},"PeriodicalIF":1.8000,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Trans* Poetics in Translation\",\"authors\":\"Liz Rose\",\"doi\":\"10.1215/23289252-10273238\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n In their poem “I, Monster Mine” (“Yo monstruo mío”) Argentine activist and self-proclaimed trans* sudaca artist Susy Shock demands the right to be “whatever my pinche desire fucking feels like.” By centering desire, Shock's poem echoes contemporary feminist theorizing in Argentina and calls into question the construction of normative human subjects via the semantic claim to the word monster, yet evades recourse to global North theories of trans* subjectivity.\",\"PeriodicalId\":44767,\"journal\":{\"name\":\"TSQ-Transgender Studies Quarterly\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.8000,\"publicationDate\":\"2023-02-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"TSQ-Transgender Studies Quarterly\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1215/23289252-10273238\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"SOCIAL SCIENCES, INTERDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"TSQ-Transgender Studies Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/23289252-10273238","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"SOCIAL SCIENCES, INTERDISCIPLINARY","Score":null,"Total":0}
In their poem “I, Monster Mine” (“Yo monstruo mío”) Argentine activist and self-proclaimed trans* sudaca artist Susy Shock demands the right to be “whatever my pinche desire fucking feels like.” By centering desire, Shock's poem echoes contemporary feminist theorizing in Argentina and calls into question the construction of normative human subjects via the semantic claim to the word monster, yet evades recourse to global North theories of trans* subjectivity.
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