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Through this article, we aim to illustrate the intrinsic complexity of José María Micó’s poetry with a musical vocation as a case study for a translational poetics based on Henri Meschonnic's theory of rhythm. The latter, through the concept of ‘significance’, allows us to address the issue beyond dichotomies: the book Blanca y azul(2017), which includes not only poetry in music but also about music, makes the tightrelationship between form and content the core of the texts, representing a particularly enlightening case study.
Attraverso questo articolo ci proponiamo di illustrare l’intrinseca complessità della poesia a vocazione musicale di José María Micó come caso di studio per una poetica traduttiva basata sulla teoria del ritmo di Henri Meschonnic. Questi, tramite il concetto di ‘significanza’, permette infatti di affrontare la questione al di là delle dicotomie: il libro Blanca y azul (2017), che raccoglie non solo poesia in musica ma anche sulla musica, fa della stretta relazione tra forma e contenuto il fulcro dei testi che lo compongono, rappresentando un caso di studio particolarmente illuminante.
Through this article, we aim to illustrate the intrinsic complexity of José María Micó's poetry with a musical vocation as a case study for a translational poetics based on Henri Meschonnic's theory of rhythm. The latter, through the concept of ‘significance’, allows us to address the issue beyond dichotomies: the book Blanca y azul (2017), which includes not only poetry in music but also about music, makes the tight relationship between form and content the core of the texts, representing a particularly enlightening case study.
