<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1665-1200</journal-id>
<journal-title><![CDATA[Tópicos del Seminario]]></journal-title>
<abbrev-journal-title><![CDATA[Tóp. Sem]]></abbrev-journal-title>
<issn>1665-1200</issn>
<publisher>
<publisher-name><![CDATA[Benemérita Universidad Autónoma de Puebla, Seminario de Estudios de la Significación]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1665-12002022000100136</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Ritmo, poética y subjetividad. El anclaje enunciativo de la semiótica tensiva]]></article-title>
<article-title xml:lang="en"><![CDATA[Rhythm, Poetics and Subjectivity. The Enunciative Anchoring of Tensive Semiotics]]></article-title>
<article-title xml:lang="fr"><![CDATA[Rythme, poétique et subjectivité. L&#8217;ancrage énonciatif de la sémiotique tensive]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Estay Stange]]></surname>
<given-names><![CDATA[Verónica]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Moutat]]></surname>
<given-names><![CDATA[Audrey]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Instituto de Estudios Políticos de París  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad de Limoges  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>France</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2022</year>
</pub-date>
<numero>47</numero>
<fpage>136</fpage>
<lpage>155</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1665-12002022000100136&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1665-12002022000100136&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1665-12002022000100136&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo propone una revisión de la teoría del ritmo esbozada por Claude Zilberberg en sus diferentes escritos, remitiéndola al tema de la subjetividad tal como se constituye en el discurso y gracias a él, a través del acto enunciativo. Se trata pues de establecer un diálogo entre la semiótica tensiva, la semiótica de las instancias enunciantes, y una fenomenología del lenguaje asociada a la problemática de la voz &#8212;y, más profundamente, del soplo, cuyas propiedades semióticas fueron analizadas por Raúl Dorra&#8212;, con el objetivo de mostrar que, lejos de ser una abstracción objetivante, la hipótesis tensiva puede concebirse como un enfoque estrechamente vinculado al cuerpo, y gestado a flor de piel. Para ello, las consideraciones teóricas iniciales son confrontadas con el análisis de cuatro fragmentos de obras literarias &#8212;un poema de Henri Michaux, una novela de Louis-Ferdinand Céline, un poema de Ghérasim Luca y una obra de teatro de Samuel Beckett&#8212; que ponen en evidencia el sustrato tensivo de la enunciación (y, más precisamente, del soplo enunciativo), así como la importancia del ritmo en el advenimiento del sujeto.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article returns to the theory of rhythm sketched by Claude Zilberberg in his various works, to relate it to subjectivity as it is constituted in and by discourse, through the enunciative act. We thus try to generate a dialogue between tensive semiotics, the semiotics of enunciating instances and a phenomenology of language related to the subject of the voice &#8212;and, more deeply, of the breath as analyzed by Raúl Dorra&#8212; in order to show that, far from being an objectifying abstraction, the tensive hypothesis can be envisaged as an approach as close as possible to the subject, and directly linked to the body. To do this, the initial theoretical considerations are then confronted to the analysis of four extracts from literary works &#8212;a poem by Henri Michaux, a novel by Louis-Ferdinand Céline, a poem by Ghérasim Luca and a theater play by Samuel Beckett&#8212; which highlight the tensive substrate of enunciation (and, more precisely, of enunciative breath) and the role of rhythm in the emergence of the subject.]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé Cet article revient sur la théorie du rythme esquissée par Claude Zilberberg dans ses différents travaux, pour la rapporter à la subjectivité telle qu&#8217;elle se constitue dans et par le discours, à travers l&#8217;acte énonciatif. Nous tentons ainsi de faire dialoguer la sémiotique tensive, la sémiotique des instances énonçantes et une phénoménologie du langage rattachée à la problématique de la voix &#8212; et, plus profondément, du souffle tel qu&#8217;il a été analysé par Raúl Dorra &#8212; afin de montrer que, loin d&#8217;être une abstraction objectivante, l&#8217;hypothèse tensive peut être envisagée comme une approche au plus près du sujet, et à même le corps. Pour ce faire, les considérations théoriques initiales sont confrontées ensuite à l&#8217;analyse de quatre extraits d&#8217;&#339;uvres littéraires &#8212; un poème d&#8217;Henri Michaux, un roman de Louis-Ferdinand Céline, un poème de Ghérasim Luca et une pièce de théâtre de Samuel Beckett &#8212; qui mettent en évidence le substrat tensif de l&#8217;énonciation (et, plus précisément, du souffle énonciatif), ainsi que le rôle du rythme dans l&#8217;avènement du sujet.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[enunciación]]></kwd>
<kwd lng="es"><![CDATA[subjetividad]]></kwd>
<kwd lng="es"><![CDATA[tensividad]]></kwd>
<kwd lng="es"><![CDATA[ritmo]]></kwd>
<kwd lng="en"><![CDATA[enunciation]]></kwd>
<kwd lng="en"><![CDATA[subjectivity]]></kwd>
<kwd lng="en"><![CDATA[tensivity]]></kwd>
<kwd lng="en"><![CDATA[rhythm]]></kwd>
<kwd lng="fr"><![CDATA[énonciation]]></kwd>
<kwd lng="fr"><![CDATA[subjectivité]]></kwd>
<kwd lng="fr"><![CDATA[tensivité]]></kwd>
<kwd lng="fr"><![CDATA[rythme]]></kwd>
</kwd-group>
</article-meta>
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