Abstract Moments of deep crisis destabilise artistic autonomy, as such autonomy usually relies on arts’ submission to the laws of the markets. When markets collapse, like they did in Argentina in 2001, artistic production is emancipated from the duties of money-making. This is the moment when original, ‘amateur’ artistic practices emerge that find another social and political function, in which writing is not contained by the rules of business. In contemporary Latin America, trespassing the limits of artistic autonomy is not a decision of the artist but rather a material condition of production. This article analyses three moments in which a post-autonomy literature emerged as a formation of a minoritarian, queer language of the locas: Brazilian poesia marginal (1970s), the Argentinian independent publishing projects Belleza y felicidad and Eloísa Cartonera (early 2000s), and the recent global feminist activist movement Ni una menos.

中文翻译：

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当地的舌头

摘要 深刻危机时刻动摇了艺术自主性，因为这种自主性通常依赖于艺术对市场规律的服从。当市场崩溃时，就像 2001 年在阿根廷那样，艺术生产从赚钱的职责中解放出来。这是原创的、“业余的”艺术实践出现的时刻，它们找到了另一种社会和政治功能，其中写作不受商业规则的约束。在当代拉丁美洲，突破艺术自主性的界限不是艺术家的决定，而是生产的物质条件。本文分析了后自治文学作为当地少数族裔酷儿语言的形成而出现的三个时刻：巴西诗歌边缘（1970 年代），