Poetas hispanoamericanas contemporáneas: poéticas y metapoéticas (Siglos XX–XXI) reúne estudios sobre las poéticas –fundamentalmente las «poéticas explícitas de poetas» (Demmers), con la inclusión de ...las artes poéticas–, en torno a otros poemas y textos metapoéticos, y sobre las poéticas implícitas. El aporte fundamental del libro radica en la valorización del elemento metapoético y autorreflexivo en las poetas hispanoamericanas, ya que la investigación en torno al arte poética y a la metapoesía se ha centrado ante todo, hasta hoy, en autores masculinos. Con sus acercamientos a Gabriela Mistral, Claribel Alegría, Ana Enriqueta Terán, Carilda Oliver, Amanda Berenguer, Fina García Marruz, Rosario Castellanos, Susana Thénon, Carmen Ollé, Cristina Peri Rossi, Reina María Rodríguez, Tamara Kamenszain, Cristina Rivera Garza, entre otras, el libro pretende contribuir a abrir el canon metapoético a la escritura de las mujeres.
In the prologue to Lo que saliere, the poet from Malaga, Francisco de Godoy, defends himself from the attacks spread out by a Blas Zurriaga on two printed works in the city of Seville a couple of ...weeks before. This paper will follow the reading of the prologue to reconstruct a literary controversy focused on aspects such as the decorum and the poetic style. Besides, that discussion was the origin of one of the most explicit discourses about the aesthetics of the Low Baroque period.
En el prólogo a su obra Lo que saliere, de 1677, el poeta malagueño Francisco de Godoy se defiende de varios ataques que dos papelones de un tal Blas Zurriaga han ido prodigando por la ciudad de Sevilla semanas atrás. Nuestro artículo seguirá la lectura del prólogo para reconstruir toda una polémica literaria que orbitó en torno a diferentes aspectos del decorum y el estilo poético, además de ser el origen de uno de los discursos más explícitos de la estética del Bajo Barroco.
This article makes visible the onanistic references and their literary meaning in the early poetry of Luis Cernuda. Even though Cernuda's poetry has always been seen from the critical lens of ...narcissism, we still lack a deep analysis of Cernuda's autoeroticism. The first part of this essay acts as a cultural background and reveals what Cernuda's contributions to the cultural history of masturbation are, as represented in literature. In the early poems of Luis Cernuda, autoerotic references act as a metaphor for the poet's homosexual identity and also acquire a metapoetic dimension. Through the analysis of various poems, this article will argue that in his Primeras poesías, Cernuda equates the act of writing poetry with the act of solitary sexual stimulation. This perception is reinforced when these references are read together with the author's autobiographical testimonies.
In his career as a singer-songwriter, Joaquín Sabina has written many lyrics which
constitute a corpus that can be be approached from the poetic theories. In this paper, we
want to track the ...footprints of the projected identity, analyzing the mechanisms with
which he constructs across that songs a poetical autofiction. In order to do this, we will
focus on one of the mechanisms, we'll look at one of the mechanisms with which he
names himself as a poet, the metapoetical reflection.
En su trayectoria como cantautor, Joaquín Sabina ha escrito muchas letras de canciones que constituyen un corpus plausible de ser abordado desde las teorías poéticas. Nos interesa rastrear en este trabajo las huellas de la identidad proyectada analizando los mecanismos con los que construye a través de las letras de sus canciones una autoficción poética. Para ello, nos centraremos en uno de los mecanismos con el que se dice a sí mismo como poeta y que es el de la reflexión metapoética
In this article the concept of "the dominant", as introduced by the Russian Formalists Jurij Tynjanov and Roman Jakobson and elaborated by Brian McHale, is applied in a discussion of two Afrikaans ...poems by N.P. van Wyk Louw and George Weideman. McHale argues that the difference between modernist and postmodernist texts may be found in the shift of the dominant from problems of knowing to problems of modes of being - from an epistemological dominant to an ontological one. The discussion of the two poems is supplemented by Linda Hutcheon's theory of double-coding and historiographic metafiction. While Louw's poem is shown to be mainly epistemological, Weideman's poem is characterized by double-coding, the presence of both epistemological and ontological aspects, the paradoxical inscribing ond contesting of modernist conventions, and the combination of both historiographic and metapoetic elements. As such, it might be regarded as an early example of Afrikaans historiographic metapoetry.
The Free Verse poets and the 'Abbāsid muḥdathūn (the modernizers of the eighth and ninth centuries) share a similar meta-poetic posture at the core of their modernizing projects. Both groups were ...aware of not only their role as initiators of change, but also their position vis-à-vis the poets who wrote before them. This paper examines these two modernizing experiences through the lens of metapoesis to reveal some of the critical and theoretical concerns that continue to haunt Arabic poets today.
El presente artículo tiene como objetivo demostrar de qué manera la problematización del «yo» y el «tiempo», ambos elementos centrales en la poética de Jaime Gil de Biedma, son consecuencia directa ...de la reflexión que el poeta tuvo respecto de las ideas de Robert Langbaum sobre la poesía de la experiencia. Aunque la crítica reconoce ampliamente la presencia de estos elementos en la poética del autor, no se ha indagado lo suficiente en la conexión que guardan entre sí. Finalmente, mi hipótesis es que la conjunción de estos tres factores influyó notablemente en el agotamiento de la capacidad creativa del autor.
Far from being a minor collection of poems disjointed from the social and existential later works of Eugenio de Nora, Amor prometido (1946), the poet’s first collection published right after the end ...of the Civil war, is a matrix for his entire poetry. Building on stereotyped patterns, Nora is elaborating his own poetical voice, consistently with the poetical love long tradition and with its recent revivals — also unsettling them occasionally. Thus the poet’s lover’s discourse conceals disruption under conventions and bears an ideological dimension as well as metapoetical views. It suggests a dark present and the limitations of poetical language in the immediate post-war period.
El presente artículo estudia el primer poemario compuesto por Eugenio de Nora, Amor prometido (1946), a la luz de la poesía española de la inmediata posguerra. Amor prometido, lejos de ser un libro menor de juventud desligado de la posterior evolución del autor hacia consideraciones existenciales y sociales, es el punto de partida de su poética y el lugar en el que se fragua su voz. La temática amorosa al sustentarse en una tradición y en motivos estereotipados permite a Eugenio de Nora, tras la ruptura de la guerra civil, edificar su poesía y situarla en una línea de continuidad con una tradición amatoria y con una herencia inmediata que serán también objeto de cuestionamiento. El discurso amoroso, por su carácter convencional, permite solapar otros mensajes y sirve de vehículo a un discurso con tintes ideológicos y a una reflexión metapoética, al dejar al descubierto una visión sombría del presente y plantear las limitaciones del lenguaje poético en la posguerra.
Twentieth-Century Metapoetry and the Lyric Tradition reveals the unique value of metapoems for exploring twentieth-century poetry. By placing these texts into a hitherto barely investigated ...literary-historical perspective, it demonstrates that modern metapoetry is steeped in the lyric tradition to a much greater extent than previously acknowledged. Since these literary continuities that cut across epochal boundaries can be traced across all major poetic movements, they challenge established accounts of the history of twentieth-century poetry that postulate a radical break with the (immediate) past. Moreover, the finding that metapoems perpetuate traditional forms and topoi distinguishes metapoetry historically and systematically from metafiction and metadrama. After highlighting the most important differences as regards to the function of metareference in poetry on the one side, and in fiction and drama on the other, the book concludes with a discussion of how to account for these generic differences theoretically. With its "extraordinarily subtle and perceptive" (Ronald Bush, St. John's College, Oxford) interpretive readings of over one hundred metapoems by canonical anglophone authors, it offers the first representative selection of twentieth-century poems about poetry in English.
Faldende og festlig sne Seiler, Thomas
Nordisk poesi,
05/2018, Letnik:
3, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Olaf Bulls langdikt Sneen er blitt tolket flere ganger, men uten at noen har fokusert på selve tittelen. Denne artikkelen tar sitt utgangspunkt i tittelordet og spør etter snøens funksjon i teksten. ...Den består i å åpne opp protagonistens øyne for det sublime i Kants forstand. Men det sublime er en tankefigur uten forankring i det ytre. Og siden det sublime knyttes sammen med skriving, ligger det i snømotivet et metapoetisk resonnement. Det som fortoner seg som en fjellvandring av en skuffet protagonist blir på denne måten kun et påskudd for å si noe om poesiens vesen, om det poetiske arbeidet. Dette metanivået realiseres også ved hjelp av rimordenes klang, som hele tiden motarbeider vandrerens prosjekt. Dermed løser det poetiske arbeidet også protagonistens hovedproblem som består i en motsetning mellom ånd og materie, som han først greier å overvinne ved diktets slutt.
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