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Un rito de transformación en harmonia oppositorum: "Habitación en Roma" de Jorge Eduardo Eielson
(Pontificia Universidad Católica del Perú, 2023-12-18)
The enunciated principle of two complementary elements from two different civilizations (harmonia oppositorum / yanantin) converges in Eielson’s poetic and plastic work to create. In his work, the city of Rome serves as a platform center that enables him to rediscover cosmological ways of seeing that connect different levels. For this article, we use Habitación en Roma, his articles from the 1950s, as well as statements made in the 1970s, 1980s, and in the 21st century. From the vestige, the creation of objects is replicated in his poetic and visual work and in his procedures with matter. Through this, it is possible to transform and be transformed after reaching moments of ultra-consciousness.
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¿Dónde está el cordero? Cinco poemas de Adriane Garcia
(Latin American Literary Review Press, 2020-06-16)
The five poems translated here are part of A bandeja de Salomé [Salome’s tray], Brazilian poet Adriane Garcia’s unpublished book. These poems let know some of its most important characteristics: irony, subtlety and intertextuality when the author rewrites different stories of the Holy Bible. For example, as the reader will notice, Garcia’s critical vision emphasizes on public roles of women in those stories. Therefore, publishing these poems in bilingual, Garcia’s work increases the scene of Brazilian poetry and literature in United States.
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Vallejo and Political Art Beyond Death (Conclusions)
(2023-11-02)
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Románticos peruanos y el conflicto con España (1864-1866)
(Ricardo Palma University, 2023-01-02)
Los románticos peruanos participaron en forma destacada en la producción literaria de los años 1840 a 1880. A pesar de haberse formado en un ambiente político contrario a España, heredado de las generaciones anteriores y de la Guerra de Independencia, el talento de los románticos hispanos los atrajo y convirtió en sus admiradores y seguidores. Durante la Guerra con España (1864-1866), los románticos peruanos desempeñaron un papel muy importante gracias a su copiosa poesía patriótica y nacionalista, leída y recitada en muchas ocasiones, y difundida por medios diversos. Sus obras recrearon algunas páginas de la Historia del Perú así como censuraron a los españoles de la Conquista y del Virreinato. Palabras claves: Románticos peruanos, escritores españoles, Guerra con España (1864-1866), poesía patriótica, Historia del Perú Peruvian romantics participated outstandingly in the literary production of the years 1840 to 1880. Despite having been formed in an anti-Spanish political environment, inherited from previous generations and the War of Independence, the talent of the Hispanic romantics attracted them and turned them into their admirers and followers. During the War with Spain (1864-1866), the Peruvian romantics played a very important role thanks to their rich patriotic and nationalist poetry, read and recited on many occasions, and disseminated by diverse means. Their works recreated some pages of the History of Peru as well as censures to the Spaniards of the Conquest and the Viceroyalty. Keywords: Peruvian romantics, Spanish writers, War with Spain (1864-1866), patriotic poetry, History of Peru.
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Mariátegui: Reader of Poetry
(Universidad de Chile, Facultad de Filosofia y Humanidades, Departamento de Literatura, 2023-05-01)
This article studies Mariátegui as a reader of poetry, that is, as a critic who found in poetry an object of questioning and a place to demonstrate the political fertility of the imagination. Mariátegui proposed three categories to map the different aesthetics tendencies occurring during the first decades of the twentieth century: “pure lyricism”, “absolute nonsense” and “revolutionary epic”. The aim of this article is to comment on each of them within the framework of a theoretical option that understands poetry as a device to broaden the concept of reality and to acquire, from there, a more complex understanding of the social world and the functioning of subjectivity.
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César Vallejo. Introduction
(Palgrave Macmillan, Cham, 2023-11-02)
This introduction frames the poetry of César Vallejo from the ideas of Alain Badiou. The chapter argues that many of Vallejo’s poems emerge from having been confronted with an event that has taken subjectivity out of its inertia to reinvent it from other convictions. It is a poetry that announces the event that testifies its presence and defends it in spite of its political failure. The book studies the emergence, in the poems, of a subject that interrupts hegemonic repetition, affirms a truth that exceeds the law and never gives up despite failure or “lost causes.”
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Contrapunto
(Pontificia Universidad Católica del Perú, 2023-10-16)
This project questions the dialogue between photography and poetry. The image summons a poem and this, in turn, summons another image within the framework of an unfolding of questions about the conditions in which we inhabit the world. The sequence dialogues with that which concerns oneself and with that which opens and closes life in dynamics of pleasure and suffering. The idea is that both registers overdetermine each other to correspond, to produce a friction, to mark the opacity of an experience, to open lines of meaning, to point to that which has no word or to try to border on something unnamable. What is the dialogic behind the monologue of artistic production? The project emerges as an aesthetic exploration of two people who have tried to re-articulate different discourses and who have sought another way of conversing.
1
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A Poet of the Language Crisis
(2023-11-02)
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A poet of the “Part With No Part”
(Palgrave Macmillan, Cham, 2023-11-02)
Vallejo’s poetry always felt committed to the option of politicizing human pain, that is, naming its causes and representing the effects that pain (suffering, exploitation, evil) causes in those who have been placed as the remnants of the social system. This chapter explores a poetics in which the representation of marginality becomes increasingly prominent. In Vallejo’s poetry, art names the excluded rest in order to try to produce a social change. Due to his religious formation and his Marxist readings, Vallejo began to think (and feel) that the world could be reconstituted from the place of the excluded.
2
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A Poet of the Ethics of the Real
(2023-11-02)
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