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This paper analyzes the ideas about literary theory by Juan Valera in is Estudios críticos sobre literatura, política y costumbres de nuestros días, published in 1864. Mimesis, anamnesis, criticism of the Neoclassicism and Romanticism, literature aesthetic purpose, l'art pour l'art theory or verisimilitude, are among the concepts studled in this paper. [ABSTRACT FROM AUTHOR]

The Mexican writer Sor Juana Inés de la Cruz (1648?-1695) used a variety of satirical genres in her poetry. This paper analyzes how her poetry stems from the practice of Classical and Early Modern poets, as well as from the theoretical discussions on satire in Europe during the Renaissance and Baroque periods. This paper considers first the availability of these books in libraries and bookstores of 17th-century New Spain. It then offers an analysis of the generic features in Sor Juana's poetry that reveal a dialogue with the Classical and Early Modern tradition. [ABSTRACT FROM AUTHOR]

The aim of this paper is to reveal and explain the way writers use the analogy between writing and giving birth in some metapoetic texts of lyrical poetry. Despite its classical roots, we mostly pay attention to the contemporary use of this metaphor. The paper considers the genre implications, takes a slight glance at feminist debate on the matter and notes the great importance of this analogy in the poetic theory and the works of female poets such as Ángela Figuera Aymerich and Ana María Fagundo. [ABSTRACT FROM AUTHOR]

This paper relates the impact caused on the sensitivity of Juan Ramón Jiménez by New York modernity with the novel generic confi guration of Diario de un poeta recién casado. When Juan Ramón decides to poetically represent the city of New York, and all that it means at that moment, opts for a novel break of traditionally accepted formal molds, for a bewildering mix between genres (verse poems, prose poems, micro-stories, aphorisms, greguerías, extrapoetic texts...) which, in part, symbolizes the great cosmopolitan city's fragmentation and chaos, of a city that, like any other, is defi ned by its contrasts. This reading of the Diario takes distance from a certain critical current which erroneously places this book in the context of modernist poetry, still unable to understand and accept the poeticity that modern city harbours. [ABSTRACT FROM AUTHOR]

This paper consists of a study on José Ángel Valente's poetry througout its conceptual shapes. These shapes will be understood as symbolic projections which work as a bridge between a material poetic order and a spiritual one. First of all, we will study some abstract concepts like the point, the line, or the circle, and then we will observe more tangible aspects like the value and the role of colour in Valente's universe. Other aspects that we will study are, for example, the amplitude of the poetic space, and the direction traversed by the different symbolic elements of the poetry. All these factors allow us broadening the understanding of José Ángel Valente's poetry. [ABSTRACT FROM AUTHOR]

This paper explores the presence of correspondances and allegory in Walter Benjamin's thoughts on the poetry of Charles Baudelaire. It compares these thoughts with other contemporary critical approaches and points up the relationship, which Benjamin considered essential, between the form of Baudelaire's work and the historical changes of the mid-nineteenth century. [ABSTRACT FROM AUTHOR]

In this paper the author studies a romance of Quevedo applying the method of traditional philology and neo-lachmannian for the fixation of his text. He provides two main sources that the author used: a passage from Leandro by Juan Boscán and the first romance of El caballero de Olmedo, also published in the Primavera y flor de los mejores romances (Madrid, 1621). He even suggests a date for the romance of Quevedo putting it in relation with another sonnet #171;En crespa tempestad del oro undoso». [ABSTRACT FROM AUTHOR]

In the 5th and 6th essays of Commentary on Plato's Republic, Proclus focuses on rescuing both "myth-makers", Homer and Hesiod, as well as their critics, Socrates and Plato (Republic III and X). In this paper we analyze the relationship that Proclus states between the four grades of poetic discourse -inspired poetry, scientific, of reproduction and of appearances-, and a certain way of life. The features Proclus assigns to the myths do not apply to all of them, as it is necessary to distinguish between two types of myths: the educational ones and the divinely inspired, which correspond to two types of listeners: those concerning the young people, and those whose target are the ones who are able to raise their soul through all divine grades. Poets and Plato teach the same lesson on the same things. [ABSTRACT FROM AUTHOR]

Censure and exclusion of The Republic are characteristics of many utopias, which become dystopias precisely because of turning to them. Plato's reasons to censure certain types of poetry are ethical and political ones, although his arguments are epistemological (the poets represent in a wrong way, their myths are false). This paper proposes reading these two aspects of the platonic proposal in the light of three specific points of the Timaeus: 1) the theory of discourse about the concept of verisimilar (eikos), 2) its relation to the question of whether we can represent objects we do not know, and 3) the demiurge model proposed by Plato in this dialogue. The aim is to show that two of the most problematic aspects of The Republic, are dissolved today in the Timaeus. [ABSTRACT FROM AUTHOR]

The main goal of this study is to explore and examine the main or most frequent word play of a generally phonetic kind, namely, paronomasia, pun, echo, alliteration, etc. Essentially descriptive methodology is followed throughout the paper, with a representative selection of examples taken from the contemporary Spanish poetry (mostly the first half of the 20th century). [ABSTRACT FROM AUTHOR]

Lately, Roberto Bolano has been mentioned as a poet. Some questions arise from this fact: the relevance of his poetry, its importance in the context of his work and the relationship between his poetry and his prose. The aim of this paper is to comment on that relationship and to understand the passage or dissolution between his poetry and prose through the particular case of the metaphor of the desert in 2666. [ABSTRACT FROM AUTHOR]

This article reflects on the notion of good and bad characters in a fictional world. The study is done from a humanistic perspective and considers the poetic proposal of Juan José García-Noblejas (1982) and Paul Ricoeur (1987). The paper suggests that a character is good as long as it serves the world of fiction in which it is, whereas the world of fiction is good - in the sense of complete - insofar as it is able to "do justice" to the part of human life it represents. [ABSTRACT FROM AUTHOR]

: Following a previous research, the purpose of this paper is to highlight the importance of silence in the Heideggerian interpretation of Hölderlin’s poetry, and to analyze the ontological nature that this topic acquires in it. In order to do so, it explores how intimately Heidegger connects the idea of silence and Hölderlin’s poetical saying, to which he attributes the problematic endeavour of saying the Being whilst safeguarding its unsayable nature. To fully fathom this effort, special attention should be paid to the poet’s discovery of the simultaneous alterity and dependence of modernity with regard to Greece, and to the study of the way in which this matter determines his poetry, as well as the poetical resources which, according to Heidegger, he uses in order to make the Being appear in his saying as the unsaid. [ABSTRACT FROM AUTHOR]

In this paper, we discuss some important concepts in Jose Maria Eguren's prose, gathered in the text Motivos, such as symbol, symbolic and symbolism. The criticism has emphasized the peculiar symbolism of his poetical universe but without comparing with depth the poetry and the reflections about this poetry, besides symbol's concept. In this article, some ideas are proposed about this series of problems, and it tries to support that the egurenian symbol is a sensory image that fulfils the double and antithetic function of to discover a Nature's mystery, already existing, as well as of to create his own Nature. [ABSTRACT FROM AUTHOR]

this paper analyzes the articles and reviews by Fernando Charry Lara to clarify how his points of view on the nature and function of modern poetry were built as well as his ideas about the composition of the poem, the relationship between individual expression and the conscious construction of the work, the language of poetry and the tasks of the modern poet. Charry structured those ideas by means of reading and discussing the critical work of other contemporary poets such as Paul Valéry, T. S. Eliot, Luis Cernuda and Octavio Paz, in the context of debates about modernism, the Piedracielismo movement and poetry in the mid-20th century in Colombia. [ABSTRACT FROM AUTHOR]

This paper examines two passages from Homer's Odyssey: on the one hand, verses XIV. 207-208 are analyzed grammatical and contextually; on the other and, it is pondered the ambiguity of verses XIII. 380-381, in relation with the same verses in II rhapsody, in order to demonstrate the rhetoric ability of Homer to say different things using the same words. [ABSTRACT FROM AUTHOR]

In this paper an interpretation of the use of expressions as 'inspiration' and 'enthusiasm' in the context of the platonic poetology is suggested. This interpretation tries to clarify the apparent contradiction between the platonic statement that (1) the poet had no knowledge and (2) poetry possibly can offer true contents. So the chance of decoding the figurative use of these expressions through the epistemological notion coined by Plato of 'true belief' is investigated. [ABSTRACT FROM AUTHOR]

This paper aims to compare the semiosis of urban space in five books of poems recently published in the city of Buenos Aires: Aquel corazón descamisado (2002) of Luis Tedesco, El carrito de Eneas (2003) of Daniel Samoilovich, La rebelión del instante (2005) of Diana Bellessi, Solos y solas (2005) of Tamara Kamenszain, and Poemas del sin trabajo (2007) of Eduardo Mileo. All of them present voices, sights and itineraries of the contemporary city by means of a wide range of images, topics and discursive strategies. The conceptual triad crisis-deconstruction-empathy will allow the systematization of different ways in which poetic texts translate and refer to the complexities of the social imaginary. [ABSTRACT FROM AUTHOR]

This paper sets out to investigate the representations of childhood in El regreso by the Chilean poet of the 50s, Efrain Barquero. We propose that in this poem there is a scenic disposition where an adult -represented a child-, standing opposite his dead father, is about to carry out the anthropofagical rite of eating him up. By means of this cannibalistic act, the lyrical persona manages to close his childhood and to go on fully into adulthood. [ABSTRACT FROM AUTHOR]

Among the many masks that Lope de Vega adopted is that of the theorizing subject who reflects on his own poetry. This paper focuses on the sonnets of the Rimas de Tomé de Burguillos in order to study how Lope utilizes this mask as a means of a metaphysical self-interrogation, in a serious tone or with irony, on the nature and pragmatics of poetry. [ABSTRACT FROM AUTHOR]

This paper aims to elucidate the role of late Antique poetry in the social construction of the Barbarian "other", a crucial point in the identity crisis of the late Roman Empire. To this end, I focus on Sidonius Apollinaris' (430/431-489 AD) caustic carmen 12, better known as "The Satire of Burgundians" (written around 461 AD). This poem -full of a bitter humour- shows the frustration of a nostalgic aristocrat, who -although eager to preserve the rich cultural legacy of the Roman world- must face the changes necessarily brought up by the appearance of this new "other" on the Western horizon. Ultimately, the poet is even compelled to confess the unfeasibility of his project, the impossibility of poetry. Taking the obvious ideological bias of this literary perspective as a starting point, I try to reconstruct the internal history of Burgundians, one of the most enterprising and creative human groups on the Proto-Germanic scene. [ABSTRACT FROM AUTHOR]

This paper examines a seminal but astonishing feature in Plato's criticism of poetry: Plato banishes not only particular contents and authors, but the poetic forms themselves also, specifically the mimetic form. The analysis will show that the main reason for such banishing lies in the fact that Plato discovered that the form as form (independently of its contents) has an autonomous character and is guided by aesthetic and not moral criteria. These aesthetic criteria are incompatible with the ideology that supports the ideal polis. This brings to light the merit of Plato's analysis that lies not in the appraisal of poetic activity, but in the identification of the purely aesthetic and its consequences on the political program of the Republic. [ABSTRACT FROM AUTHOR]

This paper describes and studies a new codex with works by Quevedo in prose and verse. This manuscript was copied in the XVIIIth Century and it is preserved in good conditíon in the Real Academia de Buenas Letras of Barcelona, as a pan of Guillermo Díaz-Plaja's legacy. It shows different works: historical prose, burlesque and satirical production, some love and moral poetry and a diversity of authentic and attributed works. The author considers this manuscript is very similar to others of the same period used to determine the text of different works. A first collation makes clear that it is not a codex descriptus and it can provide interesting texts and variants. Its text of Vida de la corte, fragments of Mundo caduco and readings of some poems (included in an appendix) are relevant. [ABSTRACT FROM AUTHOR]

This paper proves that Quevedo considered the village of Torre de Juan Abad as his own home, as it is seen in his letters. The author examines methodically these letters to show the evolution of Quevedo's feeling towards his village since January of 1622. We find a writer stressed by the exhausting atmosphere of the Court. He tried to avoid it escaping to his village, where he could read and write in tranquillity. This analysis is completed with a study of some poems that could be written in his village. [ABSTRACT FROM AUTHOR]

The aim of this paper is to clarify the meaning of a couple of lines in Quevedo's «Epístola satírica y censoria»: «la vista por dos unías derramada / sobre las aras de las dos Castillas» (vv. 29-30). With this in mind, the symbolic meaning of both «urns» and «altars» is analysed in the context of the poetry of the period; and the history of the literary themes and traditions behind these images is also looked into [ABSTRACT FROM AUTHOR]

This paper examines the idea of philosophy and poetry in Jorge Santayana and Antonio Machado, two philosophical poets whose similarities go beyond a likely meeting, mutual reading or a crossing of biographies and reach the core of their work, their poetics and their thought. According to both thinkers, poetry and philosophy are tightly related each other, or rather poetry springs from philosophical thinking and philosophy from poetical thought. And consequently, in these pages, we consider the labor of both authors in order to understand the power of the Word and what it means creation and thinking. [ABSTRACT FROM AUTHOR]

Various efforts have been made during the last one hundred years or so to edit the poetry of Diego de Silva y Mendoza, Count of Salinas and Marquis of Alenquer (to give him his poetic titles), but all have come to naught due, principally, to the sheer complexity and size of the task that awaits the would-be editor. Buceta, Rosales and Glaser all expressed a desire to edit properly the poetry of one of the most lyrical voices of the late sixteenth and early seventeenth centuries in Spain, but each in the end failed to do so. The principal complexity is the simple fact that there is no printed edition of Salinas's work nor an autograph manuscript to fall back on: his poetry is to be found in dozens of anonymous manuscripts all over Spain, Portugal. the USA, and most major libraries in Europe. In this paper I make the first attempt to introduce some clarity and logic into the editing of Salinas's poetry, by showing how a canon of his work can be created out of the morass of manuscript versions, and from there how an edition of his poetry that is reasonably correct and close to the author's originals can be achieved. [ABSTRACT FROM AUTHOR]

This paper seeks to elaborate and analyze the main philosophical import of Pablo Oyarzun's book, Entre Celan y Heidegger. Along the way, I will hint at possibilities for thinking through certain key issues that have been identified and formulated by the author. In doing so, this essay will follow two major lines of argumentation. The first trajectory will consider the concept of "sense" as it is exhibited in Oyarzun's discussion of "hermeneutic readings" of Celan's poetry in particular (and in readings of poetry more generally). According to Oyarzún, hermeneutic readings operate under the assumption that a given poem, like any other linguistic creation, possesses a definite meaning and signifies in a way that is accessible to the understanding. In response, Oyarzún elaborates the inaccessible insignificance at work in poetic language. The primary function of this insignificance can be seen in the way it bursts open the circuit of sense, thereby resisting the understanding -and, as will be seen, only that which resists the understanding can in turn put it into play. The second trajectory will then consider the meaning of "suffering" as something that must be deprived of signification if it is to overcome being neutralized and obliterated. Indeed, only the traumatic event of absurd suffering is tenacious enough to return and exceed the temporal identity of collective consciousness (and here one could consider the phenomenon of "dating" in Celan's poems). Finally, I would like to suggest that it is only with suffering that authentic memory and history arise. [ABSTRACT FROM AUTHOR]

This article results from a research on Karol Wojtyla's literature creation, especially on his young poetry and his two poems titled "Mousiké". It helps Spaniard readers to get closer to different aspects of this important demonstration of the XX century universal literature. Some of these aspects are: the order in which the first poems were published; the poetic arts conception; the New Humanism announcements; young Karol Wojtyla's contributions, etc. Original sources were used, as it can be seen in the large Bibliography the reader will find at the end of this paper. [ABSTRACT FROM AUTHOR]

Cadmus' episode opens book III of Ovid's Metamorphoses and puts him in the crossing of a double foundation: that of the Theban Cycle and that of a poetics of transgression that extends over the whole text. Such poetics is based on the gaze as a factor of sacrilegious behaviours. In this sense, the main components of Cadmus' story are scattered through the other narrations of Metamorphoses III, which develop them according to their own plot. The profanation of the nemora sacra constitutes the departure point of the cycle of misfortunes of the Theban family. It's closure is the final metamorphosis of Cadmus and his wife Harmonia into serpents. In this paper we intend to explore the construction of this poetics founded on prohibition in Metamorphoses III. We will make emphasis on the idea of transgression related to the metamorphic process suffered by its characters. [ABSTRACT FROM AUTHOR]

The present paper offers a commentary on Callimachus' fragment 227 Pf. Firstly we discuss the fragment possible location in the poet's book of lambi, which has been matter of a long and controversial discussion among the scholars. Secondly, we examine the text of the diégesis and, finally, I study the poem main difficulties to conclude with a brief reflection upon the theme of the symposium. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to make an explanation --and to generate a discussion-- on the importance of taking the resources that traditional literature use not only as the "memory-supporting-formulas" they are, but with an analytic focus that let us value them as a complete aesthetic phenomena. Romancero's Triada let me show the stylistic value of these resources, and how different from cultivated literariness' criteria are those that rule traditional one. Examples and discussion will be based on how the Triada can fulfill different poetic functions and, in some cases, define how rich or poor became the aesthetics results in a poem. [ABSTRACT FROM AUTHOR]

In this article the autor observes the difficulties for the study of the traditional poetry from Jalisco, in Western Mexico, due to the transformation of mariachi groups during the 20th Century. The paper focuses in the origins of this poetry in the Spanish 17th Century and the existing sources for the study of the traditional lyrics from Jalisco. Finally, some of the main characteristics of this poetry are emphasized. [ABSTRACT FROM AUTHOR]

Circumstances make of Octavio Paz' work a very special model. His production originates in the peak of vanguards, and it goes on up to even much later than the high spirited period of these. It can be used as a representation of the conflictive dialogue that exists between dominant and emergent languages, signed by rupture and an attempt to renovate. In this context, the main objective of this paper consists in deepening the links between Paz' work and the surrealist trend, proposing a third way of relationship between both that has not been tackled by the critics sufficiently. Aspects of his critical production as well as of his poetry, specially Poemas (1935-1975), re-edited in 1981, will be analyzed to highlight the place that the memory of a poet definitely consecrated keeps to his "tangential" surrealist experience. [ABSTRACT FROM AUTHOR]

The critical work and the poetry of Edelweis Serra possess a singular sense in the Argentinean cultural context in which they are developed. In a time of apparent secular culture, their tentative is guided toward the rescue of the sacred dimension of reality. This study offers a panoramic approach to the work of Edelweis Serra. This approach focalise the main topics and the dominant stylistic features in her lyrical work. In what refers to this last point, the main interest is given to one aspect that stand out the singularity of its poetry: the presence of symbols and rhetorical figures characteristic of the biblical language. Such characteristic is related to her conception of poetry as a divine gift. The paper intends the diffusion of her important work and the recognition of the interpretive keys that favour its reading. [ABSTRACT FROM AUTHOR]

This paper concentrates on the attraction to the suburb and its most representative characters --like the "compadrito"- present in Jorge Luis Borges' works. Firstly, we analyze the presence of the "barrio" as central theme in post modernist poetry by Enrique Banchs, Evaristo Carriego and Baldomero Fernández Moreno, who incorporate the suburban world into Argentine poetry. Then, we focus on an original hypothesis which goes into the affective reasons which might have moved the polyglot, erudite and cosmopolitan writer to feel fascinated by the world of "arrabal" and Buenos Aires' tango. [ABSTRACT FROM AUTHOR]

Even though Neruda sometimes pointed out his "metaphysical works" to differentiate them from his contingent poetry, the existential background of his work is evident, especially during the last stage of his lyrical creation. His questions related Neruda's essential concern about the concrete and unique existence of mankind, chiefly that of mankind and its history as well as that of the self and its individual conditioning threatened by death. This paper highlights the constant question-like attitude. This type of attitude is the one that the poet employs to face the outside world and reality and his own, which turns into an interpretative key to his work. From Neruda's beginning, his poetry intended to be all-embracing, questioning himself a gamut of aspects pertaining to reality. This does not imply necessarily a discourse dealing with a cognitive or philosophical function, but rather a metaphorical one. which focuses on "~what reality is all about". [ABSTRACT FROM AUTHOR]

This paper offers a version of some epigrams by Goethe and by Schiller which may be considered "rhythmic", since it keeps true to their sentence as to their form. Yet, precisely because this is a rhythmic version, a literal correspondence will not be found in all cases. The aim has been to save the "idea" and the "rhythm" of each epigram, knowing that this might mean overlooking some "words" here and there. The epigrams belong to two groups. The first, related to Goethe, is formed by twelve, published here for the first time. The second groups consists of sixteen (out of thirty) epigrams publishe before, though now renewed with the regular rhythmic figure they lacked. [ABSTRACT FROM AUTHOR]

The work written by the Colombian poet Matilde Espinosa de Pérez deserves to be known and recognized by the literary review, so according to this, the article below is a study about two of her last works: The dark land and The town gets into dark. This paper analyses the poetic conception of the female author, the aesthetic connection of her work with her passing within every day life as a mother, woman and female writer and, the standing she considers among pain, life and death as elements that constitutes her poetic art. [ABSTRACT FROM AUTHOR]

Achilles, the hero of youth, is the theme of the Achilleis, the epic poem that Statius composed at the end of his life, and left incomplete. The epic unites the distinctive features of the hero, in what appears to be a summary of the figure of Achilles. This paper analyzes these distinctive features in two fundamental scenes of the poem: the moment when young Achilles sees and falls in love with Deidamia, and when he is recognized as hero. [ABSTRACT FROM AUTHOR]

This paper argues that, in the context of Nuyorican poetry in the 1960s and 1970s, Victor Hernández Cruz's Snaps (1968) stands as the only poetry collection to engage in a dynamic dialogue with the popular music that so heavily influenced the Nuyorican experience of that era. Hernandez Cruz's dynamism had a founding spirit; aside from endorsing the latin bugaú, it contains the seed for what latin jazz will make into a tradition: the "Caribbeanization" of Thelonious Monk. [ABSTRACT FROM AUTHOR]

This text is an attempt to approach the relationship between Emmanuel Levinas' ethics and Paul Celan's poetry. The poet's conference referred to, which took place at the ceremony where he received the Georg Büchner award in October 1960, is called "The Meridian", and in its complex plot, among many other issues, he looks at poetry from a dialogic perspective. The philosopher of alterity- contrary to the philosophical tradition that for centuries considered the problem of being at its fundamental task (and the autonomous moral as a consequence of the ontological question)-, assumes the precedence and prelation of the relationship with the others, claiming heteronomous ethics as first philosophy. Ethics and poetics lie close together: in its Greek origin, poetry is the act of the word, and ethics is practical philosophy. The reading of these authors evidences the encounter with the other, each one in his own way. It is a moment in which the individual awakes from a long monologic dream. Throughout this paper, the polisemy present in the significant "meridian" will enable the approach to these forms of thinking. [ABSTRACT FROM AUTHOR]

The tale of Odysseus' successful nostos includes motifs that come from the traditional symbolic repertoire relative to a thanatos— motifs which aid in the thematic development of the hero's nostos. This paper traces a series of thanatic elements in the second part of The Odyssey, beginning in Book 13, to explore its function as part of the discursive strategies used by the poet to generate, through different procedures, the necessary narrative tension to keep the audience's attention. [ABSTRACT FROM AUTHOR]

Luis Cemuda has explicitly revealed in his essays his passion for mythology and its anthropomorphic gods. This passion, which accompanied him since his early childhood, determined the transcendental presence of Greco-Roman myths in his poetry. As his work is essentially autobiographical, these myths constitute an important source for the poet's self-knowledge, and for us, it is a valid and valuable means to understand him. The present essay focuses on a myth whose reception in La Realidady el Deseo is specially significant: the myth of Narcissus. Tracing back to Conon's and Pausanias' myth versions, and focalizing on Ovid's as an evident source, this paper offers an approximate interpretation of the ultimate meaning of its reception in Cemuda's poetry. [ABSTRACT FROM AUTHOR]