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This essay examines the politics of poetic form in Juan Ramón Jiménez’s Diario de un poeta reciencasado (1917), specifically, the manner in which the work’s heterogeneous composition of prose poems and verse lyrics engenders conflicting ontologies for the lyric subject, marked by both transcendental desire and existential dread. Whereas Juan Ramón’s verse poems follow a symbolist tradition in which the poetic symbol becomes a site of transcendence of the material and temporal world, the prose poem challenges this project by bringing the symbol into contact with the social and the historical. In other words, while the lyric poems of the Diario work to bring about a transcendental union of the lyric voice and the world of atemporal divine essence, the clash between poetry and prose that defines the prose poem dramatizes an irresolvable conflict between transcendental longing and historical rootedness. Finally, this article proposes that this conflict structures not only the Diario’s prose poems, but the entirety of the collection itself, which in turn allows the Diario to be read not as a work of transcendental symbolism, but as an allegory of the divided subject, defined by the irreconcilable forces of transcendental yearning and historical consciousness. [ABSTRACT FROM AUTHOR]

In 1930, Pedro S. Zulen's literary works were published posthumously, gathered under the title El olmo incierto de la nevada. Poemas. In this volume, his widow, Dora Mayer de Zulen, gathered his prose texts and poems. The title of the first edition underlines the dichotomy between the two parts of the book, but "El olmo in- cierto de la nevada" has become, as a part of it, the name of all the poems. "El olmo incierto de la nevada" corresponds to a poetic prose of high depth that, under the artifice of the window and the winter, deals with the adventure of the self-absorbed dreamer and thus vertebrates a reflection on the becoming of the individual and the temporal contingency. Under this approach, the connections with the poems of the section "Ramas caídas" are not long in coming, since the temporal contingency is taken to the love scenario. Therefore, the relationship of the "elm" and the "branches" is undeniable, so that the poems are the development of an inquiry abour time and love. [ABSTRACT FROM AUTHOR]

In César Moro's poetry, we can identify a consistent endeavor towards cosmic communion and the revival of the mythical vision that typified the rituals and relationships with nature of the ancient Amerindian cultures of Peru. This article elucidates these tendencies in the oeuvre of the Peruvian surrealist poet, specifically through the analysis of selected prose poems. These poems are primarily from the collection titled Cartas (1939), and 'Biografía peruana', a part of the book Los anteojos de azufre (1958). The personal appropriation of the surrealist proposition carried out by Moro, along with its mythical, imaginative, and emotional connections to the Andean territories, will be highlighted. The ecopoetic and hermeneutics approach of Moro's work exhibit the possibilities and limits of the avant-garde and modern proposals to link the human being with the cosmic totality. [ABSTRACT FROM AUTHOR]

The purpose of the following article is to establish that the educational proposal that Gabriela Mistral put forward through various poems and prose should, from now on, be understood as praxis, since many of the proposals she made, when analyzed as a whole, allow us to propose a socio-historical Mistralian pedagogy, which is based on the rescue and respect for the cultural elements of the other and which has orality and mythology as central components of a Mistralian ethos. On the other hand, it is also observed that her educational praxis is framed within four dimensions: ethical, political, aesthetic, and pedagogical. The working methodology was based on the analysis of prose and poems, using as a selection criterion everything that was related to pedagogy, but also that the approach represented in his prose or poem was related to her educational experience. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Latinoamericana de Estudios Educativos (1900-9895) is the property of Universidad de Caldas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dicenda: Cuadernos de Filologia Hispanica is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Laocoonte is the property of Sociedad Espanola de Estetica y Teoria de las Artes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

All the currents of the historical literary avant-garde share the following principle: the poet must not copy or translate the apparent reality but create new realities with words. The means available for the poet to create is the image (comparisons and metaphors) through which the hidden correspondence between distant things is revealed. The creative power of the image is all the greater the further away are the things being compared. Ramón Gómez de la Serna (1888-1963), in direct relation to the postulates of this principle, is developing his own avant-garde idea. Consequently, thanks to his vision of literature, conceived within the presuppositions of art for art's sake, the poet who "inventoried the world" gives life to a new genre, the greguería, a very short text generally based on an image by means of which the analogy that the poet makes between distant, apparently diverse, and discrepant things is shown. Through the greguerías, Ramón Gómez de la Serna, "a sensitive look that collected imprecise things", does not try to formulate any maxim or truth, but rather to portray everyday realities from an unusual angle, with irony and humor highlighted by revealing ingenious expressions and conceptual or phonetic games. A distinctive genre, with its own formal and functional literary values through which a style is demonstrated (el ramonismo), the greguerías do not imply the discursive development of prose poems, but a common border with them: brevity, harmony, rhythm, and mechanisms of a poetic construction. In the light of it, the present work is an attempt to verify the invalidity of the antimetric principle, that is, to show evidence of the rhythms of versification in the greguerías by considering their functional constants of lyricism and ingenuity that lend them true poetical sense. [ABSTRACT FROM AUTHOR]

This article deals with establishing the two generic aspects that determine the texts of Ensayos y poemas, published by Julio Torri in 1917. The article includes the review of the author's testimonies in the establishment of his selected genre. It proposes a series of characteristics that allow us to analyze the essays and prose poems that make up this volume. From this characterization, it is contrasted with the features of the so-called micro-fiction or sudden fiction, an emerging genre that, in the concern to fix a tradition and a series of textual models, has established this work as inaugural. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Lope de Vega. Texto, Literatura, Cultura is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 article offers poetry criticism of the poem "Espacio" by Spanish poet Juan Ramón Jiménez is presented. A textual analysis of the various fragments that make up "Espacio," which were published over a period of time from 1941 to 1954, including the use of both prose and verse within the text, reveal the growth and transformation of Jiménez, according to the author. The interaction between Jiménez and Chilean poet Pablo Neruda, including their disagreement over the use of pure poetry, is also detailed.

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers information on the literary works and views of poet and author Juan José Arreola. It discusses Arreola's childhood interests in poetry and his literary education, and mentions the inclusion of poetry along with prose in his works. It also gives an overview of the influence of other poets on his writings, and discusses the characters of his book "La feria."

Presents the prose poem "La oración en el exilio," an excerpt from "Los versos del exilio," by Cristina R. Cabral, translated by Jorge Brash. First Line: Nzinga está enferma. Last Line: Toma de mí lo que quieras Señor; menos a ella.