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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.)

A menudo, los monólogos dramáticos de Luis Cernuda difieren de otros usos más ortodoxos del género al no crear la suficiente distancia entre la máscara y la voz. En "Silla del rey" elige como personaje al monarca español Felipe II. La representación del rey no es perfecta, y el autor rompe a veces la máscara de Felipe II para enseñar su propio rostro a través de la introducción de comentarios metapoéticos más propios de un escritor que de un rey. Además, este personaje es un paradójico correlato de Cernuda, puesto que el rey y El Escorial eran reconocidos símbolos de la retórica franquista. En este ensayo, ayudándome de las teorías críticas de Edward Said y Hayden White, analizo "Silla del rey" y la presencia meta-poética e irónica de Cernuda en el poema para desvelar las estrategias retóricas con las que critica el discurso historiográfico franquista. Luis Cernuda designs his own version of the dramatic monologue, since he does not create enough distance between his characters and his own voice. In "Silla del rey," Cernuda chooses as a character King Philip II, who meditates in the poem on the construction of El Escorial. This representation is not perfect, and Cernuda breaks the mask of Felipe II to show his own skin, usually by expressing metapoetic musings more akin to the author than to the king. Furthermore, this character seems a paradoxical correlate to Cernuda, since the king and El Escorial were well-known symbols of an essentialist rhetoric with which Francoist historiography told Spanish history. In this essay, I read "Silla del rey" and analyze the metapoetic presence of Cernuda in Felipe II as a rhetorical strategy to undermine Francoist historiographical discourse. [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.)

In this paper we explore the contribution of Kirmen Uribe, a Basque writer, artist and cultural activist, to the process of political reconciliation in the Basque country, a socially transforming compromise brought about by the dissolution of the Basque terrorist organization ETA in October 20th, 2011. Uribe achieved literary recognition and public notoriety within the Iberian cultural landscape with the publication of his novel Bilbao-New York-Bilbao in 2008, for which he received the Spanish National Literature Prize for Narrative in the following year. However, we argue that it is with his earlier collection of poems Bistatean Heldu Eskutik 'Meanwhile Take my Hand,' originally published in Euskara--the Basque language--in 2001, that Uribe initiates a strong, symbolic act towards reconciliation in Basque social relations. Using a methodological framework built on the juxtaposition of transnational and affect studies, we analyze the transformational thrust of an affective, reconciliatory language in Uribe's poems. Building on Deleuze and Guattari's notion of a minor literature, we first consider how this affective language overflows and deterritorializes the traditional geographical and discursive boundaries of Basque cultural nationalism; then, we analyze the production of Uribe's poetic expression within a specific temporality, in which Basque society demanded the end of violence in the Basque country; and, finally, we argue that this poet's self-conscious poetics of affect provides a cultural model for the democratization of the Basque social body reterritorialized in the transnational realm. Keywords Basque Poetry, Iberian Cultural Studies, Affect, Transnationalism, The dissolution of the Basque terrorist organization ETA on October 20th, 2011 made it possible to open a period of political reconciliation within Euskadi, the Basque Autonomous Community in Northern [...]

In this essay, I consider three of Luis Cernuda's poems dealing in art and spectatorship as models for how he might have imagined queer erotic desire. Analyses of two of Cernuda's ekphrastic poems show how the poet made both aesthetic and erotic experience perceptible and palpable within intertwined bodily and temporal relations. I read these ekphrastic exercises in light of Daniel Aguirre-Oteiza's "poetic memory" as a concept that anchors poetic forms to a spectral and recurrent temporality exacted in the bodies of poet and reader. Then, I turn to one of Cernuda's later poems, "Luis de Baviera escucha Lohengrin", in order to demonstrate how poetics and performance converge in the poet's work. "Luis de Baviera" exemplifies the experience of materially felt desires across time and links Cernuda (and, us, his readers) to a history of (male homo)erotic attachments. In the article's conclusion, I suggest centering Luis's modes of feeling as a method to make reverberations of affect and relation cohere as a shared knowledge outside of and against historical time. [ABSTRACT FROM AUTHOR]

Although Luis Cernuda's views on Spanish literature have already been the object of study, the aim of this article is to throw new light on them or, to be precise, on the canonizing operations that Cernuda performs in, and through, some of his poems and critical studies. The article will focus on the friction identified by Cernuda between the Spanish poets whose canonicity he advocates, on the one hand, and, on the other, the society in which these poets lived and worked. It will be argued that such friction can be interpreted through the lens provided by the concept of 'genius' as defined by Arthur Schopenhauer in The World as Will and Representation. [ABSTRACT FROM AUTHOR]

The article presents the author's views on the essay "La ética de la marginación en la poesía de Luis Cernuda." Various topics discussed include poetry of Luis Cernuda and Manuel Ramos Otero, history of anachronism in poetry, brief criticism of his poetic works, his earlier published essayistic works and marginalization of poetry. Author further discusses technique of dramatic monologue used in poetry, philology, anachronistic technique in poetics, studies on neoliberalism and customary neopopularism.

In his Complete Poetical Works, La realidad y el deseo, Luis Cernuda very often pursued polemics or homage. Among those who became the victims of his attacks were Juan Ramón Jiménez, Pedro Salinas, Jorge Guillén, Dámaso Alonso and critics and scholars in general. Among those on whom he bestowed his homage were Federico García Lorca, Mariano José de Larra, André Gide, Verlaine, Rimbaud and Goethe. In both cases the poet betrayed his determination to build an alternative canon, different from the official literary system. 'Un contemporáneo' is perhaps the piece in which both lines of his argument coincide, and in which Cernuda ironically anticipates his own homage and blames contemporary criticism for its blindness, under the same logics he had used in his poems dedicated to Lorca, Larra, Gide, etc., i.e., the glorification of the poet as a literary hero. [ABSTRACT FROM AUTHOR]

Luis Cernuda's poetic work has usually been divided into two main periods: the non-political poetry written prior to 1930, and the more heavily politicized poetry that was critical of the Primo de Rivera dictatorship thereafter. However, drawing on the work of Fredric Jameson, this article attempts to provide a ‘political’ reading of Luis Cernuda's landmark work ofUn río, un amor(1929). Jameson argues that all literature is political, in the sense that its deep structural working are shaped by ideology, even if not apparent at the first reading. I will examine this claim, with specific reference to two of the poems fromUn río, un amor. Tracing the influences on Cernuda's poetry, this article will uncover the aesthetic layers of the poems in question, to unmask them as ideological constructs. Building of Derek Harris' research, this article recognizes the heavy influence of Paul Eluard on Cernuda, and assesses what is going on ideologically. [ABSTRACT FROM PUBLISHER]

No contiene resumen.

This paper aims to examine the intertextual patterns inscribed in the poem "Luis de Baviera escucha Lohengrin", written by Luis Cernuda, in 1962, taking into consideration the mediation structure as well as thematic analogies, laying the basis for the instauration of poetic reality. [ABSTRACT FROM AUTHOR]

Re-reading Luis Cernuda's Collected Letters with some of his poems and essays in mind provides a more complex picture of the poet and his relationship with Pedro Salinas than the one spread by the poet himself: along with his contempt, the fact that he still counted on him for a long time; along with his refusal to consider him as one of his earlier masters, his overt acknowledgement of this magisterial condition. It would be excesive to say that his experience around Perfil del aire, his first book of poems, set him for once and for all on his very personal path, but the truth is that some of his later leit motifs— rejection of “official" literature, building of his own literary posterity, bitterness against critics, erosion of the academic's authority— seems to find their first source in that episode of his biography, in the Seville of the 1920's. [ABSTRACT FROM AUTHOR]

Literary translation is a site of both literary production and ethical engagement. Translators of queer-authored texts ought to recognize how, and to what ends, their subjects use eroticism and desire. English-language translators have had varied successes in such recognition of how twentieth-century Spanish poet Luis Cernuda himself constructs the social, ethical and poetic importance of desire and passion. Depending on his translators' apparatuses and the language they use to render his verse, Cernuda's framing of the tension between reality and desire assumes different ethical resonances immediately after the 1969 Stonewall riots and during the early years of the HIV/AIDS crisis. [ABSTRACT FROM AUTHOR]

Es este artículo, me propongo estudiar el dandismo en Luis Cernuda, a través del acercamiento de Cernuda a la figura literaria e intelectual de Mariano José de Larra. En su poema 'A Larra con unas violetas' (Las nubes 1940), Cernuda le rinde homenaje a Larra cien años después de su muerte, pero también se apropia de Larra como interlocutor, para comprender el papel del dandi/artista en tiempos de crisis. Tanto Larra como Cernuda adoptaron el dandismo como actitud ética frente a sus circunstancias históricas: el primero durante las primeras guerras carlistas, el segundo durante la Guerra civil española. El énfasis en el dandismo en el análisis literario de 'A Larra..' permite ver que Larra es una figura clave en la configuración de Cernuda como escritor dandi, a la vez que expande la comprensión del dandismo en general.In this article, I seek to illuminate how Luis Cernuda understands dandyism through the literary and intellectual figure of Mariano José de Larra. In his poem 'A Larra con unas violetas' (Las nubes 1940), while paying homage to Larra 100 years after his death, Cernuda also uses Larra as an interlocutor who helps him understand the role of the dandy/artist in times of crisis. Facing the Carlist War (Larra) and the Spanish Civil War (Cernuda), both writers adopted dandyism as an ethical attitude. Focusing on the importance of the dandy in the literary analysis of 'A Larra..' allows us to appreciate how Larra is fundamental to Cernuda's self-fashioning as a writer and as a dandy, while broadening perspectives on dandyism in general. [ABSTRACT FROM AUTHOR]

En este trabajo desarrollo una lectura del poema de Luis Cernuda 'Ninfa y pastor, por Ticiano', con la intención de proponer un posible método para el análisis de textos ekfrásticos. Más concretamente deseo llamar la atención sobre el funcionamiento de lo que llamo 'ékfrasis ejemplar', partiendo de la convicción de que, de alguna manera, la literatura ekfrástica tiene mucho de literatura ejemplar y de que este hecho es crucial en la interpretación de los textos. El análisis del texto de Cernuda consta de tres partes: a) explicación de la función de la ékfrasis dentro del poema; b) observación de los recursos convencionales de la literatura ekfrástica y de los dispositivos de la ékfrasis ejemplar; c) reflexión sobre la coexistencia y las relaciones de dos 'textos', uno visual y otro literario.In this essay I develop a reading of Luis Cernuda's poem 'Ninfa y pastor, por Ticiano', which I use to propose a method for the analysis of ekphrastic texts. More specifically, I wish to point out the functioning of what I call 'exemplar ekphrasis', given that, in some way, ekphrastic literature has much in common with exemplar literature, and this fact is crucial when interpreting a text. The analysis of Cernuda's poem includes three sections: a) an explanation of the function of ekphrasis within the poem; b) an account of the conventional devices of ekphrastic literature in general, and of exemplar ekphrasis in particular; c) a consideration of the coexistence and relationship of two 'texts', one visual and the other literary. [ABSTRACT FROM AUTHOR]

This paper traces the circumstances of a biographical, historical and literary kind under which the poet Luis Cernuda attempted his only play, La familia interrumpida. I intend to draw from these issues a few keys that might explain this astonishing incursion in a genre he was not very fond of. [ABSTRACT FROM AUTHOR]

In this article, the author analyses Cernuda's long poem "Lazaro", in order to elucidate the inner relation between desire and reality that is central in his entire work. That relation is important not only in order to understand how imagination influences poetical creation, but also how poetical creativity acquires its autonomy and independency. [ABSTRACT FROM AUTHOR]

This essay focuses on the image of the ruined city in the poetry of Charles Baudelaire, Luis Cernuda, and Octavio Paz. According to the author, all three poets employ the image to examine the idea of literary and historical memory and to critique modern life. The author discusses the representation of cities and social critiques in Baudelaire's poem "Le Cygne," Cernuda's "Otras ruinas" and Paz's "Crepúsculos de la cuidad."

The article analyzes the portrayal of memory and exile in Luis Cernuda's poems "Las Nubes," "Como quien espera el alba," and "Vivir sin estar viviendo." According to the author, there was a persistent urgency in the emergence of the question of place and its relation to the identity of Cernuda in "Las Nubes." Also noted is the recurrence of the images of gardens, corners, fountains and patios in the second poem. The vital role of memory in alteration of his concept of dwelling in exile is discussed.

Fernando Charry Lara (1920-2004) wrote poetry and theorized about the genre during his entire literary career. In his critical essays and poetry, his metapoetic quest was influenced by the Spanish poet Luis Cernuda (1902-1963) from the Generation of 1927. According to Harold Bloom's (1930-) theory, one sees that Charry's poetry arises from his critical reading of Cernuda. [ABSTRACT FROM AUTHOR]

Recounts the time spent by Spanish poet Luis Cernuda as a faculty member of the University of Glasgow in Scotland between 1939 and 1941. Worth as a university lecturer; Impact of Cernuda's lack of communication skills and techniques essential to good teaching; Spontaneous teaching techniques.

Recounts the stay of the Spanish poet Luis Cernuda in Glasgow, Scotland, between 1941 and 1943. Years of exile during the Civil War in Spain; Favorite English poets; Revelation of the acutest expression of the poet in darkness.

Presents the author's impression of Spanish poet Luis Cernuda, who was a colleague in the Spanish Department of Glasgow University during the late 1930s and early 1940s. Deep involvement in literary reading, poetic writing and the observation of nature; Inspiration for Cernuda's poem 'Los espinos'; Psychologically-related levels in Cernuda's poetic surveys of nature.

The poem "I'll Tell You How You Were Born," by Luis Cernuda and translated by Stephen Kessler is presented. First Line: I'll tell you how you were born, forbidden pleasures, Last Line: Its brilliance can obliterate your world.