Futuro pasado. la evolución del concepto Poesía en Octavio Paz

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

Vozes de paixão em Cantares de perda e predileção, de Hilda Hilst

O presente trabalho tem como objetivas realizar uma interpretação da obra Cantares de perda e predileção, de Hilda Hilst, de forma a estabelecer relações entre poema e canção como método e metáfora para as concepções de paixão apresentadas em seus poemas. Para a realização desta leitura, conta-se como guia os estudos de Emil Staiger, Thomas Stearns Elliot e Octavio Paz acerca da poesia lírica, no tocante à musicalidade e voz poética, pretendendo constituir uma hipótese interpretativa da paixão em quatro poemas selecionados na obra da autora.

Bangla Translations of Latin American Poetry: A Critical Study

The aim of this study is to map the reception of Latin American Poetry within the corpus of the Bangla world of letters for three decades, from 1980 to 2010. In the 1970s and the 1980s, the influence and reception of Latin American Literatures in Bangla was reflected primarily in the introductions to translations, preludes, and conclusions of translations. During the late 1960s and the early 1970s Latin American poets like Pablo Neruda, Victoria Ocampo, Octavio Paz, and Jorge Luis Borges had caught the attention of eminent Bangla poets like Bishnu Dey, Shakti Chattopadhyay, and Shankha Ghosh who started taking interest in their works. This interest soon got reflected in the form of translations being produced in Bangla from the English versions available. The next two decades saw the corpus of Latin American Literatures make a widespread entry into the world of academic essays, journals, and articles published in little magazines along with translations of novels, short stories and poetry collections by leading Bangla publication houses like Dey’s Publishing, Radical Impressions, etc. This period was marked by a proliferation of scholarship in Bangla on Latin American Literatures. By the 21st century, critical thinking in Latin American Literatures had established itself in the Bangla world of letters. This chapter in particular studies the translations of Latin American poetry by Bengali poets like Shakti Chattopadhyay, Subhas Mukhopadhyay, Bishnu Dey, Buddhadeb Bhattacharya, Shankha Ghosh, Biplab Majhi among many others. The analysis relates to issues they focus on including themes like self, modernity, extension of time and space, political and poetic resonances, and untranslatability. Through a step by step research of the various stages of translation activities in Bengal and Bangla, it traces how translations of Latin American Literatures begin to take place on literary grounds that had already become sites of engagement with these issues. The chapter further explores the ways in which all these poet-translators situate their translations in relation to the issues of concern. In addition, it also addresses the question of what they hence contribute to Bangla literature at large. I first chose to explore the ways in which these issues are framed in the reflections and debates on translation in India and Bengal in the 20th century. Thereon I have tried to show how these translations of Latin American poetry developed their own thrust in relation to these issues and concerns.

Da palavra-pedra ao ovo-enigma: imagem poética em João Cabral de Melo Neto

A partir do poema “O ovo de galinha”, publicado na obra Serial (1961), propomo-nos, neste artigo, clarificar as estratégias estilísticas na poesia de João Cabral de Melo Neto que possibilitam a percepção do ovo enquanto objeto estético. Dentre outros contributos, apoiamo-nos na concepção de imagem poética de Octavio Paz e nos aportes teóricos de Martin Heidegger acerca de arte e poesia para debruçarmo-nos sobre os aspectos estéticos do poema escolhido. Nesse particular, mediante abordagem analítica, vislumbramos a lida do autor pernambucano com a linguagem, quando arquiteta o processo de composição do texto poético a partir da observação desautomatizada das imagens do real.

On the Translatability of Cultural Phenomena: Modernismo and Modernism within and without Mass Culture

“Spanish American modernismo,” wrote Octavio Paz in 1972, “has no connection to what in English is called ‘modernism.’” Indeed, for a long time there was consensus in both critical traditions that “despite some parallels,” as Astradur Eysteinsson put it, “the differences between the two concepts are too many to warrant their critical coalescence.” In recent years, however, it has become the rule to discuss Latin American and Spanish modernismos within the Anglo-Germanic notion of modernism, as part of the broader concept of “global modernisms.” But how did two of the most important aesthetic concepts of the twentieth century from two distinct traditions go from misleading cognates to variants of the same phenomenon? This article offers a comparative history to explain the conditions of their mutual (un)translatability. It presents their divergent beginnings, briefly surveys their independent developments, and finally argues that, in the past few decades, both have similarly turned from differential to relational concepts mainly by transforming their relationship to mass culture. They have thus gone from high-literary ideologies of exclusion to fields of research on the networks and dynamics of modern culture. As they did, however, their standing within their respective critical traditions has changed in opposite ways.

Disrupción tecnológica y democracia en el siglo XXI

En el año 2019, el sociólogo Manuel Castells afirmó categóricamente que la democracia liberal agotó su recorrido histórico y, citando unos versos de Octavio Paz, expresó: "No lo que pudo ser:/es lo que fue /Y lo que fue está muerto". En este trabajo reflexionaremos sobre este diagnóstico en base a cinco preguntas interrelacionadas. ¿En qué medida la democracia liberal está siendo afectada por la actual aceleración tecnológica informacional? ¿Existe realmente una crisis democrática? ¿Qué lecciones pueden aprenderse a partir del suceso de Cambridge Analytica? ¿Será posible manipular los sentimientos: hackear humanos? ¿Cuáles son los caminos disponibles a futuro?.

Inspirações anarquistas de Nicanor Parra e Octavio Paz

Este artigo pretende explorar a presença de inspirações anarquistas na trajetória e na obra de dois intelectuais latino-americanos nascidos no ano de 1914: Nicanor Parra e Octavio Paz. Utilizando suportes documentais variados (depoimentos, ensaios, produção memorialística, cartas, poesias, discursos), refletimos sobre como dois dos mais importantes poetas da sua geração foram influenciados pelas diversas tradições libertárias e como a expressão poética (essa “outra voz”) é uma contribuição fecunda para o pensamento crítico e para a história da resistência ao autoritarismo na América Latina.

Imaginação erótica e errância do corpo no romance Corpo presente, de João Paulo Cuenca

O objetivo deste artigo é analisar dois tópicos no romance Corpo presente, de João Paulo Cuenca (2003): imaginação erótica e errância do corpo. Em um primeiro momento, tendo na concepção de erotismo de Octavio Paz (1994) e Georges Bataille (2013) o ponto de partida, pretende-se investigar o entrelaçamento da imaginação erótica, que busca tocar o corpo do outro, e o corpo desejado, que se dispersa, tornando-se pura errância. Já no segundo momento, levanta-se a possibilidade de ler o romance como uma crítica à mercantilização do corpo pelo modelo neoliberal. Nesse aspecto, a perda de referenciais sobre o corpo confunde os limites e os deixa imprecisos, tornando o equilíbrio problemático, quase impossível, sobretudo quando cada um precisa se construir e se desconstruir constantemente. Corpo presente coloca em evidência a necessidade de pensar o corpo em desamparo que, invertendo todos os fluxos que tentam delimitá-lo, se inscreve como corpo vivo e ativo.TRANSLATE with x EnglishArabicHebrewPolishBulgarianHindiPortugueseCatalanHmong DawRomanianChinese SimplifiedHungarianRussianChinese TraditionalIndonesianSlovakCzechItalianSlovenianDanishJapaneseSpanishDutchKlingonSwedishEnglishKoreanThaiEstonianLatvianTurkishFinnishLithuanianUkrainianFrenchMalayUrduGermanMalteseVietnameseGreekNorwegianWelshHaitian CreolePersian // TRANSLATE with COPY THE URL BELOW Back EMBED THE SNIPPET BELOW IN YOUR SITE Enable collaborative features and customize widget: Bing Webmaster PortalBack//

Octavio Paz y José Bergamín: la historia de una colaboración

En 1941 la editorial Séneca de México fundada por José Bergamín, publicó, bajo la dirección del poeta Xavier Villaurrutia y con la colaboración de Octavio Paz, Emilio Prados y Juan Gil-Albert, Laurel, antología de poesía moderna en lengua española, que ha sido considerada como el epílogo a una larga tradición antológica a ambos lados del Atlántico y heredera de la publicada pocos años antes por Federico de Onís. Este trabajo, en cambio, pretende resaltar la originalidad de Laurel pues responde a un criterio lingüístico, el español, y una herencia estética, el modernismo, como comunes denominadores de todos los poetas que la integran y no a criterios geográficos o nacionales.