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The article provides an overview of the Panel Discussion dedicated to the Peruvian poet César Vallejo, which was co-organized by the Embassy of Peru and the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences on October 21, 2024 in the IWL RAS. The guest of honor of the Institute of World Literature was Ambassador Extraordinary and Plenipotentiary of the Republic of Peru to the Russian Federation Juan Genaro Del Campo Rodríguez, whose report opened the panel. The discussion brought together Russian and foreign researchers from the Embassy of Peru, the IWL RAS, Autonomous University of Madrid, and the University of Manchester. The papers covered various aspects of César Vallejo’s life and work: biographical details, analysis of his poetry and prose, his Soviet contacts, three visits to the USSR, Russian travelogues, interaction with Vladimir Mayakovsky, correspondence with F.V. Kelin, etc. The discussion became a notable event in Russian academic life, gathering about a hundred listeners and, undoubtedly, made a significant contribution to the study of César Vallejo work, to the history of the 20th century Peruvian literature, Soviet-Peruvian and Soviet- Latin American literary connections.

This paper begins by suggesting that travel between China and the Americas occurred long before the arrival of Christopher Columbus from Europe in the Caribbean, and the conference on “Latin America and China in World Literature” is, thus, to be seen as the resumption of a dialogue that had been interrupted rather than a completely new venture. The paper then moves to a discussion of the cultural meaning of magical realism which is seen as the symptom of the cultural upheaval caused by the chasm between the way the inhabitants of the Americas felt and understood reality, as contrasted with the values and rationality of the Western world. The Peruvian poet, César Vallejo, along with other poets such as the Chilean Pablo Neruda, played a crucial role in the articulation and expression of the roots of that cultural upheaval in the early decades of the 20th century— their signature can be divined, for example, behind the linguistic innovation of the novels of the Boom Generation—and Vallejo’s role in particular is traced in the final section of the essay. Vallejo’s Quechua soul struggles to emerge from within the confines of the Spanish language, and this struggle leads to the emergence of a universalist voice which speaks directly and emotively to nations across the world, as witnessed by the translation of his work into so many foreign languages. [ABSTRACT FROM AUTHOR]

From a historical and cultural perspective, Lima, the capital of Peru, is a city of many contrasts whose past is inextricably intertwined with its present and future prosperity. Lima, like all Latin American cities, has a rich history that can be forgotten if its citizens fail to cherish it. Therefore, the literary works of different Peruvian authors and especially those of Raúl Porras Barrenechea are especially relevant: they are full of nostalgia, yet at the same time take a critical approach to the city’s history, which helps us contemplate Lima’s place in the world and the best course for its future development as the city is constantly transforming. Lima, a city of creole and mestizo origins, is a space that invites us to reflect on how it seeks to live up to its traditions and cultural legacy. From a contemporary city dweller’s point of view, citizens and authorities should work together to achieve greater prosperity and improve the quality of life, which is important for the future of not only Lima, but also Peru and Latin America.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1998.

Poco se ha comentado ese desconcertante pasaje de Contra el secreto profesional donde Vallejo plantea que el “eje dialéctico” que compone la poética de Trilce se expresa en la triada numérica “1-2-0”. Y añade, líneas abajo, que tal formulación supone una crítica frente al determinismo dialéctico Este artículo ensaya una interpretación de tal “eje dialéctico” para, a partir de allí, echar luces sobre el tipo de temporalidad que el poemario pone en operación. Frente a la lectura más difundida según la cual prima en Trilce un tiempo diferencial y fragmentario, se busca discutir y destacar otro tipo de temporalidad, acaso más subterránea, de signo prospectivo y premonitorio. De modo transversal, el artículo señala algunas pautas que permiten seguir la pista de aquella pretensión vallejiana formulada en sus últimos años de vida: leer a Trilce en clave marxista y adoptando la dialéctica como eje de lectura articulador.

Esta nota es una reseña de la obra de Carlos Fernández César Vallejo, Trilce y dadá París: huellas de un estímulo silenciado. Woodbridge: Boydell & Brewer Ltd, 2023

The review focuses on the book On “El Tungsteno” by César Vallejo (Sobre “El Tungsteno” de César Vallejo) by Carlos Fernández and Valentino Gianuzzi, published in 2021 in honor of the 90th anniversary of the publication of the novel in Spain. César Vallejo at the turn of the 1920s–1930s collaborated with the USSR, and his novel El Tungsteno became one of the key texts of his creative biography, especially its Soviet page. The book reconstructs the history of the writer's work on the text, identifies possible sources of the novel’s idea, and studies the book's reception in Spain, Latin America and the USSR. The novel El Tungsteno is considered in the context of César Vallejo’s literary contacts with the Soviet Union, his activities in Spain, and interaction with publishers. The second part of the book contains reviews of the novel from Latin American, Spanish and Soviet periodicals, as well as prefaces to the Soviet and Ukrainian editions translated into Spanish. The book by C. Fernández and V. Gianuzzi makes a significant contribution to the study of the work of C. Vallejo, to the study of his Soviet literary connections, outlines further trajectories of development of César Vallejo studies and fills many gaps in Latin American literary studies in Latin America, Europe and Russia.

As Irlemar Chiampi points out, any debate on Modernity and its crisis in Latin America that does not include the Baroque is partial and incomplete. On this basis we propose that this American imbrication between Baroque and Modernity can be enlighteningly glimpsed in a masterpiece of the Latin American avant-garde such as Trilce, a book published a century ago by the Peruvian poet César Vallejo, in which the Baroque is not merely a stylistic question but a "sensibility", as the poet called that capacity of the true new poetry to express the modern experience, thus becoming an art of the "counter-conquest", as the Cuban José Lezama Lima imagined it, as a poetic device capable of testifying the tragic excess of the American Modernity through its immanent baroquism. [ABSTRACT FROM AUTHOR]

RESUMO A relação entre poesia e guerra é longeva e aponta para os arcanos do gênero, da gesta clássica à falência moderna do herói. Contrapondo A rosa do povo, de Carlos Drummond de Andrade, aos poemas de España, aparta de mí este cáliz, de César Vallejo, pretende-se compreender como, enquanto intelectual, o poeta se situa entre a saída melancólica e a sustentação viril da voz, entre o retraimento do ser pelo horror e pela impotência, e o êxtase que preside à ação. Tendo a Segunda Guerra Mundial e a Guerra Civil Espanhola como referentes, as duas poéticas revelariam formas diversas de atenção ao momento histórico, bem como de lealdade a suas vítimas.

Para la crítica, Escalas (1923) forma parte de las creaciones menores de César Vallejo, en tanto que ha sido considerado un bosquejo que permite la explicación de otros textos de la producción poética y narrativa del vate santiaguino. Por esta razón, en homenaje a su centenario, este artí- culo tiene como propósito ofrecer una nueva lectura de Escalas a la luz de los aportes de la Retórica General Textual. Para ello, se plantea como hipótesis que el carácter hermético de Escalas no es producto de la inexperiencia de Vallejo como narrador, sino de su conciencia experimental. Esta tiene su correlato en una pugna estilística entre tres regímenes de pensamiento: el separativo, el distintivo y el confusivo. Se emplea como marco teórico principal la clasificación de Giovanni Bottiroli sobre los estilos de pensamiento, además de las categorías de campo retórico y campo figurativo propuestas por Stefano Arduini.

El presente trabajo da cuenta de la presencia del poeta César Vallejo en la revista Amauta (1926-1930), analizando los diferentes escritos allí presentes (poemas, cuento y ensayos). En primer lugar, se establece una reflexión en torno a las vanguardias latinoamericanas, como ejemplo renovador y propio de esta experiencia en el continente. En segundo lugar, se analizan algunos poemas y ensayos de Vallejo en Amauta en relación con la problemática de vanguardia y “nueva poesía” en América Latina. Por último, se analizan los dos últimos trabajos de Vallejo y cómo ellos se insertan en los debates y programas políticos dentro de Amauta.

The article is dedicated to the history of the interaction of the Peruvian poet, writer, essayist and public figure César Vallejo with the Soviet Union, mainly after his three trips there in 1928, 1929 and 1931. Relying on the materials of the Russian archives RGALI and RGASPI, the creative and publishing plans of the writer are reconstructed. Vallejo repeatedly made attempts to return to the USSR, publish his reports and books in Russian, stage his plays Lock-out (1930) and Presidents of America (1934) on the Soviet stage. The correspondence with International Union of Revolutionary Writers (IURW) in 1933–1935 was not productive: Vallejo's Moscow correspondent F.V. Kelin did not answer the writer regularly and did not explain the reasons for his silence. The article contains fragments of diary entries by F.V. Kelin and his reports to the IURW, which indicate that the figure of Vallejo in the USSR was considered in the context of the author's social activities in Spain and work in the Union of Revolutionary Writers of Spain. Soviet literary functionaries tried to instruct the writer, expected active cooperation with the IURW, which for various reasons Vallejo could not carry out. Despite the irregular interaction, the Soviet episodes of the writer's work have become very important components of his creative biography, and his literary ties with Soviet Russia are a unique example of the cooperation of a Latin American poet with the literary institutions of the USSR in the late 1920s and early 1930s — at the stage of emergence and consolidation of contacts with writers of leftist views in Spain and Latin America. The appendix contains letters from C. Vallejo to F.V. Kelin, as well as a letter from the IURW to Vallejo (1931) and a memorandum from F. Kelin to the IURW (1931).

Los estudios sobre la poesía, los cuentos y las novelas de César Vallejo evidencian el proceder poético y la exhaustiva búsqueda por elaborar una composición artística innovadora. Ese mismo ánimo literario se percibe también en el aspecto teatral, pues sus acercamientos teóricos y propuestas teatrales demuestran el interés por replantear la dramaturgia de su época como lo realiza en Colacho hermanos (1934). Esta obra, si bien resalta el problema político, social y económico de la sociedad peruana, desarrolla una incesante labor por conseguir un discurso teatral vinculado a su inclinación estética. Por ello, desde un análisis semiológico y rítmico, la presente investigación verifica la composición del diálogo dramático en la pieza teatral del afamado vate.

La metapoesía es un ejercicio de ficción particular que en este estudio se discute con el propósito de poner a prueba nuevas comprensiones sobre la vanguardia de inicios del siglo XX y su presencia en la poesía peruana. El caso elegido es el de César Vallejo y el texto explorado es “Un hombre pasa con un pan al hombro”, un poema donde se advertirá cómo las ideas sobre el lenguaje, el conocimiento y la cultura no resisten significación alguna que justifique su funcionamiento como recursos garantes de la civilización del hombre, lo que demanda en el lector el gesto de repensar el estatuto ficcional de ese poema.

Esta contribución presenta un análisis del texto inédito recuperado “Encuentros con César Vallejo” del poeta y crítico Leopoldo de Luis. Los comentarios de de Luis ofrecen una síntesis que puede considerarse esencial en la poética hispánica surgida en la contemporaneidad y de la que Vallejo forma parte principal. La interpretación luisiana al integrar el historicismo crítico y sus tradiciones al comentario del texto resultan ejemplares y de ahí la necesidad de publicación pues une la crítica sobre Vallejo con las propias coordenadas de su poética en el contexto vivido por el propio Leopoldo de Luis.

César Vallejo was a writer very concerned with the spiritual aspect of man. This was influenced by his deep religious formation, as well as the desire for infinity since his crisis in adolescence. Added to all this was the tension between spirituality and acceptance of the materialist presuppositions of Marxism from the end of the twenties. With a need for transcendence and a unique commitment to the most disadvantaged, he tried to combine the Marxist creed of his mature stage with the Christian tradition that accepts the certainty of a superior being and a destiny for the human being, appropriate to his dignity as a spiritual creature. In this sense, his poetry constituted a precedent for Liberation Theology, since Gustavo Gutiérrez, a Peruvian theologian who promoted this spiritualist current, expressed on many occasions the enormous imprint left on his cultural formation by the poetry of his compatriot. [ABSTRACT FROM AUTHOR]

By a strange coincidence, Trilce and The Waste Land were both published in October 1922, the annus mirabilis of Modernism, and in this essay I intend to «excavate» how modernity was projected in the work of T. S. Eliot and César Vallejo. I draw upon five exemplars of excavation in the modern era - of the earth, of the human body and brain, of the atom, and (via Heidegger and Foucault) of language itself - before moving onto an investigation of the search in the work of T. S. Eliot and Vallejo of a new dimension of reality contained within poetic language. The meaning of the poem in the Work of the Avant-Garde now springs from within the crevices between words. I conclude the essay with a discussion of the hypothesis that - in 1922 - Vallejo, along with T. S. Eliot, in their respective poems which were constructed out of «piles» of «broken images», created a completely new mythology of modernity. [ABSTRACT FROM AUTHOR]

César Vallejo remained in prison for one hundred and twelve days in 1920-1921. This circumstance left a very important mark in his life and in his poetry, which we propose to investigate in this work. We begin by reviewing the texts of Trilce and Escalas in which this experience is recounted; we analyze in them certain characteristics that imply the concretion of some of the themes present in Los heraldos negros, and also an announcement of his later books, especially Poemas humanos. According to our reading, Vallejo's poetry becomes more conscious of the corporeal through the prison experience, and the days in jail are also decisive for the formation of a poetics of solidarity. [ABSTRACT FROM AUTHOR]

Precariousness is, in Vallejo, an instance that crosses the order of subjectivity. But what distinguishes it? Faced with the strength of the free self, Vallejo's subjectivity is founded on vulnerability. Faced with the logic of accumulation, it is defined by its scarcity. Faced with the purification of the dehumanized avant-garde, it proclaims its radical contingency. It is a subjectivity that makes and unmakes its own humanity in the unstable multitude of the world. Which is mass, and a mass that is not exclusively human, not even exclusively animal, but mundane: an avalanche of what exists. This article studies the particularities of the precarious subject and the wild flow of the particular in Vallejo's lyric and more specifically in Trilce, attending to his proposal of certain poetics of lack. In its development, a comparative analysis is carried out with the lyrical project of José Moreno Villa, to finish focusing on its political-aesthetic counterpart: what we have called the splurge of the dispossessed. [ABSTRACT FROM AUTHOR]

This article analyzes poem LII of Trilce (1922) emphasizing the importance of the children's language used by Vallejo in this as in other texts based on one of the fundamental poles of attraction of his poetry: the return to his native land, Santiago de Chuco, trope of the primordial community and prelude to the unity lost during adulthood and the author's migratory experience. Vallejo achieves, through the use of the local Castilian of his childhood, a theatricalization of the referent that gives his poetry a unique aspect in the Latin American letters of the moment. [ABSTRACT FROM AUTHOR]

El artículo sistematiza y presenta los cuatro modelos de edición que sigue la ecdótica sobre la poesía de Vallejo. Se enmarca cada una de ellas en el contexto historiográfico que va desde la década de los sesenta del siglo XX (edición precrítica y edición crítica) hasta la segunda década del siglo XXI (edición diplomática). La explicación historiográfica y analítica de estas ediciones permite advertir la insistencia en replicar modelos de edición, y no en innovarlos; por tanto, se propone la necesidad de reorientar la ecdótica vallejiana hacia los textos críticos que instauraron los primeros protocolos de lectura sobre la vida y la obra de César Vallejo, entre estos, la aproximación jurídico-crítica que plasma Germán Patrón Candela en el texto El proceso Vallejo (1992). Para ello, se examinan la edición príncipe, así como la segunda y la tercera edición. Se insiste en la necesidad hermenéutica de fijar el texto crítico a fin de propiciar relecturas que produzcan sentido sobre las fuentes críticas.

One of the most outstanding characteristics of Trilce is the use of a language expressed in terms of "conflict." This dynamic can be seen in its attitude of rejection of the comfort of a universe governed by traditional "harmony." Thus, Vallejo portrays imperfect scenarios, prone to "dispute" between antagonistic forces that configure the dimension of the terciario (or impar), that is, that which lacks "symmetry" because it exalts incompleteness in a world agitated by antithetical confrontations. In this vein, in En la masmédula, Oliverio Girondo submits language to a process that combines words to model an absolute amalgam materialized in a "total full mixture." Therefore, analyze these two books to illustrate a development that goes from Vallejo's antitheses to the synthetic fullness produced by the "mixed" words of the Argentine poet. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez 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 poetry book España, aparta de mí este cáliz by César Vallejo shows his commitment with the Republican side during the Spanish Civil War. War is reflected through the body in different ways: combatants react as if they were only one body, the poet struggles with his writing within his limited flesh, battles take place within the corporal limits of soldiers' bodies, and the country whose universal destiny is at risk appears as a mother carrying her womb in agony. This paper studies how the constant presence of the body in Vallejo's works reaches both a metaphorical and a literal plenitude in this book, which enables the defense of the República. [ABSTRACT FROM AUTHOR]

En estas páginas queremos resaltar la vigencia centenaria de Trilce, poemario que Vallejo publicó, primero en el Perú, y luego en Madrid, en 1931. Haremos referencia a la necesidad del escritor de inventar una palabra, trilce, para ponerle título a un poemario hermético, ambiguo, pero abierto a múltiples interpretaciones. También nos referiremos a un grupo de críticos literarios (trílcicos), que, desde los inicios de 1922, y a lo largo de las siguientes décadas del siglo xx y las tres del xxi, han contribuido a un conocimiento más exhaustivo y valioso de este poemario, considerado, actualmente, como uno de los libros más importantes a nivel mundial.

Terminada la Guerra Civil española se estableció una confrontación directa entre el relato cultural propuesto por el exilio republicano y el construido desde “el interior”, ya fuera desde el oficialismo o desde sus márgenes. Esta confrontación de relatos afectó directamente a la recepción de una serie de autores de la llamada “Edad de plata”. Uno de estos referentes disputados fue el poeta peruano César Vallejo. Su enorme influjo tanto entre los miembros del Veintisiete como del Treintayséis llevó a su reivindicación desde plataformas del exilio como España peregrina y desde el entorno del falangismo intelectual y revistas como Escorial o Cuadernos Hispanoamericanos. De esta manera, destacados miembros de ambos entornos como Juan Larrea y Leopoldo Panero quisieron aproximar al autor de Trilce no solo a sus postulados estéticos sino también ideológicos. Al tiempo, una incipiente intelectualidad al margen del oficialismo quiso ofrecer su propia lectura del legado vallejiano.

This article offers a new look at the context of production and reception of El tungsteno, the proletarian novel by César Vallejo published in Madrid in 1931. An account of the biographical experiences that inspired the plot of the novel is established, a tentative chronology of composition and writing is drawn, and details are given on its publication and printing. In addition, the article provides hitherto unknown information on the Russian and Ukrainian translations of the novel that shed light on the way Vallejo handled his narrative writing. [ABSTRACT FROM AUTHOR]

Copyright of Revista de la Biblioteca Nacional Jose Marti is the property of Biblioteca Nacional de Cuba Jose Marti 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.)

Este artículo propone una interpretación del problema del lenguaje en Trilce, de César Vallejo, a partir del concepto de «melancolía» tal y como ha sido desarrollado por Kristeva. En concreto, entendiendo la «ausencia» como requisito de la operación semiótica occidental, trataremos de mostrar en qué sentido el duelo por la pérdida de la «madre» (o lo que Kristeva llamaría la «Cosa») es, en tanto que tema poético (es decir, no como duelo del «autor», sino del texto), indesligable de la crisis del lenguaje trílcica. En el mismo sentido, recurriremos a la noción agambeniana de «infancia» para ahondar en el conflicto mediante el cual la voz trílcica renuncia, en su luto, a constituirse como sujeto del discurso, aunque sin entregarse por ello a la experiencia muda.

The article presents a comparative analysis of the poems "La violencia de las horas" ("Violence of the Hours") by the Peruvian poet César Vallejo, "Subjektyvi kronika" ("A Subjective Chronicle") by the Lithuanian poet Sigitas Parulskis and "Devynios gyvybės" ("Nine Lives") by his compatriot poet Vytautas Stankus. The aim of this research is to trace and highlight relations between the texts, explore how the meaning in a highly intertextual artwork is created, and to establish the common poetic features of the works discussed. [ABSTRACT FROM AUTHOR]

El objetivo principal de este artículo de investigación es explicar el discurso humanista del poema “VIII Aquí, Ramón Collar”, del libro España, aparta de mí este cáliz, de César Vallejo. El humanismo presente es un sincretismo entre dos discursos aparentemente contradictorios por su naturaleza, pero complementarios en sus praxis: de la tradición cristiana, el amor al prójimo; y de la modernidad marxista, el amor al pueblo. Las categorías de interpretación son la retórica y la argumentación. El trabajo concluye en que el amor al prójimo tiene su máxima expresión de humanismo cuando el creyente Ramón dio su vida por los demás, como Jesús lo hizo por nosotros; de la misma forma, el amor al pueblo alcanza la cima del humanismo cuando el combatiente Collar no duda en luchar en la Guerra Civil española defendiendo la causa republicana.

El artículo se basa en la teoría de M. H. Abrams “Las cuatro dimensiones de un poema” (2012) en el cual destaca cuatro niveles de interpretación de un poema: literal, figurativo, simbólico y físico. Es decir, entrar en esta cuarta etapa de significación requiere reconocer que un poema existe para leerlo en vos alta y escucharse. De este modo, es necesario prestar atención tanto al sonido de los versos como a la acción de recitarlos, es decir, aun cuando leemos un poema escrito; debemos prestar atención al movimiento de la lengua, la garganta y la boca, y también la sensación de las palabras en los oídos. Aplicando estas ideas a Los heraldos negros (1919) de César Vallejo, vemos que desde su poesía temprana el poeta trabajaba sobre la presencia de la palabra y las creaciones poéticas en el mundo real de los sonidos, revelaciones, sensaciones, toques y emociones de ideas. De esta manera, vemos la conexión entre la experimentación abstracta, la exploración trascendental y el compromiso social.

La producción literaria de César Vallejo incluye una novela breve de carácter fantástico, Fabla Salvaje, y otros cuentos del mismo género, como «Los caynas», recogidos en 1923 en la segunda parte de la colección de cuentos Escalas. La primera parte del volumen, en cambio, es una muestra de la literatura carcelaria de Vallejo, escrita y publicada entre las paredes de la penitenciaría de Trujillo, donde permaneció preso de noviembre de 1920 a febrero de 1921. El objetivo de este artículo es detectar la relación entre los elementos ficcionales de la producción fantástica de Vallejo y los discursos sobre la exclusión de la otredad del proyecto modernizador y la construcción de una separación social racializada.

Copyright of Letras (Lima) is the property of Letras, Facultad de Letras y Ciencias Humanas. Universidad Nacional Mayor De San Marcos 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.)

This article seeks to undertake a brief politics & aesthetics-based reading of two works of Walter Benjamin and César Vallejo, relying on significant encounters with Soviet culture through visits to Moscow in the late twenties of the past century. Ideological and aesthetic affinities between the two authors are explored, focusing on the way in which they assimilated and artistically expressed a vision of the city during the first stages of the proletarian revolution. The individual expectations each one harbored relative to the forthcoming change in lifestyle are also outlined. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones 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 fight against imperialism and racism was central to the Comintern's political and cultural program of the interwar period. Although the more immediate interests of the Soviet state would come to overshadow such causes, the cultural and political connections forged during this time influenced later forms of organizing. Throughout the interwar period (1918-39), the Soviet Union served as the core location of a newly formed world-system of socialist and communist radicalism. The origin of Latin American Marxism in the work of the Peruvian theorist and political organizer José Carlos Mariátegui, as well as the politically committed literature associated with the interwar communist left in the Andean region of Latin America, shows how literature and theory devoted to the indigenous revolutionary contributed to interwar Marxist debates. The interwar influence of Mariátegui and César Vallejo makes clear the importance of resisting attempts to drive a wedge between the two authors and the broader communist movement at the time. [ABSTRACT FROM AUTHOR]

Este artículo analiza e interpreta los elementos formales y de contenido que tiene la tesis de César Vallejo: El Romanticismo en la poesía castellana (1915). Propongo leer esta tesis como el escenario de exposición de ideas donde Vallejo plasma su conocimiento sistemático sobre la historia de la poesía romántica tanto como su comprensión de la lógica que anima el discurso crítico y su relación con la literatura. Se trata de un modo de leer la tesis que contribuye a comprender que el Vallejo que escribe Los heraldos negros (1919) no es un autor que desconoce la dialéctica que atraviesa la relación de las manifestaciones literarias, la serie histórica y social; por el contrario, la exposición de la tesis nos permite percibir que Vallejo ha entendido que la estética por-venir es una que exige originalidad en la sensibilidad histórica y el lenguaje poético.

The aim of this article is to introduce concepts of emptiness and silence in collection of poetry The black heralds (Los heraldos negros) by peruvian author César Vallejo. The first part of the work captures life events that influenced author's personality and his poetic style. Both of them are well reflected in verses from the first collection. The following section deals with specific analysis of poems and its main focus is to detect the concept of emptiness and silence in them. [ABSTRACT FROM AUTHOR]

El presente artículo propone examinar la reescritura que realiza Berta García Faet de César Vallejo, comprendiéndola como un diálogo en el sentido bajtiniano; esto es, atendiendo a la incorporación y disputa del lenguaje social que llevan a cabo ambas obras. Bajo esta perspectiva, podremos evaluar cómo se retoman las estrategias lingüísticas vanguardistas para elaborar un proyecto literario feminista y proponer una transformación no ya en la representación sino en el mismo seno del lenguaje.

The figure of César Vallejo highlights the limits and blind spots of Spanish Hispanoamericanism of the 1920s. His contact with the «unofficial sphere» of Spanish and Latin American painters in Paris was crucial for the development of his poetics of sensibility, which questioned the postulates that Guillermo de Torre and José Ortega y Gasset defended from Madrid. This is what Vallejo’s journalistic chronicles show, and this can explain the silence that followed the reception of the Favorables – París – Poema magazine in Spain. The Spanish cultural world was not mature enough to accept the dialectical synthesis Vallejo proposed between avant-garde and neoclasicism. His chronicles also function as a tacit response to the famous Meridiano Intelectual (Intellectual Meridian) controversy.

César Vallejo (1892-1938) y Eugenio Montale (1896-1981) han renovado la tradición lírica y la han fusionado con elementos e ideas modernas; ambos fueron permeables a los mismos acontecimientos históricos que sacudieron a Europa y a América, pero han conservado un resabio de las tradiciones propias de las regiones donde se criaron (Perú para Vallejo, Italia para Montale); también experimentaron las consecuencias producidas por los cambios políticos. Por último, los dos han sido asociados en algún momento de la producción poética con el Hermetismo. Todos estos aspectos han proporcionado un fundamento para abordar algunos poemas de Vallejo y Montale que tratan el tema de la ausencia y de la casa, por un lado, como espacio interior, así como en relación a las ausencias, a los lazos afectivos y al recuerdo.

Alonso Zamora Vicente was a precursor of works on Julio Cortázar (1953) or César Vallejo (1957) when the former was not yet the celebrated writer he would become later, and the latter was scarcely known in Spain or taken into consideration by academic critics. This article highlights the importance that his interest in César Vallejo had for Roberto Paoli, who was a foreign language teacher in Salamanca when Zamora Vicente started writing about César Vallejo, and later would become a top expert on the poet’s work. Likewise, Zamora Vicente was tutor of the first PhD thesis in Spain about this writer. His friendship with Julio Cortázar and Jorge Luis Borges (and his differences with the latter), his keen interest in Rubén Darío, his role as a tutor of Vargas Llosa's thesis about García Márquez and his renewing editorial work around American literature are also discussed. In conclusion, his wide knowledge of linguistic and literary disciplines directly related to his passion for Hispanic America is recalled, reassessing the inspiring cultural lessons he offered.

Resumen: Este artículo explora la relación del intelectual a las masas tal como la entendía el poeta César Vallejo. Se nota una transformación radical en la articulación de esta relación entre los textos tempranos y la poesía y escritos tardíos de Vallejo. Arguyo que el estallido de la Guerra Civil Española desencadena esta transformación y que las prácticas literarias tardías de Vallejo representan una crítica de las jerarquías sociales que el poeta afirmó en sus primeras obras.Abstract: This essay explores the poet César Vallejo’s conceptualization of the intellectual’s relationship to the masses. In particular, it notes a radical transformation in the articulation of this relationship from Vallejo’s early work to his late poetry and writings. I argue that this transformation is triggered by the outbreak of the Spanish Civil War and that Vallejo’s late literary practice constitutes a critique of the social hierarchies he had affirmed in his early works.

The article dwells on the history of César Vallejo's literary contacts with the USSR, his books on Soviet Russia — “Russia in 1931, Reflections on Foot of the Kremlin” (1931) and “Russia before the Second Five-Year Plan” (1931–1932, published in 1965). César Vallejo visited the Soviet Union three times: in 1928, 1929 and 1931, and these trips had a significant impact on his worldview. The memoirs of Georgette de Vallejo, the poet's widow, help to trace the chronology of C. Vallejo’s life and work. C. Vallejo's letters to F.V. Kellin, deposited in the funds of the Russian State Archive of Literature and Arts (RGALI), help to reconstruct the creative plans of Сésar Vallejo in 1933–1935: his intention to return to the USSR and stay for a longer period, to stage his plays “Lockout” and “Presidents of America” there, to participate in the Theater festival in Moscow, etc. The article is supplied with publication of the fragments from the book “Russia before the Second Five-Year Plan” and the foreword by Georgette de Vallejo to its first edition.

Este artículo tiene como intención establecer la similitud e influencia, tanto en los ejes discursivos como en las características estéticas, que existe entre la poesía de Vallejo y Whitman en la cual el “yo” poético de ambos es universal inclusivo y solidario, se preocupan por la condición humana direccionada a la búsqueda de la libertad, pero no solamente como instrumento de creatividad sino en la búsqueda de un mundo mejor. Se sostiene que Vallejo plasma su dolor socio político y solidario con una estética revolucionaria, influenciado por una estética democrática de Whitman; asimismo ambos vates denotan una estética vitalista y lo muestran en la ruptura de la gramática con el fin de ampliar su capacidad de expresión. En conclusión, se ha logrado demostrar la semejanza que existe entre los dos poetas así mismo la influencia en Vallejo por parte de Whitman.