Search

Copyright of Revista Laboratorio is the property of Universidad Diego Portales 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 reflects on the relevance of El viento de los reinos, a poem by the Chilean author Efraín Barquero (1931-2020), in light of the recent publication of its second edition, more than fifty years after the release of the first one. In particular, we study the notion of “mythical time” that emerges from the poem and the way in which it presents itself as an alternative to the notion of “historical time”, in order to evaluate the consequences that such an option generates in the configuration of the identity of the contemporary Western individual.

This article proposes a reading of Juan Luis Martínez’s La nueva novela to reveal the way in which the Chilean poet mobilizes texts from Western authors to undermine Western epistemology from within. Martínez uses Eastern philosophical concepts to deconstruct the logocentric tradition, creating poetic texts that operate similar to Zen koans. Martínez’s project reveals the similarities in literary deconstruction and Zen by decentering language and questioning the processes of producing meaning.

Laric poetry, as it is understood in Chile from Jorge Teillier's essay "The poets of the lares", that is, a return to the village and family origins as a rejection of the uprooted modernity that overrides traditional values, has prompted understandings that range from the exaltation of the nostalgic and provincial character to views that consider it as evasive aesthetics that lacks historical sense. As far as this work is concerned, my intention is to make a contribution to the critical analysis of laric poetry in terms of its political aesthetics that are related, according to what I propose here, directly with the historical processes of our country during the 20th century. [ABSTRACT FROM AUTHOR]

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne 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 analyzes Violeta Parra's relationship with Chilean popular poetry, specifically in regards to the tradition of verses with religious themes. The influence of her brother Nicanor in her work of compiling popular songs is highlighted. Violeta immerses herself in the peasant world and rediscovers her roots through music and poetry. Although one cannot speak of a religious quest in her work, an attitude of gratitude and criticism towards the divine figure is observed. Additionally, the use of "canto a lo divino" (singing to the divine) as a method of teaching the Catholic doctrine by the Jesuits in Chile is mentioned. [Extracted from the article]

In this essay we outline five constellations of poetic and visual practices, starting with the dictatorship in Chile (1973-1990), but connecting them with works from previous decades. Without wanting to be exhaustive, our intention is to show how poetry and related practices have shaped a creative response of counterattack and antithesis, as well as resistant ways of life through art at different times and areas of Chile. [ABSTRACT FROM AUTHOR]

Concern for the ecological crisis, or for what Rachel Carson called the “Silent Spring”, exists all through twentieth-century Chilean poetry. In this article, the focus is on the strategies employed by two contemporary poets –the “Üñümche” or Mapuche “bird-man”, Lorenzo Aillapán, and Elvira Hernández– to confront and fight the loss of biodiversity and the extinction of birds.

This essay argues for a reconsideration of Raúl Zurita's early poetry in the context of the agrarian question in Chilean socialism and neoliberalism. Countering readings of Zurita's landscape poetics as primarily metonymic depictions of bodily trauma suffered by the victims of the Pinochet dictatorship, I argue that space as it appears in Zurita's first two collections, Purgatorio and Anteparaíso, is a non-mimetic, discursive, and contradictory object. Through this rendering, Zurita's poetic speaker offers what I term a "visionary geography" which denaturalizes the Chilean landscape and reflects the centrality of land use to the crisis and conflict of the 1970s. [ABSTRACT FROM AUTHOR]

This paper reads Nadia Prado's poetry collection ©Copyright (2003) from a decolonial perspective, based on Walter Mignolo's conceptualization of history as heterogeneous and decentred, aspects that I argue also permeate subjectivity and poetic expression. The poem delves into criticism of both Chilean neoliberal reality and a wider Latin American context in which the US has become a new economic and cultural hegemonic entity to be resisted from the margins. As a follow-up from the poetry/performance work Poesía es + (2002), co-authored with Malú Urriola, ©Copyright explores expression or its lack thereof within a profit-driven Chilean democratic transitional moment. Prado's poetry opens up space that paves the way for a deep critique of neo-colonialism and neoliberalism. At the same time, this poem becomes part of a larger corpus of poetic, narrative and critical work that has compiled concerns and discontents since neoliberalism was imposed in Chile. [ABSTRACT FROM AUTHOR]

Copyright of Revista Laboratorio is the property of Universidad Diego Portales 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.)

Paramar (2019), by Chilean poetjuan Carreño (Rancagua, 1986), outlines a transit whose residuality allows elaborating the territory of the neozone, from which a visibility and imagination of space rises. The territory, on the one hand, accounts for a social, critical and political spatiality of the community and the subject, and, on the other hand, it accounts, based on affects, for a way of inhabiting the world and of relating, with the others. For its part, the visible language is configured from the imagination of the territory itself, the projection of an aesthetic image and a poetic vision. [ABSTRACT FROM AUTHOR]

This article analyzes a set of interviews with Mapuche poets proposing a metadiscursive articulation between the literary field (poetry) and the journalistic field (interview). The corpus analisys's suggest the existence of three tension in poetic practice that can be seen in interviews with the authors. These tensions are manifested in three fundamental binomials that function here as categories of analysis: high-low culture; public-private distinction and dynamic articulation between identity-alterity. Finally, an intercultural dimension it is proposes as an articulating pivot of categories previously implemented and analyzed in Mapuche poetry. [ABSTRACT FROM AUTHOR]

Known as a "manipulador del lenguaje" by his contemporaries, the Chilean poet Rodrigo Lira (1949–1981) has barely made it onto the international poetry stage for his biting and striking antipoetics. While his poetry has especially been recognized for his semantic wit in his almost sardonic parodies of his predecessors and contemporaries, Lira's antipoetic work, I propose, gathers force with his attention to the visual aspects of language on the page that both informs and is informed by language's materiality. I argue that it is through Lira's manipulation of language and poetry's visual qualities that his commitment to social critique comes to the fore. The reader can interact with Lira's poems as physical objects not only intellectually, but also by engaging multiple senses. Through close readings of exemplary poems, I consider how his manipulation of the letter, the word, the line, and the page itself contributes to his antipoetics. [ABSTRACT FROM AUTHOR]

Copyright of Caravelle: Cahiers du Monde Hispanique et Luso-Bresilien is the property of Presses Universitaires du Mirail 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 Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion 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 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.)

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.)

This article reviews certain crossed plots in the work of Juan Luis Martínez, particularly in La nueva novela, specifically related to 1) their modes of insertion into the field of Chilean poetry, especially considering the way they relate to the works of Vicente Huidobro and Nicanor Parra, that precede its work; 2) their strategies of simulation, parody, and shrouding of the figure and identity of the author, as well as their paradoxical connection to the legacy of Borges; 3) the convergences and divergences between Eastern and Western thought, or the assumption of the impossibility of the poem: the "pajarístico" trapped in the net of the ideogram. [ABSTRACT FROM AUTHOR]

The presence of a generalized idea about our global ecological crisis, has generated, a series of critical, creative and empathic reflections in the field of humanities for the actions of ecological denunciation, sustainability and preservation of the environment. Given this, we consider that the recent work of Raúl Zurita (Santiago, 1950), presents a series of features that can be related to the representations of nature and the environment as ecological dimensions. Based on a series of previous theoretical-critical approaches, we intend to show the development of an aesthetic imagination of relationship and criticism between human beings and nature, and then read the poetic expressiveness of Raúl Zurita as a critical reflection on nature and language, related to the conceptual proposal of a new urban environmental episteme (Heffes), focused on the imaginary of ecological denunciation, sustainability and preservation. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion 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.)

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita 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 test will analyze the book Rompan Filas (2016) of Bruno Vidal from three lines of sense, the allegory (Benjamin), the heteroglossia (Bajtín) and the subjective draft (Sarlo) to define the sway between the nominal thing and the poetical thing, the contradiction. This central aspect of this work will part from the allegory of horror as a problematizing element of the narrativity of traumatic experiences; the refraction of voices leads to heteroglossia, which carries a responsibility as ethics of the text; finally, the prerogative filter will try to support the interstice between remembering and forgetting, between documentary and ficcional aspects. [ABSTRACT FROM AUTHOR]

Copyright of Revista Canadiense de Estudios Hispánicos is the property of Asociacion Canadiense de Hispanistas 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.)

Within the literary project of the Chilean poet Olga Acevedo, Las cábalas del sueño, the seventh collection of poems originally published in 1951 and republished in 2019, shows a poetic-philosophical itinerary in gradual transition from individual unity to spiritual totality, including, in this journey, sufferings and intimate longings born from an intense process of self-reflection and initiation. In this article we will posit that, through this poetic proposal, the author opens an innovative route in the Chilean imaginaries of the first half of the 20th century, creating a poetic cartography centered around female spiritual evolution. We will attend to this phenomenon through an analysis focused on the female experience of Campbell's "mythic journey", conceptualizing it as a strategy to frame the exploration of the subjectivity of the lyrical speaker. In order to do this, the analysis will be structured in four stages, or phases, through which the poetic transit is carried out in order to elucidate the transformations that the speaker undergoes on her way to accomplish an intimate experience linked to the sacred and to the potential encounter with divinity, the ultimate goal of the Acevedian poetic project. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion 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.)

Chela Reyes (1904-1988) is a chilean writer born in Santiago, the same year as Pablo Neruda. She has a relevant poetic production, almost unknown, that can and should be considered as part of the tradition of the Chilean historical avant-garde. This work aims to show how, in Ola nocturna, her third book of poems published in 1945, the author uses characters and references from Greek mythology to shape her imaginary. Its figurative universe is constituted by powerful evocations of a maritime space in which Eros and Thanatos are confused. Characters such as Eolo, Hippocampus, Sirens, Neptune, Echo, Venus, are part of its mythological-poetic gallery. Through these figures the poet builds a surprising and fascinating world in which eroticism is both creation and destruction. [ABSTRACT FROM AUTHOR]

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.)