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En 1919 el poeta mexicano José Juan Tablada introdujo el haikú en la lírica hispánica mediante la publicación de Un día… (poemas sintéticos), una obra que conjuga, de manera simultánea, la creación plástica y verbal. A cien años de su publicación, el presente artículo aborda ambos componentes del libro, así como algunas modalidades dialógicas que se establecen entre ellos para determinar el modo en que se enriquece la experiencia poética gestada a partir de la mezcla entre tradición oriental y occidental In 1919 Mexican author José Juan Tablada was the first Spanish-speaking poet to use the haiku when he published Un día… (poemas sintéticos), a book which combines visual and verbal creation simultaneously. A hundred years later, this article studies both of these aspects, as well as some of the ways dialogue is established between them, so as to understand the manner in which the poetic experience is formed through the mixture of western and eastern traditions

This article analyzes Mexican intellectual José Juan Tablada’s profile as a translator based on translations he did at the beginning of his career. The themes addressed in his translations are explored, such as the decadence due to Baudelaire’s influence, as well as themes derived from several other French-language authors. Of particular note is the Eastern theme in his translations, which would go on to become central to his writings and gain him recognition as a noted expert on Japanese culture. Neste artigo analisa-se o perfil tradutório do intelectual mexicano José Juan Tablada a partir das traduções que o autor realizou no início de sua carreira. Salientam-se os temas abordados em suas traduções como, por exemplo, o decadentismo que surge a partir da influência de Baudelaire. Somam-se a essa temática outras de diversos autores de língua francesa. Destaca-se principalmente a temática oriental que está presente em suas traduções e que posteriormente será central em seus escritos autorais. Como resultado, Tablada será reconhecido como um notável especialista da cultura japonesa.

José Emilio Pacheco publicó notables reflexiones sobre el modernismo, y específicamente sobre el modernismo mexicano; buen ejemplo de ello es la Antología del modernismo. 1884-1921. Asimismo dedicó algunas composiciones a cuatro de los más destacados poetas modernistas mexicanos: Salvador Díaz Mirón, Amado Nervo, José Juan Tablada y Ramón López Velarde. En el presente artículo tratamos de discernir de qué forma influyó su producción ensayística en los poemas dedicados a esos escritores; es decir, indagar en las relaciones internas que creemos se establecen entre sus ensayos y poemas y descifrar de qué forma los primeros han influido en los segundos. Asimismo, y mediante el análisis pormenorizado de las composiciones, trataremos de visualizar las relaciones textuales que José Emilio Pacheco construía entre el escritor homenajeado y otros escritores. En definitiva, tratamos de evidenciar que su labor ensayística ha sido fundamental para la elaboración de unos poemas en los que revive y deja para la posterioridad su visión poética de sus poetas modernistas mexicanos. José Emilio Pacheco published outstanding thoughts on modernism, mainly Mexican modernism; a good example is the Antología del modernismo. 1884-1921. Also he dedicated some of his works to four of the most prominent modernist Mexican poets: Salvador Díaz Mirón, Amado Nervo, José Juan Tablada and Ramón López Velarde. In this article we will try to discern in which way his essays had an influence on the poems dedicated to those writers; that is to say, looking into the inner relationships that we think are created between his essays and his poems and to decipher the way the first had influenced the second. Likewise, and due to a close analysis of the compositions, we will try to see the text relationships built between the writer who has been paid a tribute and other writers. To sum up, we will try to make clear the fact that his essays have been essential to create some poems in which he enlivens and hands down to posterity his poetic vision of his modernist Mexican poets.

Como reza en el título, este escrito trata sobre la influencia de Oriente en la poesía de José Juan Tablada. Para abordarlo con mayor profundidad y riqueza, se hace un recorrido previo por la filosofía y la poética orientales, el haikú japonés y sus principales representantes. Finalmente, con estos elementos recogidos, se analizan los haikú escritos por el artista mexicano, compilados en dos obras. La primera, que data de 1919, y fue publicada bajo el título Un día, y la segunda, El jarro de flores, de 1922. Se miran semejanzas y diferencias con oriente, pero también características particulares, relevantes para la poesía latinoamericana. Al final, una conclusión que pretende sintetizar el aporte del artista a la poesía del subcontinente.

The present article focuses on the visual poetry o f the Mexican poet José Juan Tablada who is one of the most important precursors of the avant-garde in the twentieth century. As numerous critics have remarked, José Juan Tablada made several major contributions to modern poetry in Mexico. Although Tablada is generally credited with having introduced Latin American poets to the Japanese haiku, he was also responsible for encouraging them to experiment with visual poetry. As a result of a visit to Japan in 1900, José Juan Tablada became interested in haiku tradition and in Japanese ideograms which inspirited him to create his own poetry in the style of oriental work but adopted to the Latin American perspective of his imagination and to the rules of the Spanish language. It appears that Tablada's attention was focused mainly on the experiments of the modern French Imagist poets and was influenced by Apollinaire's Calligrammes, a problem that we partially intend to explain in the present article spotlighting some occurrences, but finally we conclude that both poets must have been inspired by the previous form of visual poetry, known to the ancient Greeks as technopaigneia and to the Romans as carmina figurata, or by the pre-Hispanic ideographic forms; in this subject we consider a long list of possible inspirations. The principal idea o f this paper is to analyse the visual poetry of Tablada from the perspective of its interdisciplinary character, where images and words situate his poems in a spatial configuration. Therefore we have concentrated our attention on two books of poems published in Caracas, the first one entitled Un día... Poemas sintéticos edited in 1919, and the second one, Li-Po y otros poemas, published in 1920, as an example of the so called visual poetry or ideographic poems, a denomination more appropriate for the second collection. To sum up, Tablada was an innovator, though he did borrow ideas like most writers do. His haikus are original, accompanied with his self-made drawings, and have a distinct Mexican flavor containing local references to flora, fauna o Mexican culture — characteristics that we underline in this paper while also providing a general overview of some theoretical aspects related to Literature and Art.