Barroco y modernidad : De Maravall a Lezama Lima

En las décadas de 1960 y 1970 convergen varias de las líneas que, desde principios del siglo XX, habían centrado las discusiones en torno del Barroco. Tanto en Europa como en América, y desde diversas disciplinas -filología, ensayo literario, retórica, historia, filosofía, psicoanálisis- el Barroco es visto como un punto de partida de la cultura moderna. En 1975 José Antonio Maravall publica La cultura del Barroco, definida como un concepto histórico, en oposición a la teoría de los eones y las constantes desarrollada por Eugenio d'Ors. Para Maravall el Barroco vincula a España con el surgimiento de la modernidad. Años antes, el cubano José Lezama Lima ve en el Barroco el puente que establece la continuidad entre la cultura española y la americana, lanzándola hacia el futuro. Y en el París de la década de 1970, Severo Sarduy introduce el barroco y neobarroco entre los conceptos que circulan en el intenso intercambio intelectual del momento. Proponemos un abordaje de la cuestión en el cruce de esas líneas diversas

Barroco y modernidad : De Maravall a Lezama Lima

En las décadas de 1960 y 1970 convergen varias de las líneas que, desde principios del siglo XX, habían centrado las discusiones en torno del Barroco. Tanto en Europa como en América, y desde diversas disciplinas -filología, ensayo literario, retórica, historia, filosofía, psicoanálisis- el Barroco es visto como un punto de partida de la cultura moderna. En 1975 José Antonio Maravall publica La cultura del Barroco, definida como un concepto histórico, en oposición a la teoría de los eones y las constantes desarrollada por Eugenio d'Ors. Para Maravall el Barroco vincula a España con el surgimiento de la modernidad. Años antes, el cubano José Lezama Lima ve en el Barroco el puente que establece la continuidad entre la cultura española y la americana, lanzándola hacia el futuro. Y en el París de la década de 1970, Severo Sarduy introduce el barroco y neobarroco entre los conceptos que circulan en el intenso intercambio intelectual del momento. Proponemos un abordaje de la cuestión en el cruce de esas líneas diversas

Barroco y modernidad : De Maravall a Lezama Lima

En las décadas de 1960 y 1970 convergen varias de las líneas que, desde principios del siglo XX, habían centrado las discusiones en torno del Barroco. Tanto en Europa como en América, y desde diversas disciplinas -filología, ensayo literario, retórica, historia, filosofía, psicoanálisis- el Barroco es visto como un punto de partida de la cultura moderna. En 1975 José Antonio Maravall publica La cultura del Barroco, definida como un concepto histórico, en oposición a la teoría de los eones y las constantes desarrollada por Eugenio d'Ors. Para Maravall el Barroco vincula a España con el surgimiento de la modernidad. Años antes, el cubano José Lezama Lima ve en el Barroco el puente que establece la continuidad entre la cultura española y la americana, lanzándola hacia el futuro. Y en el París de la década de 1970, Severo Sarduy introduce el barroco y neobarroco entre los conceptos que circulan en el intenso intercambio intelectual del momento. Proponemos un abordaje de la cuestión en el cruce de esas líneas diversas

Ficcion de racionalidad: La memoria como operador mitico en las esteticas polares de Jorge Luis Borges y Jose Lezama Lima

The aesthetic placement and period designation of Jorge Luis Borges (1899–1986) and José Lezama Lima (1910–1976) are complicated issues among critics. Borges is considered a predecessor of the Latin American literary “boom,” but despite that taxonomy his work transcends that definition and provides a foundation for new trends, such as the “neobarroco” cultivated by Severo Sarduy. Lezama is considered part of the second wave of the “boom,” but his work feeds, stylistically, from the Spanish baroque. At the same time, Lezama's daring treatment of homoeroticism and his system of images place him after the “boom” in a narrative style that is postmodern. This study undertakes a revision of external and internal issues, revealing the key fictive elements that characterize both writers. Through discourse analysis, a poetic system is formulated, which incorporates features of the “neobarroco,” and postmodern narrative styles. ^ This dissertation uses a polar structure to analyze both poetic visions and finds that they are symmetrical. From this perspective, Borges and Lezama belong to the “core” of literature that centers its emphasis in the creation of a system versus other modes of writing in which mimetic function prevails. By doing this and by recycling world culture, they create postmodern myth: the new building material for Hispanic American literature. ^ There are a few studies that explore the works of Borges and Lezama within the context of Baroque aesthetics. This dissertation offers a comprehensive analysis that considers their poetic visions at large. Besides the difference in perspective, defined as macro-spatial in Borges and micro-spatial in Lezama, there are many similarities. Both writers question the cause and effect relationship and the use of metaphor. They share a redefinition of genre as well as a hedonistic approach to literature. This kinship in poetic vision is revealed through the polar method used for this study, which proposes a new form of aesthetic placement and period designation. ^

Ficción de Racionalidad: La memoria como operador mítico en las estéticas polares de Jorge Luis Borges y José Lezama Lima

The aesthetic placement and period designation of Jorge Luis Borges (1899-1986) and José Lezama Lima (1910-1976) are complicated issues among critics. Borges is obviously considered a predecessor of the Latin American literary “boom,” but despite that taxonomy his work transcends that definition and provides a foundation for new trends and styles, such as the “neobarroco” cultivated by Severo Sarduy. Lezama is considered part of the second wave of the “boom,” but his work feeds, stylistically, from the Spanish baroque. At the same time, Lezama’s daring treatment of homoeroticism and his revolutionary system of images place him after the “boom” in a narrative style that is postmodern. This study undertakes a thorough revision of external and internal issues, revealing the key linguistic and fictive elements that characterize both writers. Through discourse analysis and close reading, a poetic system is formulated, which incorporate features of the “neobarroco,” “boom” and postmodern narrative styles. This dissertation uses a polar structure to analyze both poetic visions and concludes that they are compatible and symmetrical. From this perspective, Borges and Lezama belong to the “core” of literature that centers its emphasis in the creation of a system versus other modes of writing in which mimetic function prevails. By doing this and by recycling world culture, they create postmodern myth: the new building material for Hispanic American literature. There are only a few studies that explore the works of Borges and Lezama within the context of Baroque aesthetics. For the first time, this dissertation offers a comprehensive analysis that considers their poetic visions at large. Besides the difference in perspective, defined as macro-spatial in Borges and micro-spatial in Lezama, there are many similarities in content and form. Both writers question the cause and effect relationship and the modern use of metaphor. They also share a redefinition of genre as well as a hedonistic approach to literature and culture. This kinship in poetic vision is revealed through the polar method used for this study, which proposes a new form of aesthetic placement and period designation.

A invenção barroca de Jorge de Lima: uma leitura da obra Invenção de Orfeu

En esta disertación se examinan algunas cuestiones fundamentales para la comprensión de la obra Invenção de Orfeu del poeta alagoano Jorge de Lima. Para ello, elegimos analizar el barroquismo del poema, evidenciando algunas de sus principales características; estética de la paradoja; el género híbrido (épico-lírico); síntesis entre el antiguo mito de Orfeo y el mito cristiano de la Caída, en alegorías aproximadas; y la realización de la poesía como una utopía. Para realizar los diálogos propuestos con el objeto de estudio, hemos utilizado las herramientas teóricas de Walter Benjamin (1984), Eugenio D'Ors (sd), Severo Sarduy (1989 [?]), Oswald de Andrade (2011).

A geração de 27 e o barroco: la mirada exuberante

From the context of the degree‘s creation of Spanish literature and language‘s course, at UFRN, came the motivation to make this research, that presents a literary study of a poet‘s group known as Generación del 27, that came in to light at Spain, on 1920. A lot of aspects of this study are themes of many others disciplines, of this degree (Spanish Literature II, IberianAmerican Literature, Spanish Culture, Translation in Spanish Language). This work will also serve as inspiration to new reflections and proposes of translations, as bridges between the language that goes and the other that comes. It is the Translation as comprehension‘s negotiation between languages, it is the decir casi lo mismo, here in poem‘s form (ECO, 2007), in the attempt to conclude new learning, that will be shared with undergraduate and graduate students, being at teaching area, extension or new researches. To contextualize this generation‘s studies, were elected the anthologies organized by Gerardo Diego, called Poesía Española (Antologías), published on 2007, by Ediciones Cátedras, and the Antología Comentada de La Generación del 27, wrote by Víctor García de La Concha, published on 2006, by Editorial Espasa Calpe. The research took Generacion Del 27 as their object of research and - from many others critical reading about the poetry made by those young poets, their creative vocation of aesthetics and vanguard – wanted to understand the context of literary‘s creation of those poets del 27. We form our foundation with contributions by Antonio Maravall (2009), Eugenio D‘ors (s.d) Severo Sarduy (1999), Lezama Lima (2011), Alfonso Reyes (1958) e Deleuze (2005) among others that brought the comprehension of the baroque‘s language, giving emphasis to pluridirectional movement, deconstructing it‘s linearity, creating others new forms, as returns, circles, spirals favoring encounters, detachment or equal points of departure and arrivals. In this way, the poets del 27 approached the baroque of six hundred on a re-reading, and made of the third centenary‘s celebration of the Góngora‘s a Mirada exuberante death, to the return of baroque‘s spirit. Alfonso Reyes e Rubén Darío said that real lights highlighted the paths of this poets generation: The light that desdobra scintillates on García Lorca, Jorge Gullén, Dámaso Alonso, Gerardo Diego and the bullfighter Ignacio Sánchez Mejías, poets that expressed tributes in big style to Soledades author, at Madrid‘s Caffe and all Spain.