Pablo Neruda

Se trata del primer estudio monográfico sobre la vida y la obra de Luis Felipe Vivanco. Emplea materiales desconocidos e inéditos (tanto del poeta como sobre él, y de la recepción de sus poemarios) procedentes en parte de su archivo personal, epistolario y escritos íntimos, no utilizados por el momento. Establece una puesta al día, una interpretación original, renovadora y coherente de su vida y de su obra, a la luz de los nuevos datos que aporto y del análisis detenido de su obra (poética –en prosa y en verso– y crítica, sus escritos de literatura y arte, sus traducciones, y las relaciones entre todos estos tipos de textos), su sentido y su evolución, en su contexto histórico, social, político y literario, y en relación con sus escritos íntimos, sus lecturas y sus relaciones personales. Aporta además la bibliografía más completa existente de sus escritos en prensa periódica y de los artículos que se han dedicado a su obra, en ambos casos resultado de una búsqueda personal.

The author studies the Latin American writers’ visits to the USSR from 1954 till beginning of 1960s realized via the Foreign Commission of the Union of Soviet Writers. After Stalin’s death, the activity of all departments of the Commission expanded significantly; the lists of those invited from abroad now included writers who were absolutely loyal to the USSR as well as new and yet unknown names. As a result, the staff of the Foreign Commission had to face an unprecedented pluralism. Based on the Commission’s Spanish and Portuguese translators’ reports, stored in the Russian State Archive of Literature and Art, the study analyses the criteria based on which the stay of a guest was perceived as favorable or undesirable for continuing cooperation in order to improve the image of the USSR in foreign literary circles. The study also analyses somewhat of a loyalty marker, reflecting the guests’ perception of the results of the XX Congress of the CPSU and the state of Soviet-Chinese relations as sensitive topics important for the political self-determination of communist writers. The study of these new sources allows us to conclude that when choosing new foreign partners, the Foreign Commission often relied on the advice of its’ “faithful friends”, and the protégés of the latter did not always withstand the test of compatibility with the Soviet regime. At the same time, there was no specific criteria for the new friends’ selection. The translators, who were the first to report on the visit, were invited from outside, sometimes just for one particular job; they did not receive clear instructions from the Commission and were guided by their own ideas about the importance of the writer in their care and the expediency of cooperation with him. Later their opinion could not be taken into account; presumably, it was the journalistic and novelistic production of the invited writers published as a result of the visit to the USSR that was of greater importance to decide whether they were worth further attention. The study reviews Soviet Writers’ Union cooperation with P. Neruda, F. González-Urízar, N. Parra, V. Teitelboim, A. Cassigoli, F. Coloane (Chile), J. Amado, M. Rebelo, E. de Moraes, G. Figueiredo, H. Silveira (Brazil), I. Abirad, J.C. Pedemonte, M. Rosencof (Uruguay), N. Guillen, C. Leante, O. Hurtado, Samuel Feijoo (Cuba), E. Barrios Villa (Bolivia), C.A. Leon (Venezuela).

Статья посвящена визитам писателей из Латинской Америки в СССР c 1954 до начала 1960-х гг. по линии Иностранной комиссии Союза советских писателей (ИК ССП). После смерти Сталина работа всех отделов Комиссии значительно расширилась; списки приглашённых из-за границы отныне включали и безусловно лояльных СССР коллег, и новые, ещё неизвестные имена. В результате сотрудникам Иностранной комиссии пришлось столкнуться с невиданным плюрализмом. На основе отчётов испанских и португальских переводчиков ИК ССП, хранящихся в Российском государственном архиве литературы и искусства (РГАЛИ), рассматриваются критерии, по которым пребывание иностранного деятеля воспринималось как благоприятное или нежелательное для продолжения сотрудничества с ним с целью улучшить имидж СССР в заграничных литературных кругах. Отдельное внимание в статье уделяется своеобразным маркерам лояльности: оценкам гостями результатов XX съезда КПСС и состояния советскокитайских отношений как чувствительных тем, важных для политического самоопределения писателей-коммунистов. Изучение источников позволяет сделать вывод, что при выборе новых заграничных партнеров ИК часто полагалась на советы уже состоявшихся «друзей», а протеже последних не всегда выдерживали проверку на совместимость с советским режимом. Конкретных критериев оценки не было. Переводчики привлекались со стороны, чётких инструкций от Комиссии не получали и руководствовались собственными представлениями о важности своего подопечного и целесообразности сотрудничества с ним. Впоследствии мнение переводчиков могло и не учитываться; предположительно, большее значение имели опубликованные по результатам визита в СССР публицистические и художественные произведения приглашённых писателей.

My intention in this paper is to respond to Jean-Luc Nancy’s claim that poetry, along with philosophy, is essentially incapable of what Nancy describes as “thinking love.” To do so, I will first try to come to an understanding of Nancy’s thinking regarding love and then of poetry as presented in his essay “Shattered Love.” Having thus prepared the way, I will then respond, via Pablo Neruda’s poem “Oda al Limón,” to Nancy’s understanding of poetry vis-à-vis “Shattered Love.” This response, in acting out Nancy’s thinking regarding love, will suggest a greater plurality within poetry than Nancy acknowledged.

This reverential attitude has taken a terrible toll on the classics; they have been knocked about by reverence and blackened by incense. They would have fared better, if people had adopted a freer attitude towards them, just as science has adopted towards discoveries, even to great ones, which it has constantly corrected or even refuted, not from sheer cussedness but from necessity.

This article relates the intriguing story of Chateau Dobříš, a meeting place in Czechoslovakia for Latin American intellectuals during the late 1940s and1950s. Based primarily on the contemporary testimonies of selected authors and their memoirs, the study describes this little known chapter in cultural relations between Latin America and eastern Europe. At that time, Chateau Dobříš, which was administered by the Union of Czechoslovak Writers, played a significant role in the cultural scene of Latin America. It was here that Jorge Amado, Pablo Neruda, Nicolás Guillén, and other luminaries came into contact with one another and started friendships with their European colleagues. At the same time, the chateau became a place in which some of Latin America’s luminaries met for the very first time, because the political situation in their own countries made it impossible to do so otherwise. The experience at Chateau Dobříš was therefore an important phase for Latin American writers. By analyzing this phenomenon, this article aims to contribute to the investigation of “New Cold War History” and our understanding of the Communist cultural politics during the era.

Introduction by Lawrence Ferlinghetti
Edited by Mark Eisner
Translated by Mark Eisner, John Felstiner, Forrest Gander, Robert Hass, Jack Hirschman, Stephen Kessler, Stephen Mitchell, Alastair Reid

"If the notion had struck Pablo Neruda, I am quite sure that like Fernando Pessoa and Antonio Machado he would have given birth to what the former called heteronyms. Like Pessoa especially, Neruda can be several poets according to where he is and when and what his mood might be. It is quite fitting therefore that his work in this anthology be shared by various translators, for, ideally, a translator is but another heteronym speaking in a different tongue and at a different time. Neruda is well served here by these other voices of his."—Gregory Rabassa

"The call for a more accessible collection of Neruda's important poems is answered with City Lights' The Essential Neruda, a 200-page edition that offers 50 of Neruda's key poems. The editors and translators know how to extract gold from a lifetime of prolific writing. If you want a handy Neruda companion and don't know where to begin, this is it." —The Bloomsbury Review

"The Essential Neruda will prove to be, for most readers, the best introduction to Neruda available in English. In fact, I can think of few other books that have given me so much delight so easily. At only [200] pages (bilingual), it somehow manages to convey the fullness of Neruda's poetic arc: Reading it is like reading the autobiography of a poetic sensibility (granted, the abridged version)."—The Austin Chronicle

"What better way to celebrate the hundred years of Neruda's glorious residence on our earth than this selection of crucial works - in both languages! - by one of the greatest poets of all time. A splendid way to begin a love affair with our Pablo or, having already succumbed to his infinite charms, revisit him passionately again and again and yet again."—Ariel Dorfman, Death and the Maiden

Religion is basically absent from the scholarship on Pablo Neruda. Moreover, Neruda’s relationship to Walt Whitman, his “compañero de Manhattan," is understood to be one of uncritical adulation. But reading Neruda’s odes to particular foods as making a theological point – and one that is critical of Whitman – provides both a deeper understanding of Neruda’s thinking about religion and a more nuanced view of Whitman’s influence on him. In his “Ode to the Tomato” and his odes to particular cereal crops, Neruda reflects on divine authorship and human agency in a way that responds to both the clerical mysticism of San Juan’s “Dark Night” and the naturalistic and democratic – but ultimately politically sterile – theology of Walt Whitman’s “This Compost” and “Song of Occupations.” Whitman ascribes divinity to nature and to skilled workers in an attempt to affirm their value as against the devaluation wrought by industrial capitalism. Neruda challenges Whitman by being more skeptical about the divinity of nature and by demanding that a democratic theology be political. Wheat, in particular, is a crop of affliction until it is made holy by collective struggle rather than through chemistry or individual occupations.

Pablo Neruda, en palabras de Gabriel García Márquez el más grande poeta del siglo XX en cualquier idioma, nació en Parral, Chile en 1904. Su obra es enormemente extensa tanto en cantidad de publicaciones como en profundidad y a lo largo de su producción lírica va pasando por diversos ciclos de una forma muy irregular y superpuesta. Sus obras completas de 1968 cuentan con más de 3000 páginas, a lo que hay que sumarle sus publicaciones póstumas.

Is it trivial, or perhaps even irresponsible, to explore aesthetic themes at a time when the world is engulfed by war, genocide, terrorism, poverty, climate change and financial turmoil? Why indulge in painting, poetry or music when lives and livelihoods are at stake? Can we really afford to entertain questions of taste while concrete political action is urgently required?

This book offers a passionate but systematically sustained defence of an aesthetic engagement with world politics. It argues that aesthetic sources can offer alternative insight: a type of reflective understanding that emerges not from applying the analytical skills that are central the social sciences, but from cultivating a more open-ended level of creativity and sensibility about the political. We then might be able to appreciate what we otherwise cannot even see: perspectives or people excluded from prevailing purviews, for instance, or the emotional nature and consequences of political events. Drawing on detailed case studies that range from Stalinist Russia to Cold War Germany and contemporary Korea, the author compellingly demonstrates how the poetic imagination can help us understand – and perhaps even shape - some of the most difficult political challenges.

In his "Translator's Note" for 100 Love Sonnets, the first complete translation of Pablo Neruda's Cien sonetos de amor, Stephen Tapscott gives a short account of why he chose to translate this book. He claims that one of the reasons is the lack of "a tradition of love poetry in North America…. Neruda seemed a natural choice… because of what he might contribute to our North American tradition, a voice of intelligent sensual joy" (vii). The sonnets are indeed full of sensuality; some of them go beyond sensuality into the dangerous realm of the erotic. One can only praise Tapscott's intention of giving the English-speaking reader an opportunity to experience the intensity of Neruda's love poetry. Now, the question in regards to Tapscott's rendering of the sonnets is if he attains his stated purpose.

This introduction gives an account of the aim of my book, namely to introduce a number of theories of gender and sexuality into the study of Spanish (both Golden Age and contemporary) and Spanish American literature. The theorists are Kristeva and Irigaray, Barthes, Lacan, Foucault, Marx and Lyotard; the literary texts are by St Teresa and Zayas, Góngora, Galdós, Lorca, Neruda, and Fuentes and Puig. Thanks to Carlos Malache Silva for the scan.

dos obras maestras". Una vez recibidas las imágenes, Neruda mismo seleccionó los fragmentos que aparecen en la contraportada a modo de "pie de grabado". Véase Alfredo Cardona Peña, "Pablo Neruda: historia de sus libros", Neruda, Universidad de Chile, Web, 12 de mayo de 2012. 2 En el colofón se habla de las características de la edición: "Consta la tirada de 500 ejemplares en papel 'Malinche', de fabricación mexicana, numerados del 1 al 500, destinados a los suscritores [sic], llevan las firmas de Pablo Neruda, Diego Rivera y David Alfaro Siqueiros. Se han tirado, además, 50 ejemplares, en papel 'Chateau', numerados del B-1 al B-50, y 50 ejemplares en papel Manila, sin numerar, unos y otros fuera de comercio". Más adelante me referiré a la ceremonia en que los tres personajes firmaron los 500 ejemplares para los suscriptores. Convendría indicar aquí, sin embargo, que además de esta primera edición en gran formato, la editorial Océano tiró 5000 ejemplares en una versión reducida, de 17.5 por 12 cm. En esta edición "de bolsillo", las guardas siguen siendo las mismas. Sin dejar de ser una edición admirable (piénsese en la dificultad de diseñar un libro que sea tan vistoso y funcional en dos tamaños tan distintos), es cierto que las pinturas pierden, inevitablemente, su espectacularidad. Nuestra biblioteca también posee un ejemplar de esta edición de la editorial Océano, mismo que perteneció al poeta y querido académico del Departamento de Letras de la Universidad Iberoamericana, Manuel Muñoz Aguado.

Resumen:
Detrás de uno de los poemarios de amor más apasionados que se ha escrito, se
esconde un joven Neruda que aún no cumple los 20 años y que con versos disímiles
y vehementes descubre los más recónditos deseos del amante.
Neruda confiesa sus amores y desborda en cada letra la pasión contenida de seres
incorpóreos, que asumen las formas, texturas, sabores y olores que el lector les
atribuye a medida que se apropia de cada uno de los versos de este joven poeta.
La poesía y el amor son expresiones inseparables, que confluyen a lo largo del
escrito como los amantes del crepúsculo de la obra Nerudiana.
Esta no es más que una invitación a descubrir los sentimientos tras los símbolos de
algunos de sus poemas, y el desenlace de una trama que comienza en un blanco
cuerpo de mujer, para culminar con la partida del abandonado.
Palabras clave: Neruda - Poesía - Amantes - Amor - Deseo

O termo grego ανθολογία (antologia), significa “coleção ou ramalhete de flores”. Daí o latim florilegium. O termo florilégio encaixa-se bem ao presente trabalho, onde procurou-se coligir poemas sobre a árvore, esse centro e pilar da hera.
        E foi sorvendo de outas antologias, e ainda de livros individuais, revistas e websites, que coligimos aqui este singelo ramalhete de poemas sobre a árvore. Adicionamos ao volume uma pequena seleção de frases sobre o tema, e, em arremate, publicamos o texto integral (vertida sua grafia ao português hodierno) do poema A Destruição das Florestas, do múltiplo Manuel de Araújo Porto-Alegre (1806 – 1879). O poema, que veio à luz em 1845, é um significativo e precoce exemplo de consciência ambiental em nossa literatura.
        Uma antologia temática é uma chance sempre de a poesia penetrar em espaços outros que não os estritamente circunscritos aos apreciadores de poesia. Como antologista, confesso que prefiro, por motivos óbvios, trabalhar com temas ainda não contemplados, os quais infelizmente são muitos em nossa língua. Já assim fizemos em trabalhos como Segunda Guerra Mundial – Uma Antologia Poética; Breve Antologia da Poesia Cristã Universal e Amor, Esperança e Fé – Uma Antologia de Citações, só para citar alguns trabalhos. Assim, qual a vantagem (ou vantagens) de debruçarmo-nos, agora, sobre uma outra antologia da árvore, já que nossa literatura possui obras neste viés? Acreditamos em algumas. A primeira, é de ordem da amplitude espaço-temporal: a coleta de um número significativo de textos, abarcando autores, se em sua maioria brasileiros ou lusos, também de outras literaturas do globo, e alguns deles de produção posterior às seletas precedentes; a segunda, por suprimento de lacuna, visto que os predecessores são livros esgotados já de há boas décadas; e, por fim, nossa motivação principal: a democratização do conhecimento proporcionada por um livro que já nasce eletrônico e gratuito, o que permite um acesso fácil, amplo e permanente ao seu conteúdo. Afinal, em tempos em que “Meio Ambiente” alcançou o status de tema transversal a perpassar o ensino de todas as disciplinas escolares, auxiliar educadores em seu esforço para incutir o reconhecimento e a valorização deste ser áulico e basilar da Natureza, a árvore, naqueles corações sob sua jurisdição, torna-se nosso objetivo mais urgente.
        Além do elogio da árvore, presta-se aqui uma homenagem a nossos poetas de agora e de ontem, e de certa forma um serviço à literatura lusófona, pois toda antologia literária é antes de tudo isso - um serviço prestado a uma literatura e ao universo de seus usuários.
        Este é um livro gratuito. Como amante das árvores e da literatura, como professor e como antologista, é um prazer ofertar este livro a todos, com votos de que ele possa ser compartilhado livremente, para que alcance os fins a que se propõe.
                             
Sammis Reachers

Este libro es un aporte en especial para los diálogos entre poesía y música, a partir del caso que estudia, en el cual se lleva un poema escrito por Neruda a mediados de la década de 1940, a un lenguaje musical elaborado entre fines de los 60  y principios de los 70, y finalmente compuesto y grabado por Los Jaivas en 1981, años que se produce una confluencia de diversas corrientes musicales como la del rock progresivo con el folclor de distintas regiones de América.
El libro analiza la musicalización del poema desde aproximaciones teóricas como la del Hecho Musical como Hecho Social, Semiósfera, Tópico, Canon, y Video Musical.

los volcanes, junto a los ventisqueros, entre los grandes lagos, el fragante, el silencioso, el enmarañado bosque chileno... Se hunden los pies en el follaje muerto, crepitó una rama quebradiza, los gigantescos raulíes levantan su encrespada estatura, un pájaro de la selva fría cruza, aletea, se detiene entre los sombríos ramajes. Y luego desde su escondite suena como un oboe... Me entra por las narices hasta el alma el aroma salvaje del laurel, el aroma oscuro del boldo... El ciprés de las gutecas intercepta mi paso... Es un mundo vertical: una nación de pájaros, una muchedumbre de hojas... Tropiezo en una piedra, escarbo la cavidad descubierta, una inmensa araña de cabellera roja me mira con ojos fijos, inmóvil, grande como un cangrejo... Un cárabo dorado me lanza su emanación mefítica, mientras desaparece como un relámpago su radiante arcoiris... Al pasar cruzo un bosque de heléchos mucho más alto que mi persona: se me dejan caer en la cara sesenta lágrimas desde sus verdes ojos fríos, y detrás de mí quedan por mucho tiempo temblando sus abanicos... Un tronco podrido: ¡qué tesoro!... Hongos negros y azules le han dado orejas, rojas plantas parásitas lo han colmado de rubíes, otras plantas perezosas le han prestado sus barbas y brota, veloz, una culebra desde sus entrañas podridas, como una emanación, como que al tronco muerto se le escapara el alma... Más lejos cada árbol se separó de sus semejantes... Se yerguen sobre la alfombra de la selva secreta, y cada uno de los follajes, lineal, encrespado, ramoso, lanceolado, tiene un estilo diferente, como cortado por una tijera de movimientos infinitos... Una barranca; abajo el agua transparente se desliza sobre el granito y el jaspe... Vuela una mariposa pura como un limón, ganando entre el agua y la luz... A mi lado me saludan con sus cabecitas amarillas las infinitas calceolarias... En la altura, como gotas arteriales de la selva mágica se cimbran los copihues rojos (Lapageria Rosea)... El copihue rojo es la flor de la sangre, el copihue blanco es la flor de la nieve... En un temblor de hojas atravesó el silencio la velocidad de un zorro, pero el silencio es la ley de estos follajes... Apenas el grito lejano de un animal confuso... La intersección penetrante de un pájaro escondido... El universo vegetal susurra apenas hasta que una tempestad ponga en acción toda la música terrestre.

İspanya İç Savaşı 1917’de Rusya’da başlayıp tüm dünyaya yayılan devrimlerin son halkasıdır. Seçimle işbaşına gelmiş sol hükümeti devirmek amacıyla generallerin ve faşist örgütlerin başlattığı darbe kısmen başarısız olunca, hem bir devrimi hem de uluslararası aktörlerin II. Dünya Savaşı’nın son provasını aldıkları bir iç savaşı tetiklemişti.

Avrupa’da faşizmin yükselişinin de etkisiyle dünyanın dört bir tarafından devrimciler ve aydınlar İspanya’ya akın etmiş, tarihe “son büyük dava” olarak geçen mücadelede Franco faşizmini durdurmaya çalışmışlardı.

ispanya kapakİspanya İç Savaşı sadece Avrupa anakarasındaki en büyük ve anarşistlerin önderlik ettiği tek toplumsal devrim olması bakımından değil; faşizmin iktidara taşınma şekli bakımından da ayrıksı bir örnektir. Neden İspanyol faşizmi Hitler ve Mussolini’nin İspanyol muadili olan Falange veya Karlosçular ile Alfonsocular tarafından değil de, ordu eliyle bir devlet darbesi şeklinde kuruldu? Türkiye’de 12 Eylül’den sonra MHP’nin “içeride”, fikirlerinin ve Kenan Evren’in iktidarda olması bağlamında bu ne ifade eder?

Ferit Burak Aydar dünya çapında 20 binden fazla esere konu olmuş İspanya İç Savaşı üzerine Türkçedeki ilk özgün çalışmada sadece savaşın ve devrimin değil, bu soruların da izini sürüyor.

https://agorakitapligi.com/ispanya-ic-savasinin-izinde/

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A Finalist for the PEN/Bograd Weld Prize for Biography 

from publisher:
"Neruda: The Poet’s Calling is the product of fifteen years of research by Mark Eisner, writer, translator, and documentary filmmaker. The book vividly depicts Neruda’s monumental life, potent verse, and ardent belief in the “poet’s obligation” to use poetry for social good. It braids together three major strands of Neruda’s life—his world-revered poetry; his political engagement; and his tumultuous, even controversial, personal life—forming a single cohesive narrative of intimacy and breadth.

The fascinating events of Neruda’s life are interspersed with Eisner’s thoughtful examinations of the poems, both as works of art in their own right and as mirrors of Neruda’s life and times. The result is a book that animates Neruda’s riveting story in a new way—one that offers a compelling narrative version of Neruda’s life and work, undergirded by exhaustive research, yet designed to bring this colossal literary figure to a broader audience."

"Neruda: The Poet's Calling unfolds as a masterful weave of biography, literary criticism and cultural history, a scrupulous portrait of a genius as vast and contradictory as the continent he loved...Mark Eisner’s vigorously researched, engaging biography topples the poet from his pedestal while affirming his singular genius."
— The Barnes & Noble Review

"A bracingly comprehensive and authoritative account of the “poetry, personality, and politics” of one of the 20th century’s most revered poets….Eisner doesn’t let the enchantment of the verse soften his disapproval of the poet’s serial adultery or mistreatment of women, and questions Neruda’s self-appointed “people’s poet” status... Meanwhile, the descriptions of places where Neruda lived and traveled are poetry themselves."
— Publishers Weekly

The mind is a mixed fruit juice of all that has gone into it since birth. Neruda’s has been no exception. He had never disowned the fact that it is all a matter of chance that he was a poet. In the poem The Enigmas, there is evidence of his belief that the work of a poet is no more mysterious than any ordinary labour and not in the least magical.In the assertion that his poetry is merely a product of his experiences put together in various shapes, he assumes a kind of belongingness in the role of the earth.
The French psychoanalyst Jacques Lacan has explicitly said that for the man the woman does not exist. [On Feminine Sexuality and the Limits of Love and Knowledge, Seminar Vol XX (1972-73)]
Naomi Zack has discussed the definition of the word ‘woman’ with a long list of things: “We know that each individual woman who has ever existed, exists now, or ever will exist, is real … These are things that can be said about “women” and “woman” as abstract general nouns.”
Till the very end Neruda seems to acknowledge a woman's presence as important to him until the same question of whether her presence was as an individual or as a body resurfaces when he talks of ‘your eyes close with my dreams’. Thus, in the present world, feminists can forgive him for his headless love for the body of woman only because of his limitless praise for her body.
Twenty Love Poems and a Song of Despair (1923-24)
The Captain’s Verses (1951-52)
The Furies and Lives
One Hundred Love Sonnets (1957-1959)

Quatrième de couverture - CONTRAPORTADA :

Cet ouvrage réunit les travaux du XXXVe Congrès de la "Société des Hispanistes Français" (S.H.F.), qui s'est tenu à l'Université Paul Valéry - Montpellier 3 du 20 au 22 mai 2011. Il rassemble 55 articles, qui portent non seulement sur l'Espagne, mais aussi sur l'ensemble de la Péninsule Ibérique, sur l'Amérique hispanophone et les territoires lusophones, du XVIe au XXIe siècle. Le volume est divisé en quatre grands chapitres : "Faire la guerre", "Dire la guerre", "Représenter la guerre" et "Sortir de la guerre", qui recouvrent une large part des champs disciplinaires auxquels s'attache l'hispanisme (histoire, civilisation, littérature, théâtre, arts plastiques, peinture, musique, cinéma).

L'ouvrage comprend notamment de nombreux articles sur la guerre civile espagnole et le franquisme (dont les deux conférences plénières), mais aussi d'importantes contributions sur l'ensemble du monde ibérique et ibéro-américain (Portugal, Argentine, Colombie, Cuba, Mexique, Paraguay, Pérou, etc.).

De sobra conocido es que por naturaleza propia el género memorialístico es proclive a un falseamiento en positivo del sujeto protagonista. Y, si bien es cierto que, siguiendo la estela de género iniciada con la máxima brillantez por Montaigne, Neruda recalcaba enfático “siento terriblemente ser yo el tema de mi voz hoy”, más cierto resulta que no todas las múltiples facetas del hombre son puestas de relieve con las intensidades debidas en estas memorias.

Reflexión y lectura ontológica sobre el poema LXIX de Pablo Neruda. Se contrapone la ontología metafísica tradicional ante una fenomenología del reconocimiento ético del Otro. Publicado en: El vicio del tintero, Volumen IV. (agosto 2013 – mayo 2014)

This pdf available for download is a short book comprised of three essays celebrating and exploring the whole of Williams' poetic career.  The first looks at poems featuring a dog or a cat, and how for Williams these creatures embodied two different kinds of creative energy he sought in poetry (rambunctious rule-breaking vs. poise and precision). The second essay gives a deep reading of Williams' 1938 lyric "These," placing it in the penseroso or melancholic ode tradition of Keats, Milton, and others.  The third evaluates Williams' lifetime of translating poets from Latin America (including the Caribbean) and Spain.  It assesses the poems and poets themselves, the translations Williams did, and their influences on his own poetry.  Williams' Spanish translations have finally been collected and edited by Jonathan Cohen:  _By Word of Mouth: Poems from the Spanish, 1916-1959_ (New Directions, 2011).  They allow us to reassess the "Carlos" side of Williams' personae.

El modelo claro del poema «El desayuno» (El hacha y la rosa, 1993) de Luis Alberto de Cuenca es un conocido texto de los Veinte poemas de amor y una canción desesperada (1924) de Neruda («Me gusta cuando callas…», núm. 15), que se reescribe de manera alegre. A partir de los comentarios del poeta sobre Neruda, este trabajo se propone examinar en detalle la labor de reescritura, que cambia tanto la visión amorosa como el papel atribuido a la mujer, con un punto adicional de comicidad que se puede relacionar con la poética cuenquista en general. / The model of the poem «The breakfast» (The hax and the rose, 1993) by Luis Alberto de Cuenca is a famous text of Neruda’s Twenty love poems and a song of despair (1924, num. 15), which is rewritten in a funny way. Starting with the comments about Neruda from the poet, this work aims to examine in detail the process of rewriting, which changes the love vision, as well as the role attributed to the women, with an additional comical point, that could be connected to Luis Alberto de Cuenca’s general poetics.

(Learning Unit, see below how to cite) Véase debajo cómo citar este documento. Unidad Didáctica que estrecha las relaciones entre la literatura y el cine. Ofrece una completa propuesta didáctica para el aula (nivel sugerido de 4º de Secundaria)sobre la obra literaria de Antonio Skármeta "El cartero de Neruda" (2ª edición Debolsillo, 2003) y la versión cinematográfica "El cartero (y Pablo Neruda)" de Michael Radford (1995).  ----------- ----   

Suárez-Robaina, JR. (2004). Unidad didáctica "El cartero de Neruda" (Ardiente paciencia) de Antonio Skármeta y la versión cinematográfica "El cartero (y Pablo Neruda)" de Michael Radford en La palabra cinematográfica: Didáctica de las relaciones Literatura-Cine. Las Palmas de Gran Canaria: Colegio oficial de doctores y licenciados en Filosofía y Letras y en Ciencias de Las Palmas. Disponible en https://hdl.handle.net/10553/4367

This article deals w ith a topicÐ poetryÐ that is often considered to be of marginal interest to politics. To prove otherwise is the article' s principle taskÐ a task that is pursed through an engagement w ith Pablo Neruda' s work. Nobel laureate, international diplomat and political activist in one, Neruda reveals how poetry can enter the political process and, perhaps more importantly, turn into a critical historical memory. To engage political struggles a poet must be as accessible as possible. Neruda w as well aware of this necessity, w hich is w hy he w rote in the language of everyday life. But he was also aw are of the need to break through existing linguistic habits, for it is through these very conventions, inaudible and seemingly harmless as they are, that practices of domination become objecti® ed. The article discusses both the theoretical issues that are at stake in this paradox ical tension and the more speci® c attempts Neruda undertook to engage political issues related to fascism, imperialism and class domination.