APRENDER A HABLAR EN PUBLICO HOY VALLEJO NAJERA PDF

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One must possess, above all, a rich language, superlatively rich, to such an extreme that no emotion remains without its real and true expression. Suspicious, in the end, of a kind of urban modemism and of its dislocations, Lugones finally turned his back on change and sealed off the path toward the unknown with tight rhyme and patriotic melodies.

Aprender A Hablar En Publico Hoy : J.A. Vallejo Nagera :

In the same manner, their rebellious attitude manifested itself in a willful transgression of the public norm and its tastes. Only visual perceptions, then, are important. Exposed, by means of greater communication to the images of modernity, nevertheless, it is clearly apparent that the Spanish American did not share fully in the production of such novelties.

The sun penetrates the fissures of the old trees. Having followed a path similar to Lugones’ up to a certain point—working within highly acclaimed distant models and theorizing about literature as a world of its own which provides directing force for other systems—Borges also exaggerated his own mannered style until it could no longer be controlled without a willed acceptance of its limitations. In his system aesthetics is a discipline absorbed by dogma and metaphysics. The fighting sly rougue within every fifteen-year-old poet fortunately disappeared after the first few lashes.

In his “Discurso en el Politeama” of he calls for the overthrow of the old order:. The metaphor of eroticism as one of the bases for inquiry is not merely a descriptive scheme. Lugones, in particular, with his self-avowed “modelings” on already consecrated writers Dante, Hugo, Whitman, to name three of his early heroes is often so startlingly obvious in his antecedents or literary fathers [28] that the question of literary propriety comes into play.

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Several studies in Spanish America have been especially influential in their examination of the changes in the writer’s status and the impact of these changes of poetic practice. In this sense, Lugones’ work is one of the most dynamic productions of modernismo.

Juan Antonio Vallejo-Nágera

This distracting or subversive movement does not involve a confrontation of opposites. How could naejra movement that espoused the romantic principles of spiritual liberty, access to the sublime through synesthetic experiments of sound, color, and rhythm, be best known today for its formalism, for its sometimes grotesque exaggeration of the iconography of French Parnassian, symbolist, and aprener styles?

We see less often its disparity, its violence of language, its fetishistic insistence on the bodily form, and its legacy in more contemporary poetry. There you have my work, which is, mainly, a perpetual rectification.

Lugones’ personality is powerful, the most powerful in our America. The goal of progress, so strong in nineteenth-century thought, was an important motivating factor, although it is a concept difficult to reconcile with a najrea ideal of timeless unity, or with a cult of art.

Books by Juan Antonio Vallejo-Nágera (Author of Concierto para instrumentos desafinados)

The works of both Lugones and Herrera y Reissig show the marks of this intrusiveness into the enclosure of preciosity and abundance. Because external structures are dissolving for example, the shifting and changing social-class alignments, a new role for najerra artistwriter, new economic structures due to industrializationthe structures of poetry formal poetic meter, rhyme also show rearrangement.

Later poets would use the fragments left by these late modernistas as the building blocks for a new diction often an incoherent diction that make Spanish American poetry of this century so distinct from its earlier models. He is one apprender the “modems”, he is part of “Young America”. To create new indices, to conceive surfaces of orientation, completely artificial marks, this is our attitude in the face of the city, this is the explanation of our frenzy of signposting. With the diversification of society, due in large part to massive European immigration and growing industrialization, [28] there was no longer an absolute identification between the ruling classes and the intellectual.

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Publkco survey of the critical attitudes toward Lugones mirrors almost all the ideological and esthetic debates in Argentina throughout the century. Like the self-generating process of growth, Lugones’ productions point back on themselves, reflecting not only their origins but their differences from their models.

If we consider the procedures of enclosure or binding in modernista poetry to be part of the exaltation of objects, of landscape scenes, of the female figure, and of decorative form, then our reading must also take into account our own fetishization of this production. It is a hothouse flower, a strange and pampered vegetation that could scarcely arise from the venal explosion of wild sap which the youthful vitality of American thought has poured out until now, sometimes channeled into coarse and robust trunks that endure like brutal forms, but dominators of our Nature; and more often diffused in babbling, tropical vines, whose remains enrich the ground with vegetal earth, useful for future flowerings.

Dealing with a set of culturally valued icons usually derived from a European, especially French, context, the Spanish American writer has often been seen in a position of dependence. Rather than overt self-expression, one finds in Lugones’ poetry a type of ritualized expression. Texts, books, and discourses really begin to have authors other than mythical, “sacralized” and “sacralizing” figures to the extent that authors became subject to punishment, that is, to the extent that discourses could be transgressive.

The majority had defined their role as.

Las ideas no hacen familia en la mente, como antes, ni larga vida. Eclecticism, one hablzr the traits of modernista poetry in general, was carried to extremes by Lugones.