Publication: El destello insaciable : estéticas de la brevedad en las vanguardias poéticas en Hispanoamérica
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2023-06-05
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Universidad Complutense de Madrid
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Abstract
La presente tesis doctoral, titulada El destello insaciable: estéticas de la brevedad en las vanguardias poéticas en Hispanoamérica, explora el modo en que las poéticas minimalistas se dieron cita durante el periodo de los ismos surgidos en las primeras décadas del siglo XX. Mediante un acercamiento analítico hacia las principales tipologías textuales que convivieron en dicho eslabón temporal –como el refrán, el aforismo, el epigrama, el haikú y las formas cortas de la poesía popular– este estudio aborda el cosmos verbal de cinco voces representativas de la vanguardia en Hispanoamérica. Dichas voces y obras son las siguientes: Un día… poemas sintéticos (1919) de José Juan Tablada, Vientos contrarios (1926) de Vicente Huidobro, Membretes (1924-1926) de Oliverio Girondo, Cosmos indio (1938) de Flavio Herrera y Microgramas (1940) de Jorge Carrera Andrade. Se trata de cinco libros provenientes de cinco países latinoamericanos (México, Chile, Argentina, Guatemala y Ecuador) y que abarcan una franja cronológica de veintiún años.Estructurada en cuatro capítulos, esta investigación rastrea igualmente los principales antecedentes vinculados con el universo de las formas breves, así como su extensa difusión más allá de la vanguardia, concretamente hacia el ocaso del pasado siglo. Teniendo como principal denominador común el concepto de “síntesis poética”, tanto las vanguardias históricas como las surgidas en el Nuevo Continente tejieron vínculos no solo entre sí, sino también con los moldes breves de la literatura del Lejano Oriente, constituyendo así un mosaico heterogéneo en lo que a la literatura mínima se refiere. Por ello, las presentes páginas examinan dichos parámetros generales para luego centrarse de lleno en el análisis concreto del corpus seleccionado. Además de las obras y voces anteriormente citadas, la tesis concluye con un acercamiento a los Artefactos (1972) del poeta chileno Nicanor Parra y al libro El canto de las moscas [Versión de los acontecimientos] (1998) de la poeta colombiana María Mercedes Carranza, para demostrar la manera en que las estéticas de la brevedad siguieron alimentado su curso y metamorfoseándose de manera diversa, sobreviviendo así a la clausura de los principales movimientos vanguardistas.
This doctoral thesis, titled The Insatiable Flash: The Aesthetics of Brevity in Latin American Poetic Avant-gardes, explores the way in which minimalist poetics came to the fore during the period of the isms that emerged in the first decades of the twentieth century. With an analytical approach to the main textual typologies that coexisted in said moment –such as the proverb, the aphorism, the epigram, the haiku and short forms in popular poetry– this thesis addresses the verbal worlds of five representative voices of the Latin American avant-garde. The five books to be studied are: Un día… poemas sintéticos (1919; ‘A Day… Synthetic Poems’) by José Juan Tablada, Vientos contrarios (1926; ‘Contrary Winds’) by Vicente Huidobro, Membretes (1924-1926; ‘Letterheads’) by Oliverio Girondo, Cosmos indio (1938; ‘Indian Cosmos’) by Flavio Herrera and Microgramas (1940; ‘Micrograms’) by Jorge Carrera Andrade. Together, these five collections from five Latin American countries (Mexico, Chile, Argentina, Guatemala and Ecuador) span a period of twenty-one years.Structured over four chapters, this research project traces in equal measure the antecedents of the short form and its extensive diffusion beyond the period of the historical avant-garde, in particular towards the end of last century. With the concept of ‘poetic synthesis’ as the common denominator, both the historical avant-gardes and those which arose in the New Continent, wove links, not only between each other but also with the short forms in the literature of the Far East, so creating a heterogenous mosaic of these literary genres. These pages give an overview of these general parameters before focussing on a concrete analysis of the selected corpus. In addition to the aforementioned works, the thesis concludes with a brief study of Artefactos (1972; ‘Artifacts’) by Chilean poet Nicanor Parra and El canto de las moscas [Versión de los acontecimientos] (1998; ‘Song of the Flies [Version of the Events]’) by Colombian poet María Mercedes Carranza, to demonstrate the way in which the aesthetics of brevity has continued its course, feeding and metamorphosing in diverse ways, living on beyond the end of the avant-garde movements...
This doctoral thesis, titled The Insatiable Flash: The Aesthetics of Brevity in Latin American Poetic Avant-gardes, explores the way in which minimalist poetics came to the fore during the period of the isms that emerged in the first decades of the twentieth century. With an analytical approach to the main textual typologies that coexisted in said moment –such as the proverb, the aphorism, the epigram, the haiku and short forms in popular poetry– this thesis addresses the verbal worlds of five representative voices of the Latin American avant-garde. The five books to be studied are: Un día… poemas sintéticos (1919; ‘A Day… Synthetic Poems’) by José Juan Tablada, Vientos contrarios (1926; ‘Contrary Winds’) by Vicente Huidobro, Membretes (1924-1926; ‘Letterheads’) by Oliverio Girondo, Cosmos indio (1938; ‘Indian Cosmos’) by Flavio Herrera and Microgramas (1940; ‘Micrograms’) by Jorge Carrera Andrade. Together, these five collections from five Latin American countries (Mexico, Chile, Argentina, Guatemala and Ecuador) span a period of twenty-one years.Structured over four chapters, this research project traces in equal measure the antecedents of the short form and its extensive diffusion beyond the period of the historical avant-garde, in particular towards the end of last century. With the concept of ‘poetic synthesis’ as the common denominator, both the historical avant-gardes and those which arose in the New Continent, wove links, not only between each other but also with the short forms in the literature of the Far East, so creating a heterogenous mosaic of these literary genres. These pages give an overview of these general parameters before focussing on a concrete analysis of the selected corpus. In addition to the aforementioned works, the thesis concludes with a brief study of Artefactos (1972; ‘Artifacts’) by Chilean poet Nicanor Parra and El canto de las moscas [Versión de los acontecimientos] (1998; ‘Song of the Flies [Version of the Events]’) by Colombian poet María Mercedes Carranza, to demonstrate the way in which the aesthetics of brevity has continued its course, feeding and metamorphosing in diverse ways, living on beyond the end of the avant-garde movements...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, leída el 23-01-2023