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Revista Chilena de Literatura
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ISSN: 0048-7651 ISSN electrónico: 0718-2295
Lengua y Literatura
Universidad de Chile

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Bernardo Subercaseaux
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Federico Schopf
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en: The paper attempts to examine dialectically the relationship between poetry and anti-poetry in the work of Nicanor Parra. When the poet takes leave of poetry to enter antipoetry, it makes after paying last respects to a dead practice. The confrontation with modernity comes from an ethical impulse. The rejection of the affair stems from their inability checking. The idea that there is a definite and poetic language, which guarantees the literary quality is also fighting. Criticism of coded language joins the rejection of all sweetened vision of reality. The systematic desecration of all values has led the charge against the poet of cynicism. But the inability to believe in something is not a fad, but a dramatic condition lived coherently. Hence the analogy with the bitter consideration Niccolò Machiavelli, when denouncing the wickedness of man. This does not, however, recognize that it is a being destined to suffering and death. Hence the compassion of the man and the poet, who had confidently entered the enchanted world of words, to check its dissolution against the horror of the modern.>>>
en: This beautiful poem is built on the morphological level by the noun “heart” and the verb offer. Both lexemes are the only ones in the text that are not determined by the adjective ‘imaginary’ -How they are not, by inference can conclude that they are a “real” reference. Real in the sense that the subject can not eliminate the desire, according to Deleuze, “make the real”. In the Freudian way, in the poem might be the ghost of lack, or conversely, antiedipicly, the reality of desire. Finally, an observation by the poet Leonardo Sanhueza directs me to postulate that in the poem there is a encrypted cueca, specifically the “alone cueca”.>>>
Mario Rodríguez Fernández
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en: This article proposes to consider Nicanor Parra’s poetic work produced after Sermones y prédicas del Cristo de Elqui, that is from the 1980s onwards, as postmodern. Following this consideration, this postmodern work can be intellectively apprehended from Jameson’s concept of “pastiche” as imitation of itself. The development of the critical argumentation takes into account diverse aspects of Parra’s work, such as signs, discursive structures, and visual images.>>>
Leonidas Morales Toro
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en: The article studies the impact on Nicanor Parra’s poetry of the two years he spent in Oxford University between 1949 and 1951, in an era marked by the socio-economic repercussions of the Second World War, by the crisis in British identity provoked by the loss of international prominence and the dismantling of the Empire, and by the growing threat of the recently initiated Cold War. The analysis centres on “Preguntas a la hora del té”, a text from the first section of Poemas y antipoemas (1954) which was apparently written in Oxford, and offers both a commentary on canonical readings and a new “English” interpretation of the poem.>>>
en: In 1977 Cristian Huneeus noted that if Poems and Parra antipoems of Residencia en la tierra corresponds Neruda, would not entirely clear or obvious continuity or the problem of ‘artifacts’ in its ambiguous ground between poetry and art object, between poetry and visual installation? Under this framework I propose a critical reading of Sermones y prédicas del Cristo de Elqui in dialogue with the order or change that critics have identified at this time of poetic production Parra. This is my shown in the issue of gender expressing the “sermons and preaching” and “Hojas de Parra”, that Enrique Lihn later refers about the ‘tooks/speaks’ that appears during the dictatorship and antipoetry assumes, recycle and incorporates them, i n a beyond parody.>>>
en: The article asks about the relationship between poetry and thinking, and proposes a particular genesis of Nicanor Parra literature from certain memories that affect, according to his own confession to their creativity and which are at the origin of an anti-rhetorical writing and in opposition to the previous forms, which came to be read as conventional expressions of poetic activity in Chile with the emergence of the anti-poetry.>>>
María Nieves Alonso
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Sociedad de Escritores de Chile
Sebastián Concha
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Ernesto Pffeifer
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Pilar García C.
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