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Neruda
 

Neruda

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Neruda y su obra

Neruda y su obra

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    Neruda Neruda Presentation Transcript

    • Neruda:
      • Overview:
        • Neruda’s poetry of “existential crisis”
        • Neruda as a surrealist?
        • Pure and impure poetry
        • Influence of the Spanish Civil War
        • Social Poetry
        • Neruda’s Stalinism.
    •  
    • Neruda: After Veinte poemas
      • 1920s: Consul in Burma and other diplomatic roles in Far East
      • Relationship with Josie Bliss
      • Poetry
        • Tentativa del hombre infinito (1926)
        • Residencia en la tierra
        • Poetry of existential crisis and hermeticism (de Costa 1979: x)
    • Neruda: Residencia en la tierra I and II
      • Shift from “yo-loved one” relationship to “yo-mundo” or “yo-Naturaleza”
      • Poetry of solitude and crisis
        • Galope muerto (1926)
          • Unordered similes, unconnected elements, incomplete images;
          • Free verse, lengthy sentences and enjambment;
          • Poetry of contradiction and alienation.
    • Neruda: Residencia en la tierra I and II
      • “ Tango del viudo” (1929/1933)
        • After relationship with Josie Bliss
        • Love as violence and jealousy
        • “ Tango solitario”
        • Existential crisis
      • “ Walking around” (1935)
        • Note: English title
        • Irregular form
        • Striking images of desire and violence
        • Uncanny images from the everyday
        • Poeticising of the unpoetic?
    • Neruda: Surrealism
      • Origins of the term and movement:
        • Apollinaire describing Cocteau’s play Parade (1917)
        • Sur-realism: “The truth beyond realism”
        • Tristan Tzara: Dada – art as rebellion against established order post WW I
      • Andre Breton:
        • Manifestos of surrealism
        • Surrealism as avant-garde group
        • Internal struggles
          • Expulsion of Desnos, Artaud, Bataille
        • Politics: links to French Communist Party.
    • Neruda: Surrealism
      • Key characteristics:
        • Free up the unconscious that is repressed and chained by the modern world;
        • Investigation of dreams, the unconscious and desire;
        • Importance of sexual desire – Influence of Freud;
        • Literary techniques:
          • automatic writing;
          • group writing: “exquisite corpse”;
          • freeing up the unconscious.
        • Art that aims to reconnect with the praxis of everyday life: scandal and provocation.
    • Neruda: Surrealism
      • Picasso: Three Dancers (1925)
    • Neruda: Surrealism
      • Dali: The Temptation of St Anthony
    • Neruda: Surrealism
      • Surrealism in Latin America
        • Aldo Pellegrini in Buenos Aires: translations of French works; publication of local surrealist works
        • Importance of Maria Luisa Bombal: La amortajada (1938)
          • Exploration of subconscious and dreams (life after death)
          • Presentation of female desire.
    • Neruda: Surrealism
      • Roberto Matta (Chi): Untitled watercolour (1937)
    • Neruda: Surrealism
      • Neruda as a surrealist?
        • Salvador (2004):
          • “ Residencia puede considerarse un texto surrealista no porque sea automatismo irracional o simple ejercicio creacionista*, sino porque es la persecuci ó n de una articulaci ó n ‘arraigada’ que busca sus fundamentos en la estructura misma de lo que llamamos inconsciente.” (225)
            • * Nb: “creacionismo”: term coined by Vicente Huidobro to describe his own poetry.
          • “ El poeta chileno ser á , sin duda, uno de los primeros cultivadores de lo que m á s tarde la cr í tica denomin ó ‘surrealismo hisp á nico’” (231)
        • Presence within any surrealist groups?
        • Political role of his activities in late 1920s and early 30s in contrast to surrealist groups?
        • Contrast between French and Lat Am surrealism:
          • literary and political surrealism?
    • Neruda: The avant-garde
      • Neruda in Spain
        • Spain’s Generation of 1927
          • Rediscovery of Gongora by Lorca, Alberti, Hernandez and others
          • Lorca’s surrealist poetry ( Poeta en Nueva York )
        • Dominant contemporary styles:
          • Modernismo / simbolismo
          • Antonio Machado; Juan Ram ó n Jim é nez
            • Gesamtkunstwerk (Wagner: all arts together)
          • Importance of French poets
            • Mallarm é (pure poetry)
            • Baudelaire (symbolism)
          • Ruben Dario as key modernista
    • Neruda: The avant-garde
      • Neruda in Spain
        • Editor of Caballo verde para la poesia
          • Title: suggests surrealist agenda
          • Publication of manifestos
            • Sobre una poes í a sin pureza (1935); Los temas (1935)
          • Rebellion against “pure” poetry: poesia sin pureza; poesia impura.
        • Basis for poetry with social themes
        • Possibility of poetic “commitment”
          • Vs. “art for art’s sake” (arte por el arte; art pour l’art)
        • Poetry associated with the world of work and technology
        • Poetry not strictly limited to the aesthetic (Salvador 2004: 235)
        • Manifesto attacked by Juan Ram ó n Jim é nez
    • Neruda: 1936 and beyond
      • Neruda as “Picasso of poetry”
        • Links with avant-garde groups
        • Constant changes and development
        • Importance of Spanish Civil War
      • 1936: Franco and the Nationalist uprising
        • Civil War until 1939
        • End of the Second Republic
        • Murder of poets and artists including Federico Garc í a Lorca
      • Neruda resigns consular post: France and then Chile
        • Raises funds to help Republican cause
        • Organises boat, Winnipeg, to ship Republicans from danger
    • Neruda: 1936 and beyond
    • Neruda: 1936 and beyond
      • Poetry post-1936
        • Los poetas del mundo defienden Espa ña (1936)
          • Poetry to raise consciousness of Spanish situation
          • Poets involved in pro-Republican fundraising
        • Tercera residencia: Espa ña en el corazón.
          • “ Explico algunas cosas”
            • Poem announces change in aesthetic and theme
            • Attack on Nationalists
            • Breakdown of certain poetic models
          • “ Canto sobre unas ruinas”
            • Ruins as ruins of Spain and of certain poetic models
              • End of “uncommitted poetry”, “pure artistic realms”?
            • Existential solitude  poetic solidarity
            • Need for poetic communication
    • Neruda: 1936 and beyond
      • Picasso: Guernica
        • Surrealist techniques with communicative/political aims?
        • Art of denunciation
    • Neruda: 1936 and beyond
      • Poetry post-1936
        • “ Sanjurjo en los infiernos”
          • Polemic poetry
          • Attack on Spanish Nationalists and conservative establishment
          • Violent and shocking imagery: portrayal of shock of war?
          • Risks of poetry as propaganda?
        • Benedetti Los poetas comunicantes
          • Poesia comprometida/committed poetry
            • Sacrifice of artistic concerns
            • Poetry to communicate needs of the worker
            • Poetry of “emergency”
    • Neruda: 1936 and beyond
      • Poetry post-1936
        • Work becomes “hondamente americana” (Rodriguez Monegal 1977: 25)
        • Salvador 2004: 226
          • “ Comienza a adquirir una conciencia social radical y a cambiar sustancialmente sus presupuestos esteticos”
        • Commitment to Stalinism from 1940 (member of CP)
          • Role of Socialist Writers Conference
          • Commitment to progress, technology, and other communist goals.
        • 1942 “Canto a Stalingrado”
          • Poetry in support of defence of Stalingrad
          • Published as poster on the streets of Mexico
        • Poetry increasingly in support of Soviet system