Chilean poetry, Chilean poets, Latin American poetry, and Chilean love poetry
This essay analyses one of the best known of Pablo Neruda's Veinte poemas de amor (1924) in the light of his claim that the collection was the result of ten years' solitary labour. In particular, it tests the poet's assertion that his verse underwent a fundamental change of style and direction after he stopped work on El hondero entusiasta (1923-4, published in 1933), a vast project which he had mapped out in considerable detail but which he felt obliged to abandon when — at least according to Neruda himself — it transpired that it bore an uncomfortable resemblance to the work of the Uruguayan poet Carlos Sabat Ercascy. The article argues that the transition from one collection to the other was anything but smooth and clear-cut, that significant traces of El hondero are visible throughout the Veinte poemas, and that the latter are best read not as the consequence of that transition, but rather as part of the transitional process itself, that is, as exercises in poetic style and form. [ABSTRACT FROM AUTHOR]
Khosravi, Goltaj David, Vengadasamy, Ravichandran, and M. M., Raihanah
GEMA Online Journal of Language Studies. Aug2017, Vol. 17 Issue 3, p55-69. 15p.
Ecocriticism, Humility, Environmental ethics, and Ideology
This paper explores the ecoethical vision and ecological awareness in the selected poems of Pablo Neruda, a Nobel Prize winning poet of Latin American descent who was well known as a political poet. The structural and thematic analysis of the study will focus on the concept of 'Ethics' as one of the components of ecopoetry, which is the new brand of nature poetry and one of the components of ecocriticism which investigates the human-nature relationship. The objective of this paper is to highlight the significance of ecoethical consideration of Pablo Neruda towards wilderness. The study utilizes the theoretical frameworks of ecocriticism and ecopoetry to illuminate Neruda's call for reverence of the wilderness, flora and fauna, in the land, the sea and the sky through an ethical consideration of interdependence and interconnectedness of human and nonhuman. This paper problematizes Neruda's attitude towards nature to obtain new insights into his ethical stand towards the natural world. The discussion focuses on the poems which reflect the sense of ethics and represent the significant role of humility in shaping our sense of accountability towards the wilderness, while revealing Neruda's ideology and relationship with the non-human world. [ABSTRACT FROM AUTHOR]
This article compares media coverage on the death of poet Pablo Neruda and painter Pablo Picasso in 1973. When Neruda died of cancer in Santiago, Chile on September 23, 1973, his death was almost ignored by the U.S. press. The few notices which did appear focused more on the Chilean poet's political affiliations than on his contributions to literature. The New York Times offered fourteen paragraphs to Neruda's politics, nine to his poetry and six to the circumstances of his death and biographical material. The United Press International devoted several paragraphs to the theme that Neruda's writings often were highly critical of U.S. policy. On the other hand, the death of Picasso on April 8, 1973 was given lavish coverage in the U.S. His death received more than eight times the coverage given to Neruda. One of the reasons for such short shrift in the U.S. press at the time of Neruda's death is because poetry, like music, simply is not as accessible as painting. Communists are sometimes viewed as not being creative persons in their own right. The New York Times claimed that only a few of the works of Neruda have become available in the U.S. Neruda probably would have smiled at the lack of coverage of his death in the U.S. press. He never cared much for publicity.
Literature, Rhetoric, and Interpretation (Philosophy)
An essay is presented on the contention between literature and rhetoric/composition and the preliminary ways to restore their balance. The author cites author Pablo Neruda's poem "The Word" and Richard Young's novel "Concepts of Art and the Teaching of Writing," that examine the vital connections between literature and rhetoric. The also explains how the poem expresses the power of language in drawing diverse interpretations on the matter.
This article deals with the originary quality of the poetic and rhetorical word, according to philosopher Martin Heidegger and poets Giuseppe Ungaretti and Pablo Neruda. Heidegger states not only the priority of the poetical over the rational word, but its specific, philosophical function as well. In his thesis of the preeminence of the poetical language over the rational one, Heidegger is close to the thesis of the Italian philosopher, Giambattista Vico. Vico believes that through the poetical word people unveil the human world and that in the clearing, in the light of the poetic, metaphorical world, clearing a path through the originary forest of man's life, the stage of history opens. By this it means that the thesis of the preeminence of the poetical over the rational language implies two introductory premises of a philosophical character. First, there is a need to keep in mind that from Plato on, in the Western world, rational language became preeminent for determining beings and thus reality. Each word, in consequence of its rational definitions, aims at fixing, out of space and time, the meaning of a being. This concept derives from the desperate effort of freeing oneself from relativity, from the subjectivity of what appears through the senses.