Svet Literatury - Casopis Pro Novodobé Literatury. 2020, Issue 62, p27-34. 8p.
MODERN poetry, POETS, BELIEF & doubt, SURREALISM, POETRY (Literary form), AVANT-garde music, and AVANT-garde (Arts)
Chile is considered an important centre of Spanish-American avant-garde thanks to the figure of Vicente Huidobro and also that of Pablo Neruda. While the importance of these two eminent poets is beyond doubt, the paper points out that Chilean avant-garde was a rich and multifaceted movement with many different voices. [ABSTRACT FROM AUTHOR]
The article focuses on the poetry of Pablo Neruda which has the power to astonish and appall, awaken and chill us and leave us shaking our heads in bafflement or respect. It mentions Neruda changed, and his circumstances changed and he could be a monster of egotism and a courageous dissident, a purblind Stalinist and a Roosevelt democrat. It also mentions poetry incarnates these shifts and siftings and restless experiments.
The article aims at proposing a reflection about the intelectual and literary pathways of Jorge Amado, Pablo Neruda and Nicolás Guillén taken as a highly relevant dimension in the construction of stories of reception but ignored by Literature History. Being leftist intellectuals, committed with the social issues of their times, these writers became reference in their countries and abroad as being in favor of democracy and against dictatorial regimes. They were brought together by their public attitude as well as in their intelectual lives and were extraordinarily applauded by the people in general. As a result, they expanded significantly the reception of their literary production throughout several generations of readers which leads to think of their political engagement (SARTRE, 2004) as a powerful tool in formation of an audience. The discussion in this article seeks support in the theory of reception (JAUSS, 2009), stories of literature (MOREIRA, 2002; OLINTO, 2002) and historical writing (BURKE, 1992). [ABSTRACT FROM AUTHOR]
Through its power to translate transnationally, music is often perceived as a kind of universal language, yet this movement must be studied within the contexts of its creation and reception. By considering the "musicalization" of Pablo Neruda's Veinte poemas de amor y una canción desesperada into Samuel Barber's The Lovers Op. 43 , this essay uses musico-literary theory to offer a new way of reading and hearing meaning across cultural spaces. [ABSTRACT FROM AUTHOR]