ENIGMA: Apuntes para un discurso de ruptura (versión para España) (Spanish Edition)

In Latin American vanguardism, one rarely finds the absolute anti-art stance normally associated with European Dada. Institutionalizing literary traditions was a relatively recent phenomenon in Latin American cultural life, and, in some cases, the vanguardist movements themselves became enmeshed with the construction of national literatures or canons. As they cast a critical eye on the value of their own artistic activities, they often imagined art as an integral part. Aesthetic activism was manifested in the needling presence of vanguardist artists on the cultural scene, in engaging communicative modes manifestos, broadsides, literary polemics, confrontational literary surveys, or public performance events , or in difficult literary experiments demanding new reader reactions.

Because I approach vanguardism as a form of activity rather than as an assemblage of individually outstanding texts, in this work I often examine the implicit dialogues that emerge between critical and creative endeavors, between manifestos or similar documents and creative texts.

Although I do present close readings of numerous literary texts, the underlying premise is that a brief manifesto or a literary survey appearing in a short-lived vanguardist periodical may constitute as significant a factor in the dialogue of artistic and cultural ideas as a critically acclaimed creative work.

My own approach has unquestionably been shaped by other recent scholarship. Once Latin American vanguardism was recognized as a significant component of the continent's literary history, investigators undertook individual studies of specific countries, groups, magazines, or major figures. Early studies also focused primarily on poetry. Although important work of this kind continues, the last ten years have witnessed a more comprehensive reassessment that has recognized the multifaceted quality of vanguardist activity and has generally pursued two lines of inquiry.

The first investigative line has sought a historical and bibliographical reconstruction of the period on a continental basis, yielding four major anthologies of vanguardist materials as well as a book-length bibliography. The last two of these include Brazil in their.

The titles of the anthologies underscore the eclectic substance of materials resistant to tidy classification; thus we have "other writings," "documents," or "programmatic texts. In their very constitution, these collections also suggest that, to arrive at meaningful understandings of the vanguard period in Latin America, one must go beyond specific individual works, writers, or even genres. The same premise emerges in a second line of inquiry in recent vanguardist scholarship, the search for comprehensive characterizations of the vanguards in Latin America as related to but distinct from the European avant-gardes.

This second investigative line has produced articlelength studies seeking to define more broadly what Latin American vanguardism was actually like or about and to map out what kinds of approaches are appropriate for arriving at such definitions. Forster's piece, "Latin American Vanguardismo: Chronology and Terminology," constituted a fundamental step in this direction, and his "Toward a Synthesis of Latin American Vanguardism" , introducing the Forster-Jackson bibliography, expands this line of inquiry.

Much of this material shares certain premises that also underlie my own work: In this vein, and unlike national or genre studies, my own work, based on close readings of critical and creative texts from all genres and from Spanish America and Brazil, seeks to establish the common ground among the sometimes quite diverse continental movements and activities in the ideas that they pose about art and culture in Latin America.

In keeping with the definition of vanguardism as a form of activity, four of the five chapters also examine the complex interaction between manifestos or critical articles, affirming certain artistic positions, and the experimental creative works that both reinforce and undermine these positions. The selection criteria for particular works and critical documents examined also reflect the definition of vanguardism as a cultural activity. Thus my objective is neither to establish a vanguardist canon nor to focus on outstanding individual writers per se, although I do examine the work of many major figures pertinent to the artistic and cultural issues addressed.

Instead, I tap the broad and eclectic range of materials through which the vanguards' complex and often contradictory dialogue of ideas was carried out. These chapters do not undertake a historical survey of vanguardist activity in Latin America, a project already carried out in some of the work described above. Finally, although I address the Latin American vanguards as a historically and culturally specific development, I also identify, when appropriate, interaction at the level of ideas with the international avant-gardes. Although this work constitutes neither a national nor a genre study, it is worth noting that important recent work of this kind has also addressed vanguardism as a form of cultural activity.

Two of these studies in particular have had an impact on my own approach. Las escuelas argentinas de vanguardia , employs a multigenre approach and examines the role of manifestos in constructing a particular critical climate for the production of creative works. The premise that Latin American vanguardism was a continental phenomenon provides my point of departure in the chapters that follow. Vanguardist activity actually encompassed a variety of national or regional movements that manifested site-specific peculiarities. But, as Forster has argued, Latin American vanguardists also knew that they were participating in a "common enterprise" Vanguardism in Latin American Literature 8.

In fact, even the most casual examination of little magazines and vanguardist documents reveals this awareness, documented through a continental network of magazine and creative work exchanges. Even very ephemeral little magazines participated in this exchange, which was also reinforced by the Costa Rica-based Repertorio Americano, a continentally circulated periodical that disseminated vanguardist currents.

But in exploring through these chapters the common ground of multiple literary vanguard movements, I do not dismiss national differences. Bringing together around specific topics materials from several countries invariably points back to singular contexts from which individual works emerge.

A very brief review of those national contexts underscores the plurality of Latin America's vanguards. Argentine vanguardist writers were highly active and visible, produced literary works in all genres, and participated in journals, publishing houses, and provocative public performances.

In contrast to other countries, here the lines between aestheticist and political conceptions of art were more sharply drawn. Literary history typically classifies artistic innovation around the two major groups, Florida and Boedo. Although women infrequently participated actively or visibly in vanguardist activities, Florida included the poet and prose fiction writer Norah Lange, who was married to Girondo.

Roberto Mariani's prose fiction is perhaps the best known of Boedo's offerings. Members also organized the enduring Teatro del Pueblo, which transformed Argentine theatrical production. But, as Christopher Towne Leland has pointed out, the lines between the two groups often blur, as in the figure of novelist and playwright Roberto Arlt, admired by both but allied with neither.

It is also difficult to ascribe a consistent literary style to either group. Although Argentine vanguardists, particularly the Florida group, generally eschewed programmatic cultural nationalism, certain events manifested autochthonist tensions and concerns. Although the term modernismo designates the renovation of Brazilian literature from the early s through the mids, the radically innovative activities of the s paralleled Spanish American vanguardism. This city also provided the center for vanguardist activity, although important manifestations also evolved in Rio de Janeiro and in Belo Horizonte and Cataguazes in Minas Gerais.

Characterized by its multidisciplinary nature, Bra-. Three women contributed notably to early Brazilian vanguardist production: As in Peru, Cuba, and Nicaragua, Brazilian vanguardist activity was often strongly marked by local autochthonist concerns and, in many creative works, a broader Americanist cast. Chilean vanguardism emerged during a tense and haltingly reformist period, as workers and a growing middle class pressured traditional oligarchies for greater participation in public life.

Underscoring the pitfalls inherent in characterizing Latin American vanguardism solely in national terms, Chile produced two outstanding figures whose forums for innovative activity were often more international and continental than national or local. Vicente Huidobro—poet, novelist, dramatist, and manifesto and film script writer—is widely regarded as both the precursor and the founder of Latin American vanguardism. Huidobro's antimimetic literary creed creacionismo extolled the virtues of autonomous art. But Huidobro's aesthetic and political activism sometimes overlapped, not only through his play En la luna satirizing Chilean political events of the s but also with his own incursion into Chilean politics.

In the s and early s, Huidobro's compatriot, Pablo Neruda, one of the twentieth century's outstanding poets, produced verse with many surrealist features. But Neruda was also involved during the s, often in a highly contentious mode, with. The seeds of the country's vanguardist activity, centered in Havana, were sown in the collective reaction of student activists, middle-class political reformers, and labor leaders against the repressive measures of President Alberto Zayas and the Gerardo Machado dictatorship that followed.

Formed in , the Grupo Minorista published a manifesto dedicating itself to multifaceted intellectual work, social reform, and aesthetic innovation. Mexican vanguardism emerged in two principal groups: Although both groups operated primarily in Mexico City, the estridentistas were also active in Xalapa. Often regarded as the more politicized of the two gatherings, the estridentistas saw their cultural project as an extension of the revolution's activist spirit.

They also expressed internationalist political affinities, as in Maples Arce's long poem "Urbe" with the subtitle "Bolshevik Super-Poem in 5 Cantos" and dedicated to Mexico's workers.

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At the same time, they promoted explicitly autochthonous work such as Icaza's prose fiction and Alva de la Canal's woodcuts. Public Education, and contributed to the interdisciplinary and socially oriented magazine El Maestro — Several also participated in La Falange: The journal's literary offerings included poetry, prose fiction, and plays. Peru's literary vanguards coincided historically with the eleven-year reformist dictatorship of Augusto B.

Numerous provincianos brought to the city by student reform activities participated in Lima's vanguards, and Peru. Numerous other short-lived vanguardist magazines appeared in Lima, Arequipa, and Cuzco during the s. Ironically, many of his compatriots regarded Vallejo's poetry as the prime example of the autochthonist vanguardism that they espoused and he ostensibly rejected.

Although less extensive and enduring than movements in Argentina, Brazil, Chile, Cuba, and Peru, significant vanguardist activity or debates also developed in Ecuador, Nicaragua, Puerto Rico, Uruguay, and Venezuela. Ecuador in the s was marked by intense liberal-conservative struggles, mounting pressures for progressive political change and social reforms, student activism prompted by a broadening class base in university attendance, and a brief dictatorship — According to Humberto Robles, such events intertwined Ecuadorean vanguardist inquiries and experiments with prevailing cultural politics and polemics.

Important literary experiments included Hugo Mayo's poetry and Pablo Palacio's prose fiction and brief dramatic experiments, and avant-garde techniques shaped the early poetry of Jorge Carrera Andrade, one of the country's leading twentieth-century poets. Still, vanguardist activity in Ecuador may per-. Robles has argued that polarized positions between classical and socially committed concepts of art allowed for little middle ground and that, by the decade's end, socially oriented art had become the norm.

Social, Americanist, or indigenist concerns often marked the thinking of those who did support the idea of an avant-garde or undertook vanguardist experiments. Its late development notwithstanding, Nicaraguan vanguardist activity constituted a major event in the country's cultural life and the only sustained group effort of its kind in Central America. During the late s and early s, Nicaraguan conservatives and liberals struggled for power.

Seeking an alternative site for the Panama Canal, the United States had intervened in the country's economic and political affairs for two decades, and Augusto Sandino emerged as a progressive symbol of national autonomy and resistance to U. Nicaraguan vanguardists, whose political allegiances ultimately spanned the spectrum, also opposed U. Although contact with U. Its inaugural manifesto sought the cultural renovation of Nicaragua through dissemination of international avant-garde trends and the development of national art forms in every field.

Its activities included debates and polemics, public performance events, and the collection of Nicaraguan folklore and popular linguistic, poetic, and musical forms to be incorporated in experimental works. Literary production included mainly poetry, some experimental prose, literary commentary, and performance pieces. The short-lived group's work profoundly influenced Nicaraguan artistic life for years to come, and Cuadra became one of the country's major contemporary writers and intellectuals. The "status" issue, that is, Puerto Rico's anomalous colonial relationship with the United States, has shaped the island's political and cultural life throughout the twentieth century.

During the s, polit-. Puerto Rican vanguardist activity, which spanned these years, was marked by a comparable intensification of autochthonist concerns. This innovating activity included a rapid succession of "isms" undertaken by a relatively small groups of poets: As a whole, Puerto Rico's vanguardist activity was characterized by the predominance of poetry and linguistic experiment, by an Americanist continental orientation, by a gradually emerging focus on national and Antillean cultural motifs, and by the island's first literary affirmations of West African language and culture as significant cultural presences.

Uruguay in the early decades of the twentieth century provided, by one account, "the happiest example of political democratization and social modernization in Latin America" Halperin Donghi This era was marked, according to Tulio Halperin Donghi, by an openness to change and an optimistic sense of national identity — In a comparable spirit, Uruguayan vanguardist activity of the s was, as Gloria Videla has shown with regard to one of its principal journals, La Pluma —31 , both eclectic—open to a range of international and Latin American influences—and often nativist in its concerns.

Poemas con olor a nafta. The Man Who Ate a Bus: Poems with the Odor of Naphtha. But La Pluma, edited by Alberto Zum Felde and later by Carlos Sabat Ercasty, was perhaps the most comparable to other major Latin American vanguardist journals in its synthesis of international trends with continental connections and local concerns. Although group vanguardist activity in the country was relatively late developing and short-lived, according to Osorio, an ambience of student and intellectual resistance culminating in generated new thinking about art and culture with long-term consequences.

Vanguardist activities in other countries were either extremely brief, limited to a single work or writer, or too late in their emergence to be considered within the historical and artistic parameters normally defining these movements in Latin America. But a few others should be mentioned. Although no notable vanguardist activity developed in Guatemala itself, Miguel Angel Asturias's early prose fiction and dra-. Both also participated in Parisian and Latin American vanguardist networks. Regional differences notwithstanding, the common ground of these vanguardist activities throughout Latin America provides the focus for the chapters that follow.

As detailed below, each of these presents its own thesis and conclusions. But the pieces are also connected by a concept that is useful for characterizing Latin American vanguardism as a whole: It also brings into focus three fundamental ideas about the vanguards in Latin America that weave through my own five chapters.

In his descriptive essay, which was often misread as prescriptive, Ortega characterized modern art as a whole not only the vanguards as "dehumanized. In the modern mode, Ortega observed, an object of art is artistic only to the degree that it is not real. Whereas the average person, he asserted, prefers art that most resembles ordinary life, in modern art, a "preoccupation with the human content of the work is in principle incompatible with aesthetic enjoyment" 53; HW 9— While mimetic or realist art encourages the recipient to focus on the garden or the human content, modern art, in Ortega's view, turns perception toward the pane and the transparency inherent in a work of art.

In its focus on modern art's distancing strategies that shift perceptual modes, Ortega's concept of dehumanization is not unlike the early Russian formalist idea of defamiliarization ostranenie in Victor Shklovsky's. During the historical avant-gardes, he affirms, art entered a stage of self-criticism as artists questioned the category art and its claims to autonomy from nonart or life. In this view, then, it is precisely through the "dehumanization" that alters perceptions by calling attention to the Orteguian windowpane that the avant-gardes forced artistic recipients to think about the idea of art itself and its relationship to life.

Thus the very distancing quality in modern art that Ortega called dehumanization turns the public toward, not away from, lived experience. I have already argued that Latin American vanguardism conceived art and intellectual endeavors in activist terms. Artists employed antimimetic strategies, among a range of vanguardist activities, precisely in order to turn art toward experience in more provocative ways. By "engagement" I do not mean. I use the term more comprehensively to designate various kinds of involvement or immersion, including confrontational engagement by artistic works or events with readers or spectators; critical or intellectual engagement through their work by artists with their immediate surroundings; or a desired metaphysical engagement with existence or the cosmos by artists seeking transrational plenitude.

In Latin America, moreover, vanguardist activity, as I have shown for individual countries, was quite often critically engaged with what was regarded as specifically Latin American experience. In this vein, the concept of a "rehumanization" of art alludes on a second level to a contemporary response within the Latin American vanguard movements to Ortega's essay, an averse reaction more to the word dehumanization itself than to the specific points raised in the piece. This negative response to a word or to what was perceived as the spirit behind it in no way minimized Ortega's contribution to the emergence of vanguardist activity in Latin America.

Along with the transcontinental connections established by Latin American writers in direct contact with French or Spanish peninsular movements, Ortega's widely distributed Revista de Occidente was a primary source of information about the latest developments in modern art. This debt was frequently acknowledged, and Ortega's and visits to Latin America fostered enduring intellectual contacts.

Nonetheless, there was a fairly widespread reaction in Latin America's vanguard movements to what was perceived, accurately or not, as the gist of Ortega's widely disseminated essay. Art, it was argued in countless manifestos and critical writings, even in its most modern forms, had everything to do with experience, and the words human and humanized became veritable buzzwords in Latin American vanguardist discourse.

This did not always constitute a direct response to Ortega but sometimes simply expressed a particular artistic orientation or tone. Thus he argued that art should "humanize things" OC 1: The poet Carlos Drummond de Andrade, in the manifesto launching Brazil's A Revista in , included in his plan for action the resolution to "humanize Brazil" and suggested that this would be accomplished by artists ready to "collide with real life" GMT Although they did not necessarily delve as deeply as Ortega into the theoretical problems he had posed, other writers were clearly reacting specifically to his essay.

The new art, he argued, "does not become dehumanized but instead becomes humanized just as it penetrates the soul of humanity and nature" "Trozos" 2. In his observations on surrealism, Alejo Carpentier explained that those using the term "dehumanization" he did not mention Ortega by name were accurately describing a modern turn away from sentimental, domestic intrigues. But he then went on to argue against characterizing the vanguards, surrealism in particular, as aloof or skeptical and to affirm that his was an era of passionate faith in the value of intellectual and artistic pursuits HV — Casanovas attributed dehumanization to the bourgeois spirit and rejected artistic speculations of a merely formal quality because they lacked "human value" or "social transcendence.

Portal argued in , two years after the appearance of Ortega's essay, that while some new artists had failed to see a connection between innovation and social engagement, the more recent Latin American vanguardists had emerged in a milieu marked by the "humanization of art," conscious of a "double mission in aesthetics and in life" MPP Art, he explained, should always make contact in some way with the "disorderly humanity" that Ortega believed modernity had exiled from the work of art.

Although he recognized the critical power of what he called "formal conquests," that is, of the vanguards' "dehumanized" strategies in Ortega's terms, he also argued that art's paradoxical relationship to life should be one of engaged autonomy. A New World orientation permeated the work of both of these writers and of many of their contemporaries addressing the question of Latin American art's human substance. Torres Bodet spelled it out. I address this issue most directly in the third and fifth chapters, but the problem shapes the entire study.

On the broadest level, my work is founded on the rather evident premise, to which I have already alluded in describing regional developments, that Latin American vanguardism, notwithstanding the interaction with European currents, unfolded within its own cultural contexts and that the life experience with which it openly engaged was often peculiarly its own. More specifically, some Latin American writers claimed vanguardism itself as a fundamentally Latin American phenomenon. As I explore in the chapters on Americanism and language, this move was actually quite different in kind from, even counter to, the broader claim that Latin American innovative art was more "humanized" than the European.

Instead, Latin American vanguardist activity sometimes constructed images comparable to what Ortega would call dehumanization, or to similar ideas of estrangement or nonorganicity, not as mere aesthetic strategies or effects but as phenomena peculiar to Latin America's lived, historical experience.

To recapitulate, then, the concept of a "rehumanization" of art points to three broad ideas that underlie these five chapters: Framed by these ideas, each chapter addresses the more specific artistic and cultural problems investigated by Latin American vanguardists. In the first chapter, "Constructing an Audience, Concrete and Illusory: Here I show first how vanguardist manifestos employ specific rhetorical strategies to act out a given aesthetic position as the dramatic confrontation of a dynamic speaker with two audiences, one participatory and one adversarial.

In a comparable mode, the four generically hybrid manifestostyle performance texts examined here display the type of art that they espouse, portray art as a "doing" process that incorporates its recipient into the doing, and dramatize the desired spectator's participation in. Here I demonstrate that, interacting with prevalent poetic images of the artist and drawing on modernity's technological and activist motifs, the manifestos recast the aestheticist tradition of lyric subjectivity and cosmic detachment into an artist figure of movement and action, still introspective but also marked by the dynamic images of the times.

Intensifying these tensions, prose fiction portraits of the artist construct an urbanvagabond artistic persona.

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Marked by an elusive interior consistency, this artist's lyric inheritance—verbal virtuosity and a sharp inner eye—is often turned outward toward critical interaction with both literary tradition and a concrete world. The third chapter, "'Surely from his lips a cockatoo will fly': Manifestos with an Americanist orientation generally perpetuate romantic, organicist myths of America through images of an integrated, telluric body-continent, rooted to ancestral origins, a body for which the new American artist will provide a voice. On the surface, prose and poetic creative texts reinforce these images.

Chapter 4, "On the Interstices of Art and Life: Theatrical Workouts in Critical Perception," returns in a more theoretical vein and through plays by Roberto Arlt, Xavier Villaurrutia, Vicente Huidobro, and Oswald de Andrade to the artistic recipient. The vanguards' attention to the interaction between art and experience is often manifested in an antimimetic impulse and a focus on the process of representation. Theater's palpable connections with that process offered singular opportunities for vanguardist inquiries. Through sometimes highly abstract dramatic texts, writers exploited the stresses in theatrical expression.

Focusing on theatrical fantasies of personal or social transformation, the works examined tamper with performative conventions. In the process, they expose spectator complicity in the performance and reconstruct the act of watching a play as a strenuous exercise in critical perception, designed, if not to transform worlds, to challenge the ways that we see them. Vanguard Tales of Linguistic Encounter," readdresses the vanguardist focus on the autochthonous but with more specific attention to language and linguistic identity.

Here I draw on manifestos and a wide range of poetic, prose, and dramatic works with language themes.

Acknowledgments

As with the Americanist stories, the vanguards' focus on language becomes intertwined in Latin America with issues of cultural critique. On one level, the movement's linguistic thematics intersect with ongoing historical debates about the oral and the written. In addition, inventive and recuperative linguistic ventures, incorporating fabricated, "primary" languages or autochthonous linguistic artifacts into self-consciously modern texts, arc embedded in seemingly contradictory stories. On the one hand, artists seek their expressive power in the utopian notion of a linguistically pure, original space.

On the other, they undermine this idea with a culturally affirmative poetics of linguistic impurity and estrangement, underscoring the foreignness of all language and the critical power of cultural translations. Although the five chapters address major artistic and cultural problems posed by the vanguards in Latin America, this study does not pretend to present an all-encompassing or conclusive assessment of the movement. Other issues touched on here might well provide the focus for future work by the growing community of vanguardista investigators, for example, the complex and problematic relationship of women writers and intellectuals to primarily male-dominated vanguardist activities or the often contradictory vanguardist approach to popular or mass culture.

The writers who participated in these movements asked themselves difficult questions about what art should be like and how artists should be. Readers will find that their polemical, exploratory, contentious, and qualified answers point directly to many of the artistic, linguistic, and cultural questions that continue to mark literary and theoretical discourses in these, our own times.

A great pleasure and a great honor to discover you. At this moment, we are witnessing the spectacle of ourselves. On a summer evening in , a group of aspiring young Nicaraguan artists executed a curious recital for a Granada audience. Dressed as a clown and carrying a ladder, a nail, a hammer, and a rope, Luis Downing recited "El arenque," his translation of Charles Cross's "Le Hareng Saur. Pasos's recitation was accompanied by an offstage orchestration of drums, cymbals, whistles, and shots Arellano, "El movimiento," 32— Although the Anti-Academy was one of the later vanguardist groups to emerge in Latin America, its activities were still reminiscent in spirit of the audience-assaulting, performative phase of the early European historical avant-gardes.

Melvin Mañón

An integral part of that movement's carnivalesque legend, this phase included the most notorious early futurist parades and serate, confrontational and occasionally riot-producing evening demonstrations, the dadaist "Africa Nights" in Zurich's Cabaret Voltaire, and the public-provoking manifestations of later Berlin dadaists and early Parisian surrealists. The radical playfulness of these manifestations thinly disguised a serious sense of purpose. These events constituted a fundamental component of the vanguards' exploration of artistic media and the social processes that shape them, as well as the impulse to create new audiences for a new art.

There is a fundamental connection between the oral public manifestation and the written manifesto that usually provided the self-defining cornerstone of vanguardist activity. Both the manifesto and the manifestation assume a polemical stance on a new kind of art; both dramatize the conflict with aesthetic tradition and societal expectations posed by that art; and both seek to resituate the artistic recipient in the eye of the creative storm. Because of the specific cultural environments in which Latin American vanguardism unfolded, audience-engaging evenings such as the Nicaraguan Anti-Academy's multimedia production were somewhat less frequent than the futurists' ribald evenings or Dada's public-provoking events.

But the written manifesto was a predilect genre for Latin American vanguardists. In addition, some writers also produced a hybrid of manifestation and manifesto in a singular kind of text I call a performance manifesto. Combining elements of poetry, music, drama, oratory, and sometimes dance, these multigeneric texts constitute scripts for a public performance and build on the intrinsic theatricality of the manifesto itself. The manifesto quality of these multigeneric creative works becomes most evident if we examine first the performative qualities of the vanguardist manifesto itself.

From the late teens into the early s, written manifestos that directly confronted an implicit audience with particular aesthetic and cultural positions proliferated in Latin America as widely as the ephemeral groups and little magazines that produced and published them. But because until recently research on Latin America's avantgardes had often focused more on authors and works than on vanguardism as an activity, it is difficult to determine the extent to which self-designated vanguardist groups and individuals engaged in actual public manifestations.

But, in addition to the Nicaraguan AntiAcademy's evening of lyric theater, a few other such activities have been documented. In September, the theater group presented a performative evening at the Teatro Olympia in a multimedia synthesis of folkloric music, dance, and dramatizations designed to promote the idea of a national art as well as to suggest a comprehensive concept of a total performative event Schneider, El estridentismo —8.

In a similar spirit, during the mids members of Buenos Aires's Florida group produced the Revista Oral , the brainchild of the transplanted Peruvian simplista poet Alberto Hidalgo. Peru's principal regional vanguardist gathering, the indigenista Grupo Orkopata of Puno that met regularly between and , periodically counterbalanced its serious seminar-style exchanges on art, literature, folklore, and history with more boisterous and bohemian Pascanas nocturnas Nocturnal Interludes.

On these occasions, group members reportedly dressed up as Indians, drank chicha, chewed coca leaves, and interspersed experimental poetry and prose readings with songs in Quechua and Aymara Tamayo Herrera More enduring than these extravagant events were the numerous manifestos published in Latin America primarily during the s. These texts served several functions. A few, in particular those produced by the most prolific of Latin America's manifesto writers, Vicente Huidobro, laid out in detail the aesthetic ideas of a particular individual.

More commonly, manifestos were published by groups or individuals representing them to announce the creation of a new "ism" or aesthetic orientation, the constitution of a new artistic gathering, or the publication of a new little magazine. The aesthetic details of a particular program advocated by a written manifesto—radical metaphors, disruptive syntax, typographical experiments, free verse, culturally specific art—were often less critical for what these documents communicated than were the expository structures and rhetorical strategies with which these programs were laid out.

The prototypical manifesto possessed a highly dramatic structure, and its confrontational discourse put into play conflicting views of art and culture by employing rhetorical strategies with a potentially theatrical effect. In The Futurist Moment, the title for which is drawn from Renato Poggioli's characterization of vanguardism's futuristic phase Poggioli 68—74 , Marjorie Perloff notes the theatrical quality of the futurist manifestos.

Indeed, the futurists, Perloff and others have insisted, provided the model for subsequent vanguardist manifestos. While suggesting that he wrote mediocre and derivative poetry and prose, Perloff notes that Marinetti was a brilliant conceptual artist who employed public performances and written manifestos to "transform politics into a kind of lyric theater " 84; my emphasis.

In "The Work of Art in the Age of Mechanical Reproduction," Walter Benjamin noted a similar quality in the vanguards' advocacy of an art of palpable public engagement that eventually unfolded into the Fascist aestheticizing of politics and the Communist politicizing of art , two sides of the same audience-engaging coin. But the "futurist moment," as Poggioli demonstrates, is a characteristic that belongs to all of the avant-gardes 68 , and, to some extent, this is also true of futurism's rhetorical strategies. Thus many Latin American manifestos possess the striking theatrical tone and display specific dramatic qualities observed by Perloff in the futurist documents.

To be credible no character should be completely flawless: El efecto es devastador. Recibe con mansedumbre golpes, unos causados por la violencia pasional de Mr. B, otros por su carcelera, Mrs. Su corta su virginidad porque quiere ser un digno hermano de la famosa Pamela. Ahora, lo cuestionable es la naturaleza del erotismo que los atrae mutuamente.

No en vano tanto Mr. No sabemos exactamente el momento en que Mr. B casi como si de una hija se tratase. B no puede dejar marchar a Pamela. Aunque invertidas, las esperanzas de la madre se cumplen muy pronto; el hijo se ve sacudido por Eros, y responde como mejor entiende. El juego empieza, pero es un juego pervertido. Comienza vistiendo a Pamela con las ropas de la madre: He gave me two suits of fine Flanders laced head-clothes, three pair of fine silk shoes, two hardly the worse, and just fit for me for my lady had a very little foot , and the other with wrought silver buckles in them; and several ribands and top-knots of all colours; four pair of white fine cotton stockings and three pair of fine silk ones; and two pair of rich stays.

Mencionamos en otro trabajo la importancia que tiene la figura de la madre. B su propia madre, y ahora Pamela, en calidad de sustituta. B necesita ser mordido por los celos. De la postura de Pamela se pueden deducir muchas cosas en tanto en cuanto a la compleja personalidad de Mr. B, y con ello el mundo imaginativo del lector. Generalmente se dice del pie: B le da el dinero de su madre a Pamela.

B es ahora hombre endemoniado. No siempre el otro es el genio positivo, sino el negativo. B le da a Pamela. B regala a Pamela como anticipo del pago de favores sexuales por parte de ella. Ahora nos limitamos a marcar su importancia. Richardson ha hilado magistralmente el simbolismo que empapa toda la obra, pero con tal sutileza que casi pasa desapercibido.

De esto hablamos en nuestro trabajo, pues no hay nada accidental en Pamela, i. Pamela hace tres hatos con su ropa los tres cofres del Mercader de Venecia. Hay tres casas, la de Pamela, la controlada por Mrs. Jervis, y la gobernada por Mrs. El bordado de las flores en el chaleco de Mr. Mencionamos esto a modo de apunte, aunque la lista es muy dilatada. B en calidad de esposo. Puede que su madre cuando menos lo sospechase. Y no soluciona el problema inherente a la edad de Pamela.

B acosarla sexualmente con tanta premura: Lleva puesta la ropa de una difunta. Y o bien asumimos que falta algo de credibilidad en todo ello, o la imagen que Richardson nos ofrece de Pamela no es mucho mejor que la de Mr. Es mejor que Richardson no hubiese tratado de ser tan realista. La toma de la mano, tiembla ella para no perder la costumbre, y llora desconsoladamente. He put his arm about me, and kissed me!

I struggled and trembled, and was so benumbed with terror, that I sunk down, not in a fit, and yet not myself; and I found myself in his arms, quite void of strength; and he kissed me two or three times, with frightful eargeness- at last I burst from him, and was getting out of the summer-house; but he held me back, and shut the door.

La ha besado, y se ha producido un inicio de tocamientos obscenos. Pamela, escribe ella, ha conseguido escapar del abrazo de Mr. Lo intenta inicialmente a modo de juego, lleno de infantiles esperanzas, seguro de obtener una respuesta positiva, cegado por su poder y despotismo. Son preguntas merecedoras de respuestas rigurosas. Who would have you otherwise, you foolish slut! B radica en verla reducida al rol de esclava sexual, de subyugada doliente. El punto empieza a perfilarse cuando, durante este ataque, en lugar de seguir adelante y consumar el acto, acaba Mr.

B depositando unas monedas de oro en su mano: Le intenta pagar no los besos que le ha robado, tampoco por los tocamientos obscenos. Esta rareza la podemos comprobar en el segundo intento de Mr. I have nothing else to trust to; and, though poor and friendless here, yet I have always been tought to value honesty above my life Lo que en el fondo busca Mr.

Pamela se desmaya, y queda inerte, sobre el suelo, como si fuese un trapo: Es interesante cotejar las ideas de un hombre como el Dr. La mujer moderna no es muy amante de los broches, elemento decorativo tremendamente desfasado. La puerta tiene que ser derribada a golpes. Pero por falta de espacio, queda su estudio relegado a los otros trabajos. Nada separa a Mr. Sin embargo, para Mr.

Por mucho que se queje Mr. En cuanto recobra el sentido, y muy a pesar de estar ya protegida por Mrs. He then put his hand in my bosom, and indignation gave me double strenght, and I got loose from him by a sudden spring, and run out of the room! And the next chamber being open, I made shift to get into it, and threw to the door, and it locked after me, but he followed me so close, he got hold of my gown, and tore a piece off, which hung without the door, for the key was on the inside.

La joven forcejea, consigue deshacerse del abrazo de Mr. Se lanza desesperada hacia ese aposento, y trata de cerrar la puerta, pero, Mr. Tiene suerte, la llave estaba en la parte interna inside , cierra la puerta, y como siempre, muy a tiempo, tiene la buena estrella de caer sobre el suelo, pero sin sentido. B, y en un momento de inconsciente sinceridad nos ofrece un panorama nada alentador en torno al futuro de Pamela, en calidad de esposa: Samuel Richardson, the Triumph of Craft.

University of Tenesee Press. Los sexos, el amor y la historia: The Art of Courtly Love. Erotismo y literatura editado por M. Random House Unabridged Dictionary, Character and Structure in the English Novel, H. University of Florida Book. A Study of the Play Element in Culture. Men and His Symbols. Estudios sobre el amor. Revista de Occidente en Alianza. Pamela, or Virtue Rewarded.

A Criminal History of Mankind. The edition used is Virago, Woolsey took the title from a poem by T. Zalin Grant changed the original title to Malaga Burning. She is mostly concerned with showing the psychological impact that the war had on the civilian population and especially on women and children, the weaker elements in the conflict. This was no doubt due to her limited perspective on the war and also partly due to the fact that any communication with Madrid or any other cities had been cut off.

They claim to be objective observers of the war and judgers of the events. Although signed by Brenan himself, the article is simply an anonymous Spanish translation of the most important passages of Personal Record. The references to their life of ease and relaxation before the war are numerous. In July, they have showers in the garden 2 , bathe in the cistern 1 , have late breakfasts 3 , sit in the patio for tea in the shade of the house 5 , spend their days in their bathing suits 1 , have delicious red mullet, the freshest vegetables and great bowls of fruit 3.

As expatriates, their aim in life was to live cheaply and at peace in remote Iberia where nothing ever changed, far from the troubles of Europe 4. They are proud of their expatriate condition, especially of the privileged situation that their foreign nationalities allow them to have: This neutrality was nevertheless ineffective when bombing took place,6 but it at least prevented them from having their house searched for weapons too often. The country folk especially women saw the Brenan household as a sanctuary of protection and consolation and a shield from bombs and the ill-famed Moors: The lower floor of their house was always crowded with refugees, especially when the bombings became regular.

Many spent the whole day and even slept there, afraid to go back to their fragile houses. Woolsey describes the state of terror and hysterics of the villagers, for whom she confesses to having felt a physical repugnance She even thinks of converting her house into a hospital Being of British nationality,7 the expatriates were allowed to flee the country in a destroyer or to make their way to the neutral territory of nearby Gibraltar when the situation became unbearable.

The alleged neutrality of the foreigners is mentioned by Gamel as much as possible. Expatriates were very seldom disturbed. Naturally, servants were a key element in the idle life of the expatriates in Spain. Their jobs were limited to looking after their masters, advising them on the often unpredictable behaviour of the native people, and above all, working for them. The servants are invariably presented as doing their chores efficiently and happily. For example, Woolsey Their opinions on the current situation is usually looked down upon as coming from intellectually inferior minds.

Her unwillingness to accept any change whatsoever perhaps indicates her inability to develop intellectually. All Spanish servants working for the expatriates seem to have one characteristic in common: According to her friend Frances Partridge From Churriana and their life of ease the news that the Brenans obtained from the war was very limited and more often than not completely misleading or exaggerated.

The flames started to get closer and closer, villa after villa along the Limonar, bursting into flames It was long afterwards that Chalmers Mitchell learnt what had been happening. The Brenans also spend the whole chapter wondering about what is going on and about the origin of so many fires. Brenan believed that this anecdote confirmed the belief that he includes in his Memoria Personal , that, had they found the jewellery and silver in the house, they would never have stolen it.

Neither the very anarchists, despite their mobilization, nor the Brenans themselves seem to know anything for sure. They are so confused that they feel obliged to ask an American journalist and friend of theirs that lived in Torremolinos, Gray, to explain to them what was happening. Generals in Morocco rose first. Failed here completely, succeeded in Seville, and God knows where else.

The officers rose, the sailors refused to obey orders. The military authorities surrendered. The coup had failed. Naturally, they did not know what was happening. Next Brenan visited a certain Johnny Churchill, who had no idea either. He then visited Jay Allen in Torremolinos, an American correspondent of the Herald Tribune and a friend of some Socialist leaders, but he had already left for Gibraltar and Morocco. These facts allow me to reach two conclusions: The city was evidently in a state of fear, most people having decided to remain at home.

All Woolsey can do is to describe the atmosphere of the city and its inhabitants, for no one can still fully interpret the events that have just taken place: I looked at the other faces around us and all looked queer and wild. The burning of the houses had been an orgy, and they were still completing their satiation among the ashes.

Arson, I am sure, is a vice of the nature of an erotic crime: The mad faces on the streets of Malaga seemed drugged with the lust of burning; and all the queer creatures of the gutter and the cellar, the twisted, the perverse, and the maimed had crawled up into the light of the flames. However, these are all rumours.

This they did on July As soon as the ship left, the first bombardment began. It is Brenan According to Mitchell I do not think it would have been possible for us to have kept Don Carlos even a week longer than we did. To take in Juan as well would have been very dangerous for them all.

She makes the point of telling us that the terrorists acted on their own accord. The nightly murdering finally became a real week of terror and many people were dragged out from their hotels to be killed. The terrorists were after Don Carlos and Juan the baker, among others. The former managed to escape thanks to Brenan, of course, but only just , but not the latter. However, Woolsey insists that the authorities and the police did their best to stop this and that every political organisation condemned the killings.

Woolsey justifies the odd revolt and the nervousness of the population to the Fascist bombings: This she finds out when obliged to flee to Gibraltar in an American destroyer: Brenan always felt guilty for not having given him refuge in his house and therefore indirectly allowing him to be caught in a cave, where he had remained hidden for weeks.

Brenan dedicates many pages of his Memoria Personal to trying to justify the impossibility of helping him. In Gibraltar, she says, she hopes to be informed on the development of the Spanish war. Apart from knowing little, she intentionally hides information from the reader, depicts the events that were -or were not- taking place at the time to her convenience and brings the relevant individual characters to the foreground or the background to suit her intentions.

According to Gathorne-Hardy The Face of Spain. With an Introduction by John Wolfers. A Life of Gerald Brenan. The Spanish Civil War. It is to the analysis of one of those devices —internal modification— in English as a native and as a foreign language that the present study is devoted. The data have been collected from 75 British English native speakers and 75 nonnative speakers of English who have Spanish as their mother tongue.

Another 75 native speakers of Spanish have also acted as informants to this study in order to investigate any possible interference from the mother tongue. Introduction The main purpose of this paper is to compare the use of internal modifiers —including both syntactic and lexical or phrasal downgraders— in the production of requests by native and nonnative speakers of English.

A second objective will be to investigate how situational factors affect the use of internal modification in the requestive The Grove The data for this study were collected by means of two versions of a discourse completion test DCT: Requests may refer to non-verbal goods and services —objects, actions, or a given service— or to verbal goods or services, in which case it would be a request for information.

The action will take place, obviously, after the utterance corresponding to the request. Consequently, the speech act of requesting may be characterized as a pre-event, unlike, for example, complaints, which are post-events, since they refer to an offensive action which happened before the speech act were produced. Due to this reason, requests —as all directive speech acts in general— by definition concern a controllable event and never a process, that is to say, an uncontrollable event as falling asleep or sneezing Dik, Other authors, such as Green , Haverkate , Leech , or Trosborg , prefer the term impositive rather than directive.

In addition, certain types of requests, such as those addressed to a shop assistant, are not normally considered face- threatening acts. The dividing line between these illocutionary acts, however, is anything but clear-cut. In the present study we will deal only with those acts whose illocutionary point is to make somebody do something which will benefit mainly the speaker. The illocutionary force of those acts may range from that of an order to that of a beg and, as Koike states, the choice will depend on the relationship between the interlocutors: The social relationship between speaker S and hearer H in a context of communication is reflected in the language used between them.

Subjects Seventy-five British English native speakers and seventy-five nonnative speakers of English whose mother tongue is Spanish acted as informants to this study. For the sake of comparison, data in Spanish as a native language were also collected from another seventy-five subjects. Therefore, two hundred and twenty-five informants participated in this study altogether.

Their ages range between twenty and twenty- five years old. The reason to choose students as our target population, apart from purely practical reasons of availability, was to ensure as much homogeneity as possible with regard to educational background, social class or age range.

Description of the groups of informants. Research instrument The data for this study were elicited by means of a discourse completion test. Such a research instrument was used to ensure cross- cultural comparability. Therefore, this instrument has allowed us to investigate not only the similarities and differences in the realization patterns of requests between native and nonnative speakers of English, but also the effect of social factors on those realization patterns.

The situations are as follows: S3 You need a book from the library for a paper, but it is already on loan. S4 You have to hand in a paper for one of your subjects and you find out that there is a new lecturer at your faculty whom you have never seen before and who is a specialist in the subject of your paper. S5 You are in the university library. You want to take a book from a shelf but it is too high for you. You ask a class mate taller than you to get the book down for you. Description of the situations proposed in the discourse completion test.

Thus, other things being equal, a conventionally indirect request is normally considered more polite than a direct request. But in addition to the directness level, it is possible to smooth or increase the impact that a request may produce on the hearer by means of certain optional elements. There are several syntactic devices to increase the degree of politeness of a request. In the code system used to identify the examples, the first number represents the group of speakers I: English native speakers, II: Spanish native speakers, and III: English nonnative speakers , the second number from 1 to 75 represents the informant, and the third number 1 to 5 refers to the situation.

Es que tengo que hacer una llamada urgente. I have to finish my paper. The first of them both — 26 — corresponds to a request produced by an English native speaker, and the second one — 27 — is a manipulation of that utterance, which has been transformed into a declarative one: Due to this reason, an utterance such as 26 is a much more polite manner of producing a request than another one of the type of The great majority of the requests recorded in this study have been produced by means of an interrogative structure, although in most cases the interrogative structure is combined with some other syntactic downgrader.

The conditional, in the same way as interrogative structures, involves a shift away from reality. Therefore, when both mechanisms are combined within the same utterance, this distance is increased, which helps to reduce the degree of imposition of the request, and, consequently, to increase its level of negative politeness. As stated in Haverkate This may be observed in its componential analysis, in which two fundamentally contrastive temporal features are present: This componential analysis indicates that verb forms in the conditional are negatively marked for present time, which implies that their point of reference does not coincide with the time of the utterance.

It can also be said that those utterances which contain a conditional verb form do not refer to the real world, but to a possible world. In this sense, Haverkate says the following: Metaphorically speaking, the distance involved may be associated with the interpersonal distance speakers create in order to express mitigation. This is equivalent to stating that the potentially mitigating interpretation of the conditional can be explained in terms of metaphorical distance or space.

If the utterances 28 and 29 —both of them produced by English native speakers— are compared, it can be seen that the distance from reality and, consequently, the politeness level are greater in the latter: Would you mind getting it down for me? The following graph displays a representation of the proportion of syntactic downgraders in requests according to the group of informants.

As the graph portrays, whereas in the group of English native speakers For sake of comparison, the use of syntactic donwgraders in the production of requests by Spanish native speakers has also been investigated. The percentage of requests which present a syntactic downgrader is in this case Therefore, it can be seen that the group of English nonnative speakers is placed in this case between those of English native speakers and Spanish native speakers. Differences are statistically significant between the group of Spanish speakers and the two groups of English speakers.

Distribution of types of syntactic downgraders in requests according to informant group. Lexical and phrasal downgraders Another type of optional element internal to the nuclear act in requests is the lexical or phrasal downgrader. Lexical or phrasal downgraders also contribute to smooth the illocutionary force of requests and, consequently, they are closely related to the expression of verbal politeness.

Seven different types have been distinguished in this study, including the combination of two or more lexical or phrasal downgraders. They are the following: Los fotocopio y te los devuelvo. I need this book for an urgent paper, could you just lend it to me to photocopy a couple of chapters? In those cases in which a politeness marker is used, this will normally be please in English or por favor in Spanish.

English nonnative speakers also use the formula Would you be so kind as to…3 very frequently, which has been classified here as a politeness marker. Whereas English native speakers have never used this marker in the data collected for this study, English nonnative speakers have used it on twenty-one occasions. In attempting to converge with the foreign language norm, the nonnative speaker goes too far and generalizes the use of certain formulae.

This type of pragmatic deviation is very often a reflection of errors produced by the teaching method. By means of the use of these politeness markers, the speaker adds an element of deference towards the hearer. Thus, in adding a politeness marker such as please or por favor,4 the speaker begs the hearer to show a receptive or cooperative attitude and, in this way, increases the politeness level of the request.

The impositive burden of a request may also be reduced by means of the minimization of certain aspects of the requested action. These downtoners, which have been called subjectivizers, include expressions such as I wondered if…, I was wondering if…, Me preguntaba si…, etc.

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There are some other lexical or phrasal mechanisms which may be used to minimize the impositive force of a request, for instance, adverbs such as maybe, possibly, perhaps, just, only, etc. These interpersonal pragmatic markers include question tags, such as will you? We consider that question tags such as will you? Although most of the requests produced by speakers of the three groups participating in this study include a lexical or phrasal downgrader, statistically significant differences have been found between the three groups with regard to the percentage of use.

As the graph and table below show, the use of lexical or phrasal downgraders is more frequent among English native speakers English nonnative speakers This may be explained by saying that in this particular aspect their interlanguage is midway between their mother tongue and the target language, in this case English. Situational factors Not only do internal modifiers show variation across languages or types of speakers, but within the same language or group of speakers the combination of situational factors such as social dominance, social distance, and weight of imposition seems to condition the use of internal modifiers in requests.

The second place is occupied by the situation S2 Telephone , in which the hearer exercises power over the speaker, but in which, unlike the previous one, they are not strangers. This implies a somehow closer relationship, since the social distance is more reduced. The following situation with respect to the use of both types of internal modifiers is S3 Book , in which there is not a hierarchical relationship of social power, but there is social distance, that is to say, speaker and hearer do not know each other. The last two places are occupied by those situations in which there is neither social power nor social distance between both interlocutors, namely, S1 Notes and S5 Shelf.

The weight of imposition of the action also has an effect on the presence of these types of downgraders. Thus, other things being equal, the higher the degree of imposition the greater the proportion of both types of internal downgraders. In addition, the data collected in this study seem to indicate that there exists a high cross-cultural agreement for trends of cross-cultural variation, as depicted in the graphs below. In both charts a very similar line pattern may be observed for the three groups of speakers. Thus, for instance, in the two diagrams there is a steady fall from S4 Paper to S5 Shelf.

Presence of syntactic downgraders in requests according to group and situation. In addition to social power and social distance, perceived distance also covers the degree of imposition. Thus, Hill et al. Conclusions As the data collected in this study reflect, English native speakers use more syntactic and lexical or phrasal downgraders than English nonnative speakers who have Spanish as their mother tongue. The differences, however, are statistically significant only in the case of lexical or phrasal downgraders. When the productions of native and nonnative speakers of English are compared with data elicited from Spanish as a mother tongue, it can be observed that the results in English as a nonnative language are between those in English as a native language and those in Spanish.

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This fact may lead us to conclude that differences in the production of requests in English as L1 and L2 may be due to the influence of Spanish, the mother tongue of the nonnative speakers of English. To finish, it could be remembered that the teaching of English as a foreign language has traditionally focused mainly on aspects such as grammar or vocabulary and that pragmatic aspects such as those investigated in this study have been normally left aside.

However, it goes without saying that learning a foreign language involves much more than learning its grammar and vocabulary. Matters related to pragmatics and interactional styles are also extremely important, because they affect the image that the native hearer may have about the nonnative speaker. Linguistic Communication and Speech Acts. Variation in Second Language Acquisition: Discourse and Pragmatics edited by Gass, S. The Theory of Functional Grammar. The Structure of the Clause.

Syntax and Semantics 3 edited by Cole, P. Impositive Sentences in Spanish: Theory and Description in Linguistic Pragmatics. Journal of Pragmatics A Comprehensive Grammar of the English Language. Politeness Phenomena in England and Greece. Requests, Complaints and Apologies. Studies in the Discourse of Bookshop Encounters edited by G. Cooperativa Libraria Universitaria Editrice.

These pieces, belonging to different moments of her life as a writer, show, if contrasted, a tendency towards the elimination of details in the description of the scenery where the action takes place. Besides this progressive elimination of details, we also observe in Plath's short stories a tendency to show a scenery that has human qualities and that reflects the main characters' mood and mental and physical state with increasing frequency. In such a way, the writer's short stories also show what is very characteristic of Plath's last poetry, i.

The vivid, cruel words she could use to pin down her acquaintances and even her close friends were nothing she would want published and would be no joke to the recipients, still less so now that she is internationally famous The first section contains seven of the best When she moved to Devon she set about making an archive of all the new people she met, and of her dealings with them.

She planned to case the whole region, with the idea of accumulating details for future stories. Some of this material is unpublishable. She regarded these sheets not only as an archive, but as an arena for exercising her observation in Flauberian style. The Poetry of Initiation donde, entre otras cosas, afirma: At the same time she had a great suspicion that her real inclination might be to ignore such things altogether.

What is especially interesting now about some of these descriptions is the way they fed into Ariel. They are good evidence to prove that poems that seem often to be constructed of arbitrary surreal symbols are really impassioned reorganizations of relevant fact. They show just how much of the poetry is constructed from the bits and pieces of the situation at the source of the poem's theme. A great many of these objects and appearances occur somewhere or other in the journals. En las piezas que componen Johnny Panic podemos observar este mismo proceso. Rocketing up along the mountain road in the bus, with the day graying into blackness, they came into snow blithering and spitting dry against the windows.

Outside, beyond the cold glass panes rose the mountains, and behind them more mountains, higher and higher. Higher than Isobel had ever seen, crowding tall against the low skies. Miss Emily's eyes slide to this heap of flowers. I feel I am watching two candles at the end of a long hall, two pinpoint flames blowing and recovering in a dark wind. Outside the window the sky is blacker than a cast-iron skillet.

Tennyson utiliza paisajes exteriores para simbolizar estados mentales, pero les falta inmediatez y variedad. A small unripe moon was shafting squares of greenish light along the floor and the windowpanes were fringed with frost. The light went out. All along the corridor you can hear the rain, quieted now, drumming steadily against the panes. La tormenta amaina y la lluvia se aquieta como si la paz en la que ahora descansan Emily y Billy lo invadiera todo. With a growing peace Elizabeth watched the flailing arms rise, sink and rise again. The moon went out in a cloud.

A menudo, la ausencia de luz anuncia muerte en la obra de Plath, como en este caso. He was a grumpy old man even as far back as I remember. A cross word for everybody, and he kept getting that skin disease on his hands. When I really think it's a good thing? But just then, from somewhere far off, Millicent was sure of it, there came a melodic fluting, quite wild and sweet, and she knew that it must be the song of the heather birds And she knew that her own private initiation had just begun.

The very room seemed to take offence at this open insolence. Elizabeth was sure she saw the rigid andirons stiffen, and the blue tapestry above the mantel had paled perceptibly. The grandfather clock was gaping at her, speechless before the next reproving tick. Our conclusion could then be stated thus: The wind was rising again, and Elizabeth's skirts lifted in a fresh gust, billowing, belling up, filled with air Her feet rose from the planking, settled, rose again, until she was bobbing upward, floating like a pale lavender mildweed seed along the wind, over the waves and out to sea.

And that was the last anyone saw of Elizabeth Minton, who was enjoying herself thoroughly, blowing upward, now to this side, now to that, her lavender dress blending with the purple of the distant clouds. De nuevo, la oscuridad, como una enorme sombra, lo inunda todo y la ausencia de luz se puede traducir en dolor: I lay there alone in bed, feeling the black shadow creeping up the underside of the world like a flood tide. Nothing held, nothing was left. The silver airplanes and the blue capes [Superman] all dissolved and vanished, wiped away like the crude drawings of a child in colored chalk from the colossal blackboard of the dark.

That was the year the war began, and the real world, and the difference.

Tal como explica Axelrod Outside, the wind blasted away at the house which creaked and shuddered to its foundations under those powerful assaults of air The continuous poise and splash of incoming waves mark a ragged white line of surf beyond which the morning sea blazes in the early sun, already high and hot at ten-thirty; the ocean is cerulean toward the horizon, vivid azure nearer shore, blue and sheened as peacock feathers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web.

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