Prosemas

Reseñas

Florencia Montenegro — 2023-04-21

Sin resumen

Presentación

Juan Carlos Abril — 2023-04-21

Sin resumen

Entreguerras and the Tradition of the Autobiographical Long Poem

Ángel Luis Luján Atienza — 2023-04-21

This paper aims to give an account of the tradition in which the poem Entreguerras, by José Manuel Caballero Bonald (2012) is inserted. To do so, it first explores the relationship between poetry and autobiography in order to demonstrate the referential capacity of lyric poetry. It then goes on to show how this oblique way of referring, which constructs reality by naming it, can be transferred to the long poem, giving rise to a line of autobiographies in verse that share certain features and whose main common characteristic is that they constitute in themselves a process of revelation or self-knowledge rather than the testimony of a lived reality.

Cultural annotations on the baroque (and its surroundings) in the works of Caballero Bonald

Antonio Pedrós-Gascón — 2023-04-21

This article analyzes the increasing Baroque aesthetic direction that characterize the works of Caballero Bonald in the years following three health issues that the author endured. Important in the consolidation of this Baroque style were his stays in Colombia and Cuba during the 60s. Both these experiences impact the lexicon and ideologemes of his texts from then on. As such, this article studies the nature of Baroque in Caballero’s writing as pharmakon, a medicine that helped overcome the «coitus interruptus» —in his own words— that affected his creativity until early 70s, when he at last published Ágata ojo de gato and Descrédito del héroe.

Caballero Bonald: commitment and rebellion in his last books of poems

Antonio Jiménez Millán — 2023-04-21

The present work deals with the analysis of the latest poetry books by José Manuel Caballero Bonald, from Diario de Argónida (1997) to Desaprendizajes (2015). Caballero Bonald's poetic work, from its beginnings, arises from an investigation into language that never loses sight of the central reference of memory; after the publication of Laberinto de Fortuna (1984) there is a margin of thirteen years until the next book, Diario de Argónida, which consolidates a very relevant mythical space in the author's work. The following two books, Manual de infractores (2005) and La noche no tiene paredes (2009) reveal different forms of dissidence and rebellion against conservative policies, the consequences of the economic crisis and wars. The senescence cycle ends with two books, Entreguerras o de la naturaleza de las cosas (2012), another version of his memoirs, and Desaprendizajes (2015), where the prose poem is recovered as an expressive vehicle.

Algunas notas sobre la noche en la poesía (y la obra) de José Manuel Caballero Bonald.

Enrique Nogueras — 2023-04-21

Toda la obra de José Manuel Caballero Bonald está recorrida por la noche (o por las noches). Especialmente su poesía, pero también su narrativa y hasta su prosa memorialistica, es decir su obra más estrictamente literaria está, por así decirlo, impregnada de nocturnidad. En el presente artículo intentamos esbozar un primer acercamiento global a esta temática, considerándola como un elemento determinante y cohesionador de su trabajo literario y poético

The aesthetics of the scream in Anteo of Jose Manuel Caballero Bonald

Gilles Del Vecchio — 2023-04-21

Abstract

Anteo is a tribute by José Manuel Caballero Bonald to flamenco singing. The social background that served as the cradle of flamenco art, as well as its main sources of inspiration, shines through in the text. The perpetual human tragedy linked to art implies the notion of timelessness. The generalization of pain and its timeless character favor the mythologizing of cante and the ritualization of the spectacle offered by the voice. The purpose is to evacuate the accumulated sorrow knowing that it will never completely disappear. The reflection on the language derives towards the verbalization of musical concepts -rhythm, harmony, breaks, times and silences- placed at the service of the singer so that he leads his audience to the peak of emotion through the different manifestations of a cry that ends up reaching aesthetic vigor.

Gods and Demons in Dead Hours (1959) by Jose Manuel Caballero Bonald

Nuria Rodríguez Lazaro — 2023-04-21

Caballero Bonald alludes directly and indirectly to God and Catholic morality in the 1950s and 1960s. Our poet will focus on the concept of sin and guilt that Catholicism associated for years with the notion of carnal pleasure. That is one of the demons that, along with the inexorable passage of time, torments the poetic self in Las horas muertas. The text guides towards the search for an attitude to face those fears, promoting a vital dynamic.