by Jeremiah Marquine
No mystery, life is not worth living. No mystery, no poetry. Jorge Luis Borges wrote that "all poetry is mysterious, no one knows quite what has been given to write. The sad mythology of our time talking about the subconscious, or, what is even more beautiful, the subconscious, the Greeks invoked the muse, the Jews to the Holy Spirit, the meaning is the same. "The fate of human language is uncertain. Man is a creature wandering, their disobedience led to the time which is now subject. What it means to dare to hope of redemption, of freedom from time and abolish it? The same has been taken from ancient times, poetry, God's eyes.
From the death of Ramón López Velarde to date, have spent 87 years and not much literarily speaking. During this time the Mexicans have not changed much the way we feel and perceive the meaning. Our problem is still the feelings or sentimentality. In essence, being Mexican is romantic and sensual. And do not do much to verify this assertion, one only has to go to repertoire we grew up and where we have extracted more than a sensory experience and if you like corny. In the halls of our memory is always hears the echo of the romantic music of the trio of crooners who sing lyrics of spite, rancor loved, pure romance. Otherwise, how explain the success of the dramas that make surprise mourn and popular sensibilities?. How to explain the success of sensitive literature in Mexico? How to explain the success of Jaime Sabines, whose romantic and sensual poetry poetry popular than other poets, say, "better" than the Chiapas?.
Mexicans are
romantic even when we do not want to be romantic. Our problem and the problem of Mexican poetry are the feelings and way of expressing them. The Mexican study finds Lucy Reidl, director of the School of Psychology, UNAM, suffer more intense symptoms of disease in two romantic: jealousy and envy. The first caused by the presence of a rival that threatens the relationship, and envy the fact that compared to others and "perceive themselves as inferior, because others have a number of things we want and we can not have" . These emotions, determined by the sociocultural environment is the cause of 30% of passion killings in Mexico. But these emotions and their derivatives are the source of many songs and lots of literature. Poetry is all that we talk about ourselves.
Poetry, as the Romantics believed eighteenth and nineteenth century, remains, even today despite all the trappings of so much postmodern-assimilable, merciless rough, strident imagery and displacement-the hope of a return to primitive harmony. A kind of salvation to the horror ontological philosophers. A mystery in itself. The sentiments expressed in these works are those of the creators who expose their dissatisfaction with the world, their anxiety infinity, their pursuit of all, his passionate love, his craving for freedom, their moods, their personal mythologies.
What else is poetry hundred fifty years after? In short: aspiration into the vastness and escape to somewhere yet unknown; flight out of bounds ... This is what the novel by Karl Philip Moritz Anton Rieser character called "the sufferings of the imagination" to escape a hostile world, the poet decides to replace the reality of a personal universe, or in many cases, parallel, but necessarily full of mystery. Romanticism.
In essence, what is the poetry? If not a bunch of feelings (referred to here as poetic units constituting neutral value): impotence, neglect, loneliness, nostalgia, grief, fear, resentment, sleaze, death, misery, anguish, love, lost love, time, joy. Feelings that are, say, computer language, support the stem base of poetry, but to suit the formal scaling, ie variations (or if you want updates) that occur from age to age and reloaded or updated according to the historical-cultural values \u200b\u200band aesthetic perception of these units through new reconnections with other more significant lines active and current. What these lines can be more active significance? Different styles or current that is inserted in the literary work. This insertion leads to a positive or negative to neutral units but whose intrinsic value (ie, whether it is nostalgia, nostalgia will remain well be imagined, constructivist or barroquialista), is not affected at all by changes detail determined by the context or different circumstances. although these approaches make the illusion of a particular style say.
If we risk, then the above approach we are able to say that poetry-if we do this, as a universe whose components neutral value (feelings) unchanging and interchangeable, are basically the constituent unit of the poem, to create a new sub-transmutability remains: variability in connection, through which it seeks to create one or more other realities.
already know that the feelings in the literature itself does not create feelings of poetry. These sensations are created because of the skill, talent and intuitive tuning exists in the poet to connect different categories sensitive. Also depends on more or less vicissitudes of aesthetic experience and the realization of these in a different object. Lyric poetry is a specialty sensory experience and feelings are subject to constitute the aesthetic experience.
Why says that feelings in poetry is a unit of value neutral? Because in its primordial state are similar to a monody, a melody itself, which only reaches higher registers (amplification aesthetics) as associative complexity grows, its sensitive accompaniments, allowing new discourses and new realities.
The
transromanticismo
Mexican Modern poetry begins with Ramon Lopez Velarde. "In Ramon Lopez Velarde gain a sense all Mexican poetic endeavors, the originality is difficult to see by his indecision, "wrote Jorge Cuesta. Or perhaps because of his conservatism. Velarde
transforms the components of romance, reconnection subtle images opposition and adjust the way they perceive the existing symbols. Intentionally and systematically violates the institution poetic force and the same grammatical rule of his time, alters the poetic combination axes given by similarities and dissimilarities and associations of images created by contiguity or attempted misuse of the lines of significance. (Helena Beristain, analysis and interpretation of the lyric poem, pp.30. UNAM 1989.
However, despite all this lucid artifice His work still smelling of romanticism underlies the prodigious verbal structure mournful sentimentality, sadness and deep depression, the erotic sensuality and angst. Although baudelariano and everything, Velarde's work is pure romanticism. However, romance is a metamorphosed, off-kilter, unbalanced by means of which creates a higher form of romanticism, transromanticismo and a new way of perceiving the world: the neosensualismo. Categories that will influence the Mexican poetry of the next fifty years.
The romanticism transromanticismo exceeds their ability to hide the meaning and the inclusion of the convergence between the textual and vital, and their integration in a significantly broader horizon. Is a script that refers to itself in self-reflection, and becomes the protagonist of the text, which leads to a metapoetic absorption, which is the particular quality of twentieth century literature, in which "absorbs writing (...) the whole literary identity. " Roland Barthes. Xavier Rubert de Ventos, agrees with this statement, because it sees modern art as the effort to dominate the "recall" about the "significance", to the extent of revealing the nature of artifice or fiction. The
transromanticismo poetry is a category of convergence looking for the intersection of time and the relationship of the neutral values \u200b\u200bof Romanticism sensitive units in other categories. We can say that is a constant masking units aesthetic poetic romance neutral because only then is it possible to conectibilidad with more uncertainty and implementation of a literary work.
is a constant because it leads by itself or in combination with other literary records, the formation of new relationships of meaning artistically inert factor, for our time, the romance. We can say that is a variation in the constant emotional connection poetic neutral units.
When you mention here the category concept to refer to transromanticismo, the aim is to capture, with an emphasis on the concept of relationship, an arrow, rather than element and belonging, the intuibilidad a kind of poetic value units neutral, which are related by morphisms in the category. "It is in terms of sequence of probabilities that the structure of poetry can be described and interpreted with the utmost rigor." (Roman Jakobson. Closing Statements: Linguistics and Poetics).
transromanticismo When we say that we are saying is a category which is a structure which fits intuited the ability to make connections between domain and codomain relations poetically neutral units, as is usually done to create booster and sensitive from constant emotional romanticism, allowing new discourses and new realities. Conservatism
poetry does not begin nor never returns to the starting point: a new beginning and a continuing perpetual return. Transmutability remains. Mexican poetry has always been romantic, baroque and conservative, the latter perhaps his contribution to poetry movements outside the country, is negligible if not nonexistent. Mexican poetry is a poetry romantic, sensual, conservative and consumption.
Justo Sierra many years ago said a truth, so far always a virgin, as are the great truths. In the prologue to the poetry of Manuel Gutiérrez Nájera, wrote: "It is true, first, that all our literature since 1830 is romantic poetry romantic [...] and we've been a long time despite the transformations undergone schools our teachers overseas. We have not managed to write poetry never purely objective, in each of our lines we emptied all our feelings, our whole personality, we have not done more than subjective poetry. Later have been some heroic attempts, we could say given our temperament, to leave the house and impersonating cause emotion, to make, in short, a little realism indifferent verse. " From the time
Justo Sierra wrote this text, 1896, to date, little things have changed: Mexican poetry remains of them are fundamentally romantic (Sabines, Homero Aridjes, Huerta, Dolores Castro, Enriqueta Ochoa), continues to produce splendid specimens psychopathological poetry, as he called it Sierra. Are few examples of the so-called poetry of reason or speculation, and when they arise "lyricism sprinkled gold that butterfly wings black." Think endless José Death Gorostiza, or a god Canto ore Jorge Cuesta.
modern Mexican poetry, if we pay attention to Octavio Paz, begins from the Romantics. "The company was excessive, he says, because from the word itself, when it comes to romance, we are expressing an attitude toward life in which the self is very important and at the same time breaks with tradition, with the aesthetics of the past , artists of the baroque or classical artists of the Renaissance. " For Paz Mexican poetry, or at least that's what it says, "is a poetry of rupture tradition and explains:" We believe that we must break with tradition, start something absolutely again. This sequence of ruptures and revolutions begins and ends with the Romantics in our century, "refers to the twentieth century and himself.
is great wisdom of Octavio Paz and his assertion seems strong but not to agree. Mexican poetry has been more than a broken romantic tradition and conservative, so that to date in Mexico has not produced any movement leading to rupture and that has affected or influenced other poetry or other literature, or continental Europe. The best that we have is to administer the estate transromántica started with Ramon Lopez Velarde, which added some ingredients unlike almost all loans or adaptations of poetic more vibrant. And Jorge Cuesta said so years before noting that what has been called Mexican poetry "are not only good applications of foreign literature." Moreover, he says, "it is not surprising that no Mexican of Mexican literature is impossible to find the slightest originality." Of course, when making this statement must take into account the context but did it the opposite is true today?
Mexican poetry is romantic condition rather than by tradition. In our poetry are still present and very recurrence units neutral value poetic romance and continue to determine by itself or in conjunction with other categories of the meaning and emotional value of Mexican poetry. The constant emotional
our lyrical poetry, its key features are: conservative, mournful, melancholy, evocative, dark and sensual. In short, a poetry of the emotions, however, its occurrence, strives in vain to get rid of her but romantic, off center.
This will transpose the latent romance-essential portion of the being of Mexican-produced, during the first half of the twentieth century a variety of romance, say, more elaborate more opalescent and more clever, in short, more modern. Transromántico romanticism that lyric poetry is revealed as a deed of impersonation, the structural decentrality, hyperbolic, Inter and trans-textual but closed in on itself, and ultimately barroquialista rhetoric.
ultra chic Sensism
The ultrachic is intoxicating sensuality artifice to show, and creating unique, responding to a society in which cultural values \u200b\u200bare primordial pleasure and individual freedom. Poetically
institutionalized eclecticism as method and shows the face of a theatrical and aesthetic creation is pleased to play with the ephemeral, the shine without complex things ecstatic empty, the image itself invented and renewed taste.
ultrachic Sensualism corresponds to a society where the complexity and minimized, the artificial playing primitivism, the study should not seem far-fetched, so neat has given way to ragged pauperism. Not meant to be, but to seduce, to appear. Confirms the extreme importance of the image, and plays to the provocation, the excess and eccentricity to dislike, surprise or shock. Poetry sensuality
ultrachic develops its themes in a frivolous, nominalist minialista, reductionist, nadista away from any suffering. Celebrate pleasures, nothing in the ecstasy of erotic imagery and the sensitive appearance of objects. Uses as a background to the nature, ecology, landscapes of the absurd. Eclectic legitimate return to the world of Gothic, Renaissance and Baroque-Rococo.
Sensualism retro ultrachic is the reformulation of the sensationalist doctrine advanced by the empiricist philosophers eighteenth-century phenomenon, through which states that all ideas respond to any impression received by our senses. This speculation results in the literature, at the beginning of a trend that puts intuitionist in the center of the search for equivalences sensitive poetic things. The thing is not a "Thing" is only a phenomenon, an event that engage the senses, a pure appearance. I remember the poem
Celebration things Julio Trujillo (Mexico City 1969). Perfectly illustrates what we have just discussed:
Arranged on the table things are flying, / the table with things flying. / In a second splendid / fills the back of eager emblems / eye looking figures / and stop [...] Everything is so manifest eyes, / and everything else disappears.
opens with the sensual language of the evidence that only shows nominated impalpable that is imprinted in the memory forever. It is refined sensual enarbolación objects. Represents the "pleasures of metamorphosis in the spiral of whimsical personality, the games of the superdiferenciación Baroque individualistic and self artificialist spectacle offered to the gaze of the Other." (Gilles Lipovetsky, The Empire of Ephemeral)
Mexican lyric poetry of the last promotion is no stranger to this condition of the language of the evidence. By studying the writing of the poets of the past 15 years can be found without difficulty the characteristics of sensuality ultrachic described above. Literature is dominated nominalism abroad, eroticism exasperated, the nadismo, humor, the suffering of others, but prone to violence free. It is rhetorical poetry, beauty and brightness fictitious false or misleading. A real sign of the times we live in where the important thing is to shine, not shiny, and like a lot, rather than being.
clothing is a literature of fluid as the creations of Valentino, transrománticos making lace skies that glow in the heterogeneous linguistic patterns and designs that celebrate the annoyance of the overabundance of objects; overabundance of useless. Glamour pure poetic language intransitorio spent on media. Elegant frivolity that world language reminiscent of the rococo.
is impossible given the short length, addressing step by step checking each of the proposals set forth herein because they correspond to a longer piece of reflection amplitude and still in process. However, at the conclusion of these notes we can infer that transromántica Mexican poetry is in their ceaseless weaving and explores how poetic styles. Remember what I said Cuesta, the "Mexican poetry (which is romantic origin) was not only good applications of foreign literature."
Mexican poetry is transromántica stream from outside the stridency of Maples Arce, futuristic concepts, Nouveau Baroque colloquial minialista, sensualist ultrachic, anyway. In each of these styles our poets have emptied all his feelings, his whole personality, all that sensuality, all that bipolarity that characterized the Mexican. In Mexico there has been more than transrománticismo with warmth and color gradations.
