Los giros del caleidoscopio. Dos versiones lezamianas de la escritura sobre artes plásticas
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Tesis de Máster del año 2015 en eltema Romanística - Idiomas de América Latina, literatura, cultura general, Nota: approval (highest grade), Universidade de São Paulo;Faculdade de Filosofia, Idioma: Español, Resumen: The writings about art criticism from the poet, narrator an essayist José Lezama Lima provides a triple perspective. Observes -in the essays collected in "La visualidad infinita" as well as in the articles of the journal Orígenes- the dialogue between the international artistic movements and an avant-garde Cuban painting, reflects on elements pertaining to plastic works an...
Tesis de Máster del año 2015 en eltema Romanística - Idiomas de América Latina, literatura, cultura general, Nota: approval (highest grade), Universidade de São Paulo;Faculdade de Filosofia, Idioma: Español, Resumen: The writings about art criticism from the poet, narrator an essayist José Lezama Lima provides a triple perspective. Observes -in the essays collected in "La visualidad infinita" as well as in the articles of the journal Orígenes- the dialogue between the international artistic movements and an avant-garde Cuban painting, reflects on elements pertaining to plastic works and weaves a continuous counterpoint between poetry and painting.
This encounter of the two artistic endeavors, where image plays a fundamental role, unfolding in the pair imago visible-pictorial and imago invisible-poetic, is the axis from which one can understand the Lezama s critical proposals about the history of both aesthetic manifestations, the painter René Portocarrero and the methods and techniques of the pictorial composition. If art criticism is part of a lezamian poetic, an analysis regarding the character of this continuity constitutes the center of this research.
Our objective is to analyze the historic perception in these two arts, the continuation between the elements of the poetic system and the approaches about painting in the two extensive essays "Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX" and "Homenaje a René Portocarrero". As it pertains to a study that begins in literature and moves to visual arts, we have interest in the mode (or procedures) in which from this writer's discourse, the pictorial text, plastic work is assumed.
In this way, we make an incursion into the disciplines posed, like ekphrasis or in the historic development of the horatian sentence "Ut pictura poesis", a reflection that demonstrates equally the antiquity of the tie between both disciplines as well as its topicality, since in the past two decades we haveseen the proliferation of studies dedicated to this bond not only in the English speaking world, but also in some areas of the literary criticism in Spanish language.
This encounter of the two artistic endeavors, where image plays a fundamental role, unfolding in the pair imago visible-pictorial and imago invisible-poetic, is the axis from which one can understand the Lezama s critical proposals about the history of both aesthetic manifestations, the painter René Portocarrero and the methods and techniques of the pictorial composition. If art criticism is part of a lezamian poetic, an analysis regarding the character of this continuity constitutes the center of this research.
Our objective is to analyze the historic perception in these two arts, the continuation between the elements of the poetic system and the approaches about painting in the two extensive essays "Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX" and "Homenaje a René Portocarrero". As it pertains to a study that begins in literature and moves to visual arts, we have interest in the mode (or procedures) in which from this writer's discourse, the pictorial text, plastic work is assumed.
In this way, we make an incursion into the disciplines posed, like ekphrasis or in the historic development of the horatian sentence "Ut pictura poesis", a reflection that demonstrates equally the antiquity of the tie between both disciplines as well as its topicality, since in the past two decades we haveseen the proliferation of studies dedicated to this bond not only in the English speaking world, but also in some areas of the literary criticism in Spanish language.
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