Papers by Ernesto Suárez Toste
Memoria ID11-070. Ayudas de la Universidad de Salamanca para la innovacion docente, curso 2011-2012.
Memoria ID12-0020. Ayudas de la Universidad de Salamanca para la innovacion docente, curso 2012-2... more Memoria ID12-0020. Ayudas de la Universidad de Salamanca para la innovacion docente, curso 2012-2013.
All rights reserved, including those of translation into foreign languages. No part of this book ... more All rights reserved, including those of translation into foreign languages. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.
STUDIES IN THE HUMANITIES-INDIANA-, 1996
Researching and applying metaphor in the real world. Amsterdam & Philadelphia: John Benjamins, Oct 13, 2010
This chapter is concerned with the figurative language used by wine experts in the genre of the T... more This chapter is concerned with the figurative language used by wine experts in the genre of the Tasting Note. Our main objectives are to draw attention to the complexities found in the figurative language used in this genre, and discuss some of the methodological issues researchers need to overcome when dealing with specific discourses, and in particular questions concerning the identification, classification and interpretation of figurative data in textual contexts. The analysis is done on a corpus of 12,000 tasting notes drawn from ...
MOSAIC-WINNIPEG-, 2000
ERNESTO SU[acute{A}]REZ-TOSTE An approach to surrealist painting from the point of view of its fo... more ERNESTO SU[acute{A}]REZ-TOSTE An approach to surrealist painting from the point of view of its formal heterogeneity suggests that Elizabeth Bishop's affinities with surrealism can be related to the non-automatic branch. Bishop and Ren[acute{e}] Magritte followed an almost identical poetics of defamiliarization, which likely derived from the common influence of Giorgio de Chirico. Maurice Nadeau's rather romantic statement that "the surrealist behavior is eternal" (4), still leaves the question of membership in post-surrealism unanswered. In order to apply the post-surrealist label to contemporary authors, we need a set of criteria, perhaps just as arbitrary as those Andr[acute{e}] Breton used to grant and withdraw membership in the surrealist group. The resort to style is no easy solution, for what does style stand for in relation to (post-)surrealism? Featuring narrative Magritte side by side with abstract Mir[acute{o}], surrealist style rises as a bicephalous monster, and no art historian has entered its cavern and returned to tell. In her excellent assessment of previous attempts at definition, Rosalind Krauss studies both Breton's original and William Rubin's revision, showing how both produce additive--rather than synthetic--definitions, and so fail to integrate the two poles into a coherent and univocal poetics (91-94). Where both succeed is in agreeing on the twofoldness of sur realism, mapping this heterogeneity with relative precision. While Breton's initial proposal called the opposite poles dreams and automatism, Rubin labeled them academic-illusionist (for Magritte) and automatist-abstract (for Mir[acute{6}]). A different matter is, of course, how to reconcile the poles under the same label. For Rubin, what both share is the "irrationally conceived metaphoric image" (36), while Breton defends visuality, that is, the immediacy of visual perception (26-30). Publications about Elizabeth Bishop often mention coincidences between her early poetry, particularly her first book, North & South (1946), and surrealism, especially on account of their most evident common features. These features include the interest in dream experience, the world of children and primitive art. At the same time, Richard Mullen's groundbreaking essay notes Bishop's rejection of "the shapeless poetics accompanying the derangement of consciousness" practiced by Andr[acute{e}] Breton (64); and Thomas J. Travisano accurately establishes Bishop's detachment from orthodox surrealism, since she had "no interest in psychic automatism" (Development 42). Within the past decade, Bonnie Costello emphasizes the important influence on Bishop of surrealist painting (26-27), and Lynn Keller observes that while this influence marks a difference with Marianne Moore, it is also true that the latter had long admired Giorgio de Chirico and Max Ernst (114). Particular attention has been given by Barbara Page to Bishop's use of dream material as related to surrealism. There is still, however, a certain reticence to explore Bishop's surrealist affinity in depth. Some critics have eluded the term "surrealism" with more or less success, providing alternative analyses of Bishop's early poetry. Vernon Shetley's ranks as the most solid among these alternative critical views. In my opinion, the impact of surrealism on Bishop's work is still underrated, perhaps because critics see the term "surrealism" as loaded with the same negative connotations that Bishop herself perceived when she rejected the label in 1946: "Although many years ago I once admired one of Ernst's albums [. . .] since I have disliked all of his paintings intensely and am not a surrealist, I think it would be misleading to mention my name in connection with his" (One Art 135). It is my intention in this essay to integrate Bishop's pre-War poetry into the academic-illusionist-oneiric surrealist branch, as an alternative to the automatic section, which seems to have become its reductionist identification for the general public. …
... Willy Loman in Potterville: Arthur Miller in the light of WWII patriotic optimism. Autores: E... more ... Willy Loman in Potterville: Arthur Miller in the light of WWII patriotic optimism. Autores: ErnestoSuárez Toste; Localización: Actas del XXVII Congreso Internacional de AEDEAN = Proceedings of the 27th International AEDEAN Conference / coord. ...
A pesar del rechazo publico del surrealismo por parte de la propia Bishop, existe una fuerte afin... more A pesar del rechazo publico del surrealismo por parte de la propia Bishop, existe una fuerte afinidad entre su poesia y la rama no-automatica del surrealismo. La evidencia textual obtenida de sus poemas, cuadernos y cartas establece una base solida para la comparacion, a lo que debemos anadir su conocimiento exhaustivo del surrealismo a traves de sus amplias lecturas y asistencia a museos. El acercamiento aprogramatico de Bishop al surrealismo le permitio desarrollar selectivamente los aspectos que compartia con el movimiento y rechazar otros, sin abrazar la causa como una tirania estetica constrictiva de libertad autoimpuesta. Una vez establecida una base comun en las artes plasticas he procedido a estudiar las influencias especificas admitidas por Bishop en su poesia, principalmente la pintura metafisica de Chirico y el frottage de Max Ernst. La combinacion que hace Bishop de Ernst y de Chirico obedece a una decision artistica muy deliberada que revela una influencia surrealista m...
Elizabeth Bishop’s Collected Prose, while not properly a short-story cycle, is given enviable int... more Elizabeth Bishop’s Collected Prose, while not properly a short-story cycle, is given enviable internal coherence by the autobiographical character of most pieces. Divided rather arbitrarily between ‘Memory: People and Places’ and ‘Stories’ —as though the reader would appreciate such distinction between “Primer Class” and “Memories of Uncle Neddy”— these pieces stand in their apparent simplicity as another enigma for readers and scholars. Bishop’s criteria for inclusion in either group are far from clear. Whereas “The Sea and Its Shore” or “In Prison” are clearly fables of introspection displaying Bishop’s highly idiosyncratic fantasy —and hence appropriately grouped under ‘Stories’— there is a clear autobiographical connection between some ‘memories’ (notably “Primer Class” and “The Country Mouse”) and other ‘stories’ such as “In the Village” or “Gwendolyn”. In this paper I explore some characteristics shared by the pieces in each group, and propose reasons for Bishop’s grouping the...
espanolSi bien suele asociarse a la poesia de Elizabeth Bishop con el surrealismo, es este un asp... more espanolSi bien suele asociarse a la poesia de Elizabeth Bishop con el surrealismo, es este un aspecto de su obra que continua sin recibir la atencion adecuada. Analizando su uso de personajes infantiles en los poemas nos encontramos una serie de importantes paralelismos con el arte del surrealista norteamericano Joseph Cornell, cuyas cajas reproducen —con tanta exactitud como inquietante belleza— la sensacion que experimentamos ante representaciones de la muerte en contacto con el mundo de la infancia. En ambos autores la fragilidad de la vida humana recibe un tratamiento similar, que parece tener origen en la iconografia pictorica del siglo diecisiete, una de las influencias reconocidas por Bishop. EnglishAlthough Elizabeth Bishop’s poetry is often associated with surrealism, this aspect of her work has not received enough attention. An analysis of the use of child perspective in her poems shows remarkable similarities with the work of the American surrealist artist Joseph Cornell,...
Información del artículo Dream logic and multiple metamorphoses in Elizabeth Bishop's early ... more Información del artículo Dream logic and multiple metamorphoses in Elizabeth Bishop's early poetry.
Because there is no single lexicon with the expressive potential to cover all the range of sen-so... more Because there is no single lexicon with the expressive potential to cover all the range of sen-sorial impressions, the intellectualization of sensory experience is inextricably linked to the figurative uses of language. When technical discourse is under scrutiny the inherent subjec-tivity of sensory experience represents innumerable difficulties. Anthropomorphic metaphors help conceptualize wines as something more concrete and manageable than a mystical beverage with impossibly picturesque jargon. Winespeak relies on different kinds of metaphor, which can be classified according to the experiential domains the lexis is sourced from. In the case of Sherry the predominance of anatomical schemas seems to be even higher than with other wines. Da der zur Verfügung stehende Wortschatz nicht die gesamte Bandbreite der sensorischen Eindrücke abdeckt, ist die Versprachlichung der sensorischen Erfahrung unausweichlich mit der Verwendung bildlicher Ausdrücke verbunden. Die inhärente Subjektivi...
Información del artículo Real and Remembered Landscapes in Elizabeth Bishop's Ekphrasatic Po... more Información del artículo Real and Remembered Landscapes in Elizabeth Bishop's Ekphrasatic Poetry.
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Papers by Ernesto Suárez Toste