Unless otherwise noted, translations are mine. In chapter 1, on Luis Muñoz, many of the translati... more Unless otherwise noted, translations are mine. In chapter 1, on Luis Muñoz, many of the translations are from this poet's collection From behind What Landscape: New and Selected Poems, trans. Curtis Bauer (Madrid: Vaso Roto Ediciones, 2015). In chapter 2, on Abraham Gragera, the majority of the translations are by Juan de Dios León Gómez. In chapter 3, on Josep M. Rodríguez, the English translations by Ben Clark, Monika Izabela Jaworska, and Ester Boldú first appeared in Radar. Antología bilingüe (Lucena: El Orden del Mundo, 2017). In chapter 4, on Ada Salas, the English translations are mine. In presenting the poetry in Spanish in this book and in English translation I have attempted to reproduce the original spacing of the poetic lines given the limitations of production.
In 198S Francisco Brines published Poemas excluidos [Excluded Poems]. In this work he included, i... more In 198S Francisco Brines published Poemas excluidos [Excluded Poems]. In this work he included, ironically and paradoxically (considering the title), various poems that had been excluded from his previously published collections of poetry. This essay investigates the critical activity of reconstructing the text within the included-excluded intertextual context of Brines\u27 poetic production. In particular, as will be shown, Poemas excluidos demonstrates the play of texts and play of meaning that constitute the complex object the literary critic seeks to describe. One aspect of the play of texts evident in this work is that the poem is a symbiont not only of other poems of the collection but also of earlier and later poems of Brines\u27 other collections. From this symbiosis arises the interplay of texts and the indeterminacy of meaning of Poemas excluidos. Textual reconstruction yields yet another important result. As critics attempt to untangle the tangle of texts, they become mor...
espanolLa vitalidad de la poesia publicada recientemente en Espana y mas concretamentedurante la ... more espanolLa vitalidad de la poesia publicada recientemente en Espana y mas concretamentedurante la decada de 2005-2015 es palpable. Dos voces poeticasdistintas en particular han realizado importantes contribucionespara estimular el avance de la lirica hacia territorios antes inexploradosen la Espana del presente. Este articulo estudia uno de los temas masrecurrentes en las obras significativas de dicho periodo: la poetica dela epifania. Dos poetas en particular han desarrollado admirablementeesta perspectiva, que subyace en Adios a la epoca de los grandes caracteres(Pre-Textos 2005) y El tiempo menos solo (Pre-Textos 2012), dos poemariosnotables de Abraham Gragera; asi como en Raiz (Visor 2008), Arquitecturayo (Visor 2012) y Ecosistema Anologia poetica (Pre-Textos 2015),tres colecciones deslumbrantes de Josep M. Rodriguez. Dichos libros,los poemas representativos, y los poetas que este articulo analiza sonextremadamente singulares, y no existe intencion aqui de compararleso contrastar...
... I wish to acknowledge the students who participated in this dialogue: JT Abraham, Claudia Abu... more ... I wish to acknowledge the students who participated in this dialogue: JT Abraham, Claudia Aburto-Guzmán, Joe Deters, John Dupuis, Dolores Durán-Cerda, Susan Fansler, Alicia Garza, Alfonso ... His generosity and love know no bounds, and for both I am forever thankful. ...
Anales De La Literatura Espanola Contemporanea Alec, 2003
After forty years of ontological inquiry, Francisco Brines has arrived at La ?ltima costa.1 The f... more After forty years of ontological inquiry, Francisco Brines has arrived at La ?ltima costa.1 The focus of this collection is not on death, as the title first seems to indicate. Rather, this work signals this poet's newfound activity of living life fully. Years of persistent self-interrogation, which began in Las brasas (1960), have lead Brines to the most important discov ery of his life and his life's work. In La ?ltima costa (1995) the poet, along with his two constant companions, his alter ego and his reader, answers with certainty and conviction the fundamental question that we now know, in retrospect, has formed the unifying theme of all of his poetry to date: "?Y qui?n es el que soy?" (1. 18 "Reflexi?n sobre un incidente" PC 507). His response is both straightforward and instructi ve: "s?lo que en m? yo vivo" (1. 16 "Los espacios de la infan cia" PC 480). Brines now finally knows and is able to articu late the significant role every human being has in forging personal existence. My study will focus on essential existence in La ?ltima costa as poet and reader alike learn how to be as we make ourselves what we are.
Anales De La Literatura Espanola Contemporanea Lincoln Neb, 1983
Etude des themes, de la composition de ce poeme d'Alberti consacree a la revolution bolcheviq... more Etude des themes, de la composition de ce poeme d'Alberti consacree a la revolution bolchevique. L'A. montre que l'adaptation poetique des techniques cinematographiques de S. Eisenstein utilisees par Alberti conduit le lecteur a ressentir le dynamisme, le processus dialectique et le pathos de la revolution.
Studies in 20th & 21st Century Literature, 1989
In 198S Francisco Brines published Poemas excluidos [Excluded Poems]. In this work he included, i... more In 198S Francisco Brines published Poemas excluidos [Excluded Poems]. In this work he included, ironically and paradoxically (considering the title), various poems that had been excluded from his previously published collections of poetry. This essay investigates the critical activity of reconstructing the text within the includedexcluded intertextual context of Brines' poetic production. In particular, as will be shown, Poemas excluidos demonstrates the play of texts and play of meaning that constitute the complex object the literary critic seeks to describe. One aspect of the play of texts evident in this work is that the poem is a symbiont not only of other poems of the collection but also of earlier and later poems of Brines' other collections. From this symbiosis arises the interplay of texts and the indeterminacy of meaning of Poemas excluidos. Textual reconstruction yields yet another important result. As critics attempt to untangle the tangle of texts, they become more and more caught up in the snarl of texts, and the play of meaning of the object scrutinized. Critical commentary, then, itself becomes yet one more thread in the intricate intertextual web of Poemas excluidos.
Studies in 20th & 21st Century Literature, 2012
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 ... more This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License.
Anales de la literatura española contemporánea, 1997
... Wilcox's "Ana Rossetti y sus cuatro musas po?ticas" (1990); and Sh... more ... Wilcox's "Ana Rossetti y sus cuatro musas po?ticas" (1990); and Sharon Ugalde'8 "Eroticismo y revisionismo en la poes?a de Ana Rossetti" (1989-90). Uglade's 1988 interview with the poet, recorded in "Conversaciones con Ana ...
Anales de la literatura española contemporánea, 1981
... As Carlos Alberto P?rez indicates in his article ?Rafael Alberti: Sobre los tontos,? Parte de... more ... As Carlos Alberto P?rez indicates in his article ?Rafael Alberti: Sobre los tontos,? Parte de estos poemas (those of 'Yo era una tonto...') fueron ... (1.39) also aurally link ?Buster Keaton busca...? to the sound poems of Hugo Ball, Tristan Tzara, Hans Arp and Kurt Schwitters. ...
Drawing on the poetry of four major voices in the Spanish lyric of today, Judith Nantell explores... more Drawing on the poetry of four major voices in the Spanish lyric of today, Judith Nantell explores the epistemic works of Luis Muñoz, Abraham Gragera, Josep M. Rodríguez, and Ada Salas, arguing that, for them, the poem is the fundamental means of exploring the nature of both knowledge and poetry. In this first interpretive analysis of the epistemic nature of their poetry, Nantell innovatively engages these poets, each of whom has contributed one of their own poems along with a previously unpublished explication of their chosen poem. Each also provides an original biographical sketch to support Nantell’s development of a poetics of epiphany. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.https://digitalcommons.bucknell.edu/bucknell-press/1001/thumbnail.jp
Much of the critical literature written about the poetry of the Generation of 1956 asserts that f... more Much of the critical literature written about the poetry of the Generation of 1956 asserts that for Claudio Rodriguez, José Angel Valente and Francisco Brines, among other members of this group, writing poetry is a means to knowledge. Knowledge, however, exists in tension with its apparent opposite, ignorance. Because the supplement ruptures the tidy arrangement of the knowledge/ignorance polarity, it is no longer possible to focus on either entity in isolation. If knowledge and ignorance continually imply one another, then Valente's famous dictum, "todo poema es un conocimiento haciéndose" ('every poem is knowledge becoming') which has long served as the foundation both of this generation and the critical literature written about this generation, itself is reconstituted in terms of ignorance. In scrutinizing selected poems of these poets, the critic discerns that poetry is not a process of knowing but rather a method for questioning epistemological ground. As this essay demonstrates, both the poetic text and the interpretive text investigate knowledge and ignorance, forever "becoming" their own différance.
Unless otherwise noted, translations are mine. In chapter 1, on Luis Muñoz, many of the translati... more Unless otherwise noted, translations are mine. In chapter 1, on Luis Muñoz, many of the translations are from this poet's collection From behind What Landscape: New and Selected Poems, trans. Curtis Bauer (Madrid: Vaso Roto Ediciones, 2015). In chapter 2, on Abraham Gragera, the majority of the translations are by Juan de Dios León Gómez. In chapter 3, on Josep M. Rodríguez, the English translations by Ben Clark, Monika Izabela Jaworska, and Ester Boldú first appeared in Radar. Antología bilingüe (Lucena: El Orden del Mundo, 2017). In chapter 4, on Ada Salas, the English translations are mine. In presenting the poetry in Spanish in this book and in English translation I have attempted to reproduce the original spacing of the poetic lines given the limitations of production.
In 198S Francisco Brines published Poemas excluidos [Excluded Poems]. In this work he included, i... more In 198S Francisco Brines published Poemas excluidos [Excluded Poems]. In this work he included, ironically and paradoxically (considering the title), various poems that had been excluded from his previously published collections of poetry. This essay investigates the critical activity of reconstructing the text within the included-excluded intertextual context of Brines\u27 poetic production. In particular, as will be shown, Poemas excluidos demonstrates the play of texts and play of meaning that constitute the complex object the literary critic seeks to describe. One aspect of the play of texts evident in this work is that the poem is a symbiont not only of other poems of the collection but also of earlier and later poems of Brines\u27 other collections. From this symbiosis arises the interplay of texts and the indeterminacy of meaning of Poemas excluidos. Textual reconstruction yields yet another important result. As critics attempt to untangle the tangle of texts, they become mor...
espanolLa vitalidad de la poesia publicada recientemente en Espana y mas concretamentedurante la ... more espanolLa vitalidad de la poesia publicada recientemente en Espana y mas concretamentedurante la decada de 2005-2015 es palpable. Dos voces poeticasdistintas en particular han realizado importantes contribucionespara estimular el avance de la lirica hacia territorios antes inexploradosen la Espana del presente. Este articulo estudia uno de los temas masrecurrentes en las obras significativas de dicho periodo: la poetica dela epifania. Dos poetas en particular han desarrollado admirablementeesta perspectiva, que subyace en Adios a la epoca de los grandes caracteres(Pre-Textos 2005) y El tiempo menos solo (Pre-Textos 2012), dos poemariosnotables de Abraham Gragera; asi como en Raiz (Visor 2008), Arquitecturayo (Visor 2012) y Ecosistema Anologia poetica (Pre-Textos 2015),tres colecciones deslumbrantes de Josep M. Rodriguez. Dichos libros,los poemas representativos, y los poetas que este articulo analiza sonextremadamente singulares, y no existe intencion aqui de compararleso contrastar...
... I wish to acknowledge the students who participated in this dialogue: JT Abraham, Claudia Abu... more ... I wish to acknowledge the students who participated in this dialogue: JT Abraham, Claudia Aburto-Guzmán, Joe Deters, John Dupuis, Dolores Durán-Cerda, Susan Fansler, Alicia Garza, Alfonso ... His generosity and love know no bounds, and for both I am forever thankful. ...
Anales De La Literatura Espanola Contemporanea Alec, 2003
After forty years of ontological inquiry, Francisco Brines has arrived at La ?ltima costa.1 The f... more After forty years of ontological inquiry, Francisco Brines has arrived at La ?ltima costa.1 The focus of this collection is not on death, as the title first seems to indicate. Rather, this work signals this poet's newfound activity of living life fully. Years of persistent self-interrogation, which began in Las brasas (1960), have lead Brines to the most important discov ery of his life and his life's work. In La ?ltima costa (1995) the poet, along with his two constant companions, his alter ego and his reader, answers with certainty and conviction the fundamental question that we now know, in retrospect, has formed the unifying theme of all of his poetry to date: "?Y qui?n es el que soy?" (1. 18 "Reflexi?n sobre un incidente" PC 507). His response is both straightforward and instructi ve: "s?lo que en m? yo vivo" (1. 16 "Los espacios de la infan cia" PC 480). Brines now finally knows and is able to articu late the significant role every human being has in forging personal existence. My study will focus on essential existence in La ?ltima costa as poet and reader alike learn how to be as we make ourselves what we are.
Anales De La Literatura Espanola Contemporanea Lincoln Neb, 1983
Etude des themes, de la composition de ce poeme d'Alberti consacree a la revolution bolcheviq... more Etude des themes, de la composition de ce poeme d'Alberti consacree a la revolution bolchevique. L'A. montre que l'adaptation poetique des techniques cinematographiques de S. Eisenstein utilisees par Alberti conduit le lecteur a ressentir le dynamisme, le processus dialectique et le pathos de la revolution.
Studies in 20th & 21st Century Literature, 1989
In 198S Francisco Brines published Poemas excluidos [Excluded Poems]. In this work he included, i... more In 198S Francisco Brines published Poemas excluidos [Excluded Poems]. In this work he included, ironically and paradoxically (considering the title), various poems that had been excluded from his previously published collections of poetry. This essay investigates the critical activity of reconstructing the text within the includedexcluded intertextual context of Brines' poetic production. In particular, as will be shown, Poemas excluidos demonstrates the play of texts and play of meaning that constitute the complex object the literary critic seeks to describe. One aspect of the play of texts evident in this work is that the poem is a symbiont not only of other poems of the collection but also of earlier and later poems of Brines' other collections. From this symbiosis arises the interplay of texts and the indeterminacy of meaning of Poemas excluidos. Textual reconstruction yields yet another important result. As critics attempt to untangle the tangle of texts, they become more and more caught up in the snarl of texts, and the play of meaning of the object scrutinized. Critical commentary, then, itself becomes yet one more thread in the intricate intertextual web of Poemas excluidos.
Studies in 20th & 21st Century Literature, 2012
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 ... more This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License.
Anales de la literatura española contemporánea, 1997
... Wilcox's "Ana Rossetti y sus cuatro musas po?ticas" (1990); and Sh... more ... Wilcox's "Ana Rossetti y sus cuatro musas po?ticas" (1990); and Sharon Ugalde'8 "Eroticismo y revisionismo en la poes?a de Ana Rossetti" (1989-90). Uglade's 1988 interview with the poet, recorded in "Conversaciones con Ana ...
Anales de la literatura española contemporánea, 1981
... As Carlos Alberto P?rez indicates in his article ?Rafael Alberti: Sobre los tontos,? Parte de... more ... As Carlos Alberto P?rez indicates in his article ?Rafael Alberti: Sobre los tontos,? Parte de estos poemas (those of 'Yo era una tonto...') fueron ... (1.39) also aurally link ?Buster Keaton busca...? to the sound poems of Hugo Ball, Tristan Tzara, Hans Arp and Kurt Schwitters. ...
Drawing on the poetry of four major voices in the Spanish lyric of today, Judith Nantell explores... more Drawing on the poetry of four major voices in the Spanish lyric of today, Judith Nantell explores the epistemic works of Luis Muñoz, Abraham Gragera, Josep M. Rodríguez, and Ada Salas, arguing that, for them, the poem is the fundamental means of exploring the nature of both knowledge and poetry. In this first interpretive analysis of the epistemic nature of their poetry, Nantell innovatively engages these poets, each of whom has contributed one of their own poems along with a previously unpublished explication of their chosen poem. Each also provides an original biographical sketch to support Nantell’s development of a poetics of epiphany. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.https://digitalcommons.bucknell.edu/bucknell-press/1001/thumbnail.jp
Much of the critical literature written about the poetry of the Generation of 1956 asserts that f... more Much of the critical literature written about the poetry of the Generation of 1956 asserts that for Claudio Rodriguez, José Angel Valente and Francisco Brines, among other members of this group, writing poetry is a means to knowledge. Knowledge, however, exists in tension with its apparent opposite, ignorance. Because the supplement ruptures the tidy arrangement of the knowledge/ignorance polarity, it is no longer possible to focus on either entity in isolation. If knowledge and ignorance continually imply one another, then Valente's famous dictum, "todo poema es un conocimiento haciéndose" ('every poem is knowledge becoming') which has long served as the foundation both of this generation and the critical literature written about this generation, itself is reconstituted in terms of ignorance. In scrutinizing selected poems of these poets, the critic discerns that poetry is not a process of knowing but rather a method for questioning epistemological ground. As this essay demonstrates, both the poetic text and the interpretive text investigate knowledge and ignorance, forever "becoming" their own différance.
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