DC pole | Wartość | Język |
dc.contributor.author | Kobiela-Kwaśniewska, Marta | - |
dc.date.accessioned | 2018-02-26T11:04:21Z | - |
dc.date.available | 2018-02-26T11:04:21Z | - |
dc.date.issued | 2008 | - |
dc.identifier.citation | Romanica Silesiana, No. 3 (2008), s. 82-94 | pl_PL |
dc.identifier.issn | 1898-2433 | - |
dc.identifier.uri | http://hdl.handle.net/20.500.12128/746 | - |
dc.description.abstract | The present article focuses on the visual poetry o f the Mexican poet José Juan Tablada
who is one of the most important precursors of the avant-garde in the twentieth century.
As numerous critics have remarked, José Juan Tablada made several major contributions
to modern poetry in Mexico. Although Tablada is generally credited with having introduced
Latin American poets to the Japanese haiku, he was also responsible for encouraging them
to experiment with visual poetry. As a result of a visit to Japan in 1900, José Juan Tablada
became interested in haiku tradition and in Japanese ideograms which inspirited him to create
his own poetry in the style of oriental work but adopted to the Latin American perspective
of his imagination and to the rules of the Spanish language. It appears that Tablada's
attention was focused mainly on the experiments of the modern French Imagist poets and
was influenced by Apollinaire's Calligrammes, a problem that we partially intend to explain
in the present article spotlighting some occurrences, but finally we conclude that both poets
must have been inspired by the previous form of visual poetry, known to the ancient Greeks
as technopaigneia and to the Romans as carmina figurata, or by the pre-Hispanic ideographic
forms; in this subject we consider a long list of possible inspirations. The principal idea o f this
paper is to analyse the visual poetry of Tablada from the perspective of its interdisciplinary
character, where images and words situate his poems in a spatial configuration. Therefore
we have concentrated our attention on two books of poems published in Caracas, the first
one entitled Un día... Poemas sintéticos edited in 1919, and the second one, Li-Po y otros poemas,
published in 1920, as an example of the so called visual poetry or ideographic poems,
a denomination more appropriate for the second collection. To sum up, Tablada was an innovator,
though he did borrow ideas like most writers do. His haikus are original, accompanied
with his self-made drawings, and have a distinct Mexican flavor containing local references
to flora, fauna o Mexican culture — characteristics that we underline in this paper while
also providing a general overview of some theoretical aspects related to Literature and Art. | pl_PL |
dc.language.iso | es | pl_PL |
dc.rights | Uznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0/pl/ | * |
dc.subject | Visual poetry | pl_PL |
dc.subject | Ideographic poems | pl_PL |
dc.subject | Haiku | pl_PL |
dc.subject | José Juan Tablada | pl_PL |
dc.subject | Mexican poetry | pl_PL |
dc.title | Poesia visual de Jose Juan Tablada | pl_PL |
dc.type | info:eu-repo/semantics/article | pl_PL |
dc.relation.journal | Romanica Silesiana | pl_PL |
Pojawia się w kolekcji: | Artykuły (W.Hum.)
|