Baby Einstein Puppets Names

González Montes on Cesar Vallejo's narrative

In an era where every moment narrators emerge in Latin America - 39 narrators under 39 years are met in Colombia, an unusual setting - and with Critics looking for references and "masters" of all that mass of young narrators, it may be helpful to the book of Antonio González Montes-matter of the note, which revises the narrative works of César Vallejo, perhaps more for those narrators paradigm less than 39 years still live the way with the same ingenuity with which Carlos Eduardo Zavaleta imitated James Joyce in the fifties.

In 1923, César Vallejo Scales published, a book that brings together his narrative. Had previously published The Black Heralds and Trilce. Unlike the latter, Scales not receive the same for criticism. Even the same José Carlos Mariategui, so enthusiastic about his poetry, does not mention this work in his "Process of Peruvian literature ( Seven Interpretative Essays on Peruvian Reality , Lima, Amauta, 1928). This behavior, linked to praise poetry and almost ignore the narrative production vallejiana was maintained during the following decades, except for a note which highlighted the looks fantastic stories, and their inclusion in several anthologies (especially Cera) .

not until the eighties began to generate interest in the narrative vallejiana. We could cite the work of Chilean critic Eduardo Neale-Silva, Trinidad Barrera, Sonia Mattalia and Jeffrey Charles Fisher, among others. In general, these authors examine the accounts of scales from different critical perspectives, and try to discuss relationships narrative with the modernist and avant-garde.

Antonio González Montes, Master in Peruvian and Latin American Literature, longtime professor at the Universidad Nacional Mayor de San Marcos and author of Cesar Vallejo (1969), Structure of the novelistic text (1987), Semiotics (1989) and Peruvian Periocuentos (1977), is attached to this sort of "boom" critical narrative about the publication vallejiana scales toward modernization narrative (Lima, Fondo Editorial San Marcos, 2002) , a book that has its origin in his Master's thesis, which is presented as a careful attempt to discuss the peripherality of César Vallejo's narrative about his poetry, and to establish an intertextual dialogue with all its production.

The strands of the journey that makes González Montes is intertextuality, the metacriticism and text analysis. Regarding the former, we review the intertextuality between the texts of Scales and articles, stories, novels and poetry of César Vallejo. Result of this intertextual dialogue González Montes "reveals some consistent themes specific to the ideological and aesthetic design the writer "(p. 47). In this line of thought González Montes is thematic links between Scales and The Black Heralds, positing the thesis that there is "a very existential and aesthetic design" (p. 34) between them. One example is the story sill, which belongs to the section Cuneiform, and the poem Give us where recreate agree "breakfast scenes in which the subject evocative distilled nostalgia" (p. 34 .) Also found homologies between Scales and Trilce . According to González Montes, for example, "the theme of justice has a significant presence in the two sections of Scales and Cuneiform is the axis of at least three texts: Northwest Wall , Wall The Wall and Dobleancho . In Choir winds, the story Liberation subscribes to the Vallejo constant concern for what's right or wrong. In Trilce can trace the manifestation of that in texts XVIII, XXII, L and LIII "(p. 39). Similarly, is relations with the rest of the production vallejiana.

For its part, the approach allows metacritical González Montes do a thorough tour by the bulk of critical production around Scales, revealing aspects that could lead to a reevaluation of the narrative work of Vallejo. This is denoted by tightening the heading "Recent Criticism: autonomy and intertextuality," which reviews the contributions of Eduardo Neale-Silva in his book César Vallejo, Storyteller / Scrutiny of an innovation attempt multiple (Barcelona, \u200b\u200bSalvat Editores , 1987). In the text, Neale-Silva is based as from various analytical procedures, the thesis that scales not only part of the avant-garde short stories, but inserts new topics.

In the third chapter González Montes develops the core of its work: a review of the issues Scales -emphasizing the issue of Claude Couffon-cutting and narratological analysis. The purpose of this analysis, the author asserts, "is to study the entire book, and proceeded to examine each of the texts that constitute the two sections of the book. When performing exegesis take into account the interpretations proposed by different scholars of the book, but try to establish our own reading "(p. 132). Taking as a narrator and the discursive structures of the stories, makes Montes González demonstrate its competence to develop detailed textual analysis.

These contributions make to the modernization narrative Scales an essential book for those interested in exploring the narrative of our greatest poet.

Photos: [1] César Vallejo, [2] Antonio González Montes and Miguel Gutierrez, [3] Antonio González Montes and Julio Ortega, [4] Alonso Cueto, Edgardo Rivera Martínez, Antonio González Montes, Ricardo González -Vigil, Edward Hopkins.

Is Midol A Muscle Relaxer

Gonzalo Espino and images of the Andes excuses

A few months ago I received the welcome news that the poet, researcher of Andean culture, professor, political leader and blogger counter-San Marcos (see http://gonzaloespino.blogspot.com/ ), Gonzalo Espino glitters (Hacienda Rome 1935), after dueling with a demanding jury had failed to obtain his doctorate in Peruvian and Latin American Literature at the Universidad Nacional Mayor de San Marcos, defending the thesis Ethnopoetics Quechua. Quechua texts and oral tradition. As a way to convey my greetings and congratulations on your achievement posting a short text about one of his last books, including Images of the Andes, Peruvian literature nineteenth century (Lima, Humanities Research Institute of San Marcos, 1999).

"Although in the early years of the republic," says Antonio Cornejo Polar [1] - not building a literary tradition, by the omission of the colonial legacy and the fatuity of the appeal Inca, or designs a project to develop a specific national literature, which does not prevent local customs somehow channeled a long literary offspring, it is true then set (or rather, reaffirms) space from which to produce literature assumes, displacing other, the representation of all Peru. Changing this situation will take almost a century. "

These ideas raised in the early nineties, are renewed in the recent publication of Gonzalo Espino glitters pictures including Peruvian Andes-nineteenth-century literature. In his book, Espino glitters-arts teacher at San Marcos University, Master of Peruvian and Latin American Literature and a PhD-makes an interesting exploration of hermeneutics in a series of texts for the last third of the nineteenth century, from which discusses the canonical images of literature Peru.

The book, which is the second part of his master's thesis in Peruvian and Latin American Literature, entitled Adolfo Vienrich: The attempt of the other Peruvian Literature (1996), is organized into four chapters. The first explores some texts by Manuel González Prada and Abelardo Gamarra. Of these extracts the following thesis: "The claim of the Indian, unlike other languages, involving the inclusion or exclusion, is not resolved in the melancholy history in returning to the Inca. Prada rejects any attempt or appetite restorer and remote Inca past: in return, demands the Indian rebellion. Speeches that will be echoed in the writing of poetry of the moment, both as Abelardo Gamarra Manuel González Prada offered a chance to make legible the status of a segment of our society, in both cases began as a revolt that requires the inclusion of Indian cultural, Topical shared with the city counsel, and then reveal the problem as an issue in strict social and economic development. That is the lesson that teachers propose and whose impact can be traced in various works of literature of the city counsel of the time "(p. 33).

This thesis will be tested in the second chapter, with the conception of literature writers of the period, as Ricardo Palma. According to Espino glitters, "for the traditionalist, Castilian is the vehicle par excellence. Can a Peruvian words from the vernacular, but for the expression of the "belles lettres" is the Castilian, so, all written and Castilian are subjecting their analysis does not matter whether there is a literature Indian or Incas "(p. 47).

The third chapter is supplemented with the above. In it shines Espino argues that poets and writers of that time developed a speech ambiguous with respect to the national literature. "On one hand, he argues Espino shines-(poets) live on the margins of loneliness and face time to modernize the country, and in the midst of this drama, the gradual discovery of the "national" native "in his poetry" (pp. 50 .) In the fourth chapter, Espino shines a brief corpus of texts that attempt to build "another Peruvian literature." The texts are different. Explore Antiques Peruvian Mariano Eduardo de Rivero and Ustariz and Juan Diego de Tschudi, where, from an archaeological perspective, we discuss the absence of a national literature based on the assessment of local languages. Then, working Poetry in the Empire of the Incas of Acisclo Villarán; Quechua Grammar of Dionysius Anchorena, and finally, discussion of Constantine and Eugenio Carrasco Larrabure around Ollantay dramatic piece. In each of these texts Espino glitters recognizes "a concern with vernacular forms and practices and the valuation of work-signs of Quechua literature," as the Ollantay. With these elements, we suggest the construction of the "other" literature, Andean roots, trying to win their space within the hegemonic discourses.

The last chapter is a corollary of the above. Through analysis of several poems of Constantine Carrasco Manuel González Prada and Carlos Germain Amezaga, we try to build the image of the Indian. In each case, the Indian awareness comes to constitute another, as disclosed in the description of the poem on the door of his hut Carrasco: "The tradition of yaraví threads each verse, so it turns to the image of the dove conclusion. The glare of the poet, romantic topic, is expressed hurt and impossible love: sadness covered the whole being of the poet (now lover), promising not to leave, expressed his desire to "die" for her. This approach ends in the sort of escape, where romance takes place in the poet's voice that invites the beloved to a possible nuptials, proper vernacular theme: "That even the dawn he came round / And the pampa is desolate" (v. 23-24). The poet recognizes a different woman: "What is your race of the sun", the beloved imagined by the author differs in thought and word, but there are "only sweet." Opposed to the beauty of the "race of the Sun" the involuntary return of pain in his presence felt: typical proposal as yaraví. Is this what makes poetry distinctive Constantino Carrasco doing so poetic memory includes the gods, its fauna and held in a topic that matches the romance from the vernacular form and try to discover the other, the another "(pp. 95).

Thus, Espino glitters is demonstrating three theses that articulate each of the chapters include Andean Images: a) write the nineteenth-century literary city, b) in this century there is growing interest Quechua, but not granted the status of literary language, and c) "inclusion is a social process Andes of Peru and the Andean country. This leads to question and redefine the model or literary imagination through successive crises (the parody of democracy, war, invasion and defeat of 79-82) "(p. 12).

large extent, Images ... studies inspired by Antonio Cornejo Polar, mainly in their work on the nineteenth-century literature and theory of heterogeneity contradictory. Theory, as we know, builds a Peruvian cultural representation system, with its central thesis that the Andean culture is heterogeneous. But that is only the starting point of exploration undertaken by Espino glitters. Centrally, the book aims to discuss the issue of literature "national" in Peru, tacking, through various texts, a literary discourse of Andean roots alternative to the hegemonic Hispanist. In that sense, Images ... discuss an issue that goes beyond the literary and installed in the field of culture: the problem of national identities.

At this point the book makes note its limits. Limits imposed by the subject matter of the investigation: the poems and other texts. In effect, these texts preclude exploring other cultural practices, such as rituals and celebrations, where perhaps the "other consciousness" national attempts to trace the course of the book is clearer. Certainly, this is beyond the scope of the investigation, referred to show how hegemonic discourses can reveal features of other languages, such as the Andes. Objective, largely fulfilled. Still, we believe that the issues raised in the pictures ... surpasses that objective, and, in turn, requires discussion in a larger space for reflection, such as cultural studies, as revealed in Imagined Communities, Benedict Anderson, who also shares his interest in thinking about national identities.

[1] The Formation of the literary tradition of Peru. Lima, CEP, 1989. pp. 40-41.