Cien Poemas y Una Utopía (Spanish Edition)

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Any new state which is added to the others becomes an essential part of this I, and expresses it: Any event, any perception, any idea, expresses us with equal power, it can be added to us Overcoming this useless and obstinate desire to fix in words a vagabond I, which is transformed every second, ultraism upholds the central principle of all poetry: In terms of its programme, the argument has moved forward in two ways: Macedonio's definition of art as anti-naturalist is combined with the notion of art as a process.

These definitions appeared in all the manifestos of the period and Borges gives them a theoretical density in the first issues of the literary journal Sur , in the early s. As programmes, the theories of the avant-garde could be partially modified in practice. However, their formulations mark out the universe of what is desirable: Literary practices found a sense of the future in these excessive and polemical programmes: The utopia of the avant-garde had a force which was not just literary.

The manifestos and the polemics stirred up a strong reaction from members of other groups in the intellectual field. These manifestos are the avant-garde, as much as the poems themselves, because they demonstrate the absolute and anticonciliatory nature of the s process of aesthetic renovation. They seem to place themselves outside society and yet it is society, and their place within it, that makes their programme possible. Those who support the new are not the recent arrivals to the country. These recent arrivals, it was felt, defended ethical or ideological principles outside the realms of literature and they needed to establish foundations in order to be accepted as legitimate intellectuals.

The utopia that can be read in these avant-garde programmes functions like all utopias: Freeing literature from its socio-ideological confines, they adopt a position far removed from the surrealist project, which took art to the very limits of life. On the contrary, these avant-garde writers of the s separated life and literature, although a new version of the national question can be read in their texts.

In August , Proa was reissued in a new format. It transcribed, without comment, part of Proa's editorial and listed the editors and contributors. Obviously Proa would present difficulties for that newspaper for Proa declared itself as a voice which would be heard and understood by its equals and its contemporaries. It is a canonical statement which lays out its programme for aesthetic renewal. Conscious of its generational status, the magazine declared that its writers had no truck with the old masters and noted that the First World War had overturned all the old structures and institutions.

The war made it 'possible for the first time in this country for a generation to be formed on the margins of the canonical institutions of society'. Perhaps for the first time in Argentine cultural history, such judgements would be made among equals. The intellectual field was thus split between those who supported change and those who adhered to a continuation of the old order. These magazines and the activities of their contributors gave rise to what Girondo called the 'united front', a focus of intellectual initiatives which also aspired to influence wider currents in Latin America:.

It had been possible to resolve all the conflicts that had previously separated the main little magazines and form a united front. And Girondo went as an ambassador to try to promote intellectual exchange and to visit the principle Latin American centres of culture. Proa 's mode of presentation offers nothing new: Another aspect of this first text, however, seems to me more interesting. We find aesthetic and ideological influences in Proa which does not appear in Martin Fierro: Proa , in much the same way as the Reform movement had an outlook which was characterised by spirituality, a spirit of renovation and youthfulness.

Proa has an explanatory and reasoned tone, although Borges' contributions often display radical and incisive ideas. The moderate style of Proa is linked to the reformist tenor of its presentation: Our desire is to offer to young writers a serene and unprejudiced forum which will bring together different aspects of mental work that are not purely journalistic. Our magazine should be a special kind: Our intelligent young people do not have such a forum which is open and without barriers.

As a melting-pot of young writers who admire obscure and daily heroism, Proa will attempt to mould into an Academy the dispersed energies of a generation that does not feel animosity'. This first text of Proa has Arielist ecos and inflections: This Arielist discourse coupled with ideas from the University Reform, produced a similar set of interpellations and desires which, in , offered a common heritage that could be shared by some of the aesthetic innovators.

This tone unites many of the notes and commentaries in the magazine. There was a battle to impose the 'values of the spirit' in a country whose great men had still not understood these values.

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The protagonists of this struggle are young people who hope for 'a future society where these values will find a place'. This same spirit is maintained in subsequent issues. In number 10, Proa gave three pages over to the news that the Latin-American Union was being founded.

Notes on institutional matters of this kind, especially on politics, were not frequently published in Proa. The Latin-American Union was an attempt to carry the spirit of the University Reform into a continental arena. The founders of the Union were writers and young socialist politicians.

Extracts from this declaration, which are outside the usual preoccupations of Proa , give some idea of the climate in which the magazine appeared. Opposition to any financial policies which would compromise national sovereignty, and in particular the taking on of any loan which might allow or justify the forceful intervention of foreign capitalists The nationalisation of the sources of wealth and the abolition of economic privilege.

The struggle against any influence of the Church in public life and in education The extension of free, secular and compulsory education and an integral university reform. A mixture of nationalism and spirituality was sweeping through Latin America. To what degree can Proa be considered as part of this climate?

The publication of this document on the foundation of the Latin-American Union is not enough to prove the point. What it does signify, however, is a gesture of good will towards, and recognition of, currents of left democratic and anti-imperialist thought, whose Arielist, spiritualist and youthful aspects were shared by Proa. However, this is not the whole story.

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On the one hand, it expressed a desire to map out a common intellectual field which would encompass all aspects of the avant-garde. Proa was committed to this in the artistic sphere, whilst recognising that other spheres were also legitimate. The experience of the first years of the avant-garde had shown the need to conquer public spaces; it was possible, therefore, to recognise this same need in the political arena.

Proa shared with the Reform and the Pan Latin American movements the desire to reach a continental audience: Also the young men in the political field intruded into the intellectual field, with the same actors changing alliances. The movement for aesthetic renovation had not yet become fixed into incompatible ideological positions. On the contrary, in this first half of the s, the 'young' were lined up against the ranks of traditional and well established intellectuals. It was still a generational movement. Finally, these mixtures of alliances point to a relatively small intellectual field in which divisions between 'left' and 'right' were less important than those between 'old' and 'new'.

There was a shared way of seeing, a shared structure of feeling in the project that sought to conquer society and change it aesthetically, morally or politically. This can be seen in all the editorials published in Proa.

The magazine tried to compensate for its isolation in a world of large daily newspapers and traditional institutions by calling writers and intellectuals to support different causes and ideas. We work in the most free but also in the hardest part of the boat, whilst the literary bourgeoisie sleep in the cabins.

From the position we have chosen, we will open up new paths, while they remain behind. Let them call us mad and extravagant. At heart they are tame and will do everything except dispute with us the privilege of work and adventure. Let us be united on that unsteady part of the craft, which sets its course.

The prow is smaller than the main body of the boat since it is the point where all the energies converge. We laugh at those who rage, since they know that they are born to follow others. Their attacks cannot touch us because they are afraid. Proa lives in direct contact with life.

It has already been tossed in the waves and is refreshed by optimism and by its desire to conquer distances. Today it wishes to grow one more day. For this reason, we are writing to you.

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Give us your strong support to help us guarantee this growth. Also the young participants of the Reform movement had close sometime family relations with the writers of Proa and the cultivated, creole socialists who signed the Latin American Union manifesto bore little resemblance to the hirsute left militants of immigrant origin. The avant-garde had at the centre of its programme a new style cultural nationalism.

Borges gave it form and tone.

Review Cien Poemas Y Una Utopia 1441535195 Pdf

Many other articles published in Proa share these sentiments but the letter in which the editors declare their intention to abandon the boat is perhaps the most interesting stylistic example of the blending of the avant-garde and criollismo. The letter is sent by Borges to Brandan and to Ricardo and it shifts the metaphor from the sea to dry land, to the orillas. Its last judgement is criollo as is its paradise:. We will meet again and start up a lively literary gathering, an immortal conversation without ceremony or haste. The patristic tells us little about those friendships at the end of the world, but I think that it is our happy duty to go forward towards this goal, to anticipate God's designs.

I cannot think of any endeavour better suited to this purpose than Proa. How splendid are our conversations and discussions! Ipuche speaks with a deep voice and is a safe-handed and surefooted messenger, bringing urgent secrets from the forests in Uruguay.

There are ten, twenty, thirty of us believing in the possibility of art and friendship. How splendid are our conversations.

I want to tell you that I am leaving Proa and I am leaving my paper crown on the peg. More than one hundred streets in the orillas await me with their moon and solitude and the odd tot of rum. And yet Adelina, with that protective grace of yours, give me my coat and stick, because I'm going'.

It would be impossible to include more criollista references on one page. There are many artists and authors of songs that have paid homage to the figure and work of Joan Manuel Serrat. Apart from these songs that deal exclusively with the figure of Joan Manuel Serrat, there are others that mention the name of Joan Manuel Serrat or some of his songs. Also noteworthy is the humorous version of the song Ara que tinc vint anys , which La Trinca recorded with a change in title: Ara que tinc 80 anys. He has been criticized harshly by the Catalans for not being implicated in favor of the independence movement and for declaring sometimes against the independence movement.

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