Libertad Bajo Palabra

2006 ◽  
Vol 51 (1) ◽  
pp. 134-152
Author(s):  
Roberto Sanchiño Martínez
Keyword(s):  
Octavio Paz

Subversivität und Inspiration sind in der Poetik von Octavio Paz zentrale Paradigmen. In Anlehnung an die Programmatik des ›creacionismo‹ und des Surrealismus sind sie Bestandteile einer selbstref lexiven und emanzipatorischen poetologischen Positionsbestimmung durch den Autor. Sie dienen ihm dazu, Figuren transpersonaler Rede (wie in seinem Essay El arco y la lira) und die Mehrdeutigkeit des dichterischen Wortes (wie in seinem Gedicht Blanco) zu inszenieren. Subversion and inspiration are fundamental concepts in the poetics of Octavio Paz. Following the programs of creacionismo and surrealism they are part of a self-reflexive and emancipatoric poetological position of the author. They are used by him to produce figures of transpersonal speech (as in his essay ›El arco y la lira‹) and to underline the ambiguity of the poetic word (as in his poem ›Blanco‹).

Music and Memory: The Tlatelolco Refrain

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Josh Kun
Keyword(s):  
State Violence ◽  
First Century ◽  
Student Movements ◽  
Octavio Paz ◽  
Mexican History ◽  
The Past ◽  
Rock Bands ◽  
To Come ◽  
Musical Memory ◽  
A Current

Ever since the 1968 student movements and the events surrounding the Tlatelolco massacre, Mexico City rock bands have openly engaged with the intersection of music and memory. Their songs offer audiences a medium through which to come to terms with the events of the past as a means of praising a broken world, to borrow the poet Adam Zagajewski’s phrase. Contemporary songs such as Saúl Hernández’s “Fuerte” are a twenty-first-century voicing of the ceaseless revolutionary spirit that John Gibler has called “Mexico unconquered,” a current of rebellion and social hunger for justice that runs in the veins of Mexican history. They are the latest additions to what we might think about as “the Mexico unconquered songbook”: musical critiques of impunity and state violence that are rooted in the weaponry of memory, refusing to focus solely on the present and instead making connections with the political past. What Octavio Paz described as a “swash of blood” that swept across “the international subculture of the young” during the events in Tlatelolco Plaza on October 2, 1968, now becomes a refrain of musical memory and political consciousness that extends across eras and generations. That famous phrase of Paz’s is a reminder that these most recent Mexican musical interventions, these most recent formations of a Mexican subculture of the young, maintain a historically tested relationship to blood, death, loss, and violence.

Octavio Paz ou "El laberinto de la Otredad

América ◽  
1989 ◽  
Vol 6 (1) ◽  
pp. 223-230
Author(s):  
Guy Thiebaut
Keyword(s):  
Octavio Paz

Do barro à constelação: Octavio Paz e Haroldo de Campos, leitores da modernidade

2015 ◽  
Vol 7 (13) ◽  
Author(s):  
Gustavo Reis Louro
Keyword(s):  
Octavio Paz

Este texto mobiliza uma linhagem que tem Haroldo de Campos como nome mais próximo e inclui o mexicano Octavio Paz, os franceses Mallarmé e Baudelaire, além dos primeiros românticos alemães. Em vaivéns desde o “poema pós-utópico” do concretista até as propostas de Novalis, H¶lderlin, os irmãos Schlegel e outros, vemos a poesia moderna desfazer do afã de futuro mediante a ironia, viver a implosão de qualquer pretensão pedagógica e privilegiar a linguagem.

Octavio Paz

2019 ◽  
Author(s):  
Paul-Henri Giraud
Keyword(s):  
Octavio Paz

Epifanía y escatología en la poética de Octavio Paz

Iberoromania ◽  
2020 ◽  
Vol 2020 (92) ◽  
pp. 232-245
Author(s):  
Luis Gustavo Meléndez-Guerrero
Keyword(s):  
Octavio Paz

ResumenLos estudios sobre el hecho epifánico elaborados dentro de la tradición literaria moderna muestran, a nuestro parecer, una tendencia a presentar el sentido de la epifanía bajo los límites de la conceptualización técnica, dejando como elemento secundario el papel fenomenológico que la epifanía poética lleva en su entraña. A continuación, presentaremos un panorama general que ejemplifique el modo en que la epifanía poética ha sido definida por la teoría literaria. En un segundo momento abordaremos la manera en que Octavio Paz entiende y presenta la epifanía en su obra, para finalmente, ofrecer una lectura que nos permita plantear la posibilidad de una condición escatológica en la epifanía poética.

Octavio Paz (México, 1914-1998)

1998 ◽  
Vol 14 (2) ◽  
pp. 251-262
Author(s):  
Jacobo Sefamí
Keyword(s):  
Octavio Paz
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