Repasa la vida y obra del famoso poeta francés Charles Baudelaire, considerado el padre de la poesía moderna y cuya vida de excesos marcó su obra.
El nombre de Generación del 27 designa a un grupo de escritores y escritoras nacidos en torno al 1900, que compartieron una experiencia social parecida y mantuvieron una relación personal y liter…
¿Eres un escritor incorregible? - Una cosa es cierta: los mediocres jamás pagan para adquirir conocimientos. No está en su ADN.
La fotografía a color fue un descubrimiento que vino a revolucionar la manera en que entendemos el pasado. Con la invención de la fotografía, cientos de
Hay un país en el mundo Pedro Mir Hay un país en el mundo colocado en el mismo trayecto del sol. Oriundo de la noche. Colocado en un inverosímil Noticias
Te contamos toda la biografía y hazañas de Johann Wolfgang von Goethe. Conoce más sobre sus aportaciones aquí.
Find great deals on 'Albert Camus' Photo at AllPosters.com, with fast shipping, easy returns, and custom framing options you'll love!
Aux branches claires des tilleuls Meurt un maladif hallali. Mais des chansons spirituelles Voltigent parmi les groseilles. Que notre sang rie en nos veines, Voici s’enchevêtrer les vignes. Le ciel …
Marie Curie (1867-1934), científica polaca pionera en el campo de la radiactividad escribió, «La humanidad también necesita soñadores, para quienes el desarrollo de una tarea les cautive tanto que …
Common sense is in spite of, not as the result of education. -Victor Hugo
Frases de Immanuel Kant✔️. Conoce las ideas filosóficas de uno de los pensadores más influyentes en Occidente sobre la ley, Dios, la felicidad, la lectura o la ciencia.
Mujer decidida y apasionada, de llamativa belleza, creativa, en ocasiones conflictiva, en ocasiones afable y dulce, pero siempre libre e independiente. La breve vida de Teresa Wilms Montt (1893-192…
Najib Mahfuz, egyptisk forfatter. Utdannet ved universitetet i Kairo med filosofi som hovedfag; ansatt i statsadministrasjonen, fra 1954 i kulturdepartementet. Han hadde en omfattende litterær produksjon fra 1938, over 30 romaner og 13 novellesamlinger. Så vel de første som de seneste romanene hans ble først publisert som føljetong i Kairo-avisen al-Ahram.Mahfuz skrev i sin tidligste fase historiske romaner med tema fra faraoenes Egypt, deretter realistiske samtidsromaner, og i de senere årene mer impresjonistiske, symbolladede verker.
La Gabriela Mistral de Lina Meruane, joven narradora chilena, es una desconocida para nosotros y hasta para ella porque Lina Meruane confiesa de entrada que se desconoce a sí misma
Abrimos espacio para recibir comentarios.
A cortesia dos cegos O poeta lê seus versos para os cegos. Não imaginava que fosse tão difícil. Treme-lhe a voz. Tremem-lhe as mão...
Sigmund Freud called her “the great understander”. Friedrich Nietzsche said of her: “I found no more gifted or reflective spirit … Lou is by far the smartest person I ever knew.” Rainer Maria Rilke sang of her: “…all that I am stirs me, because of you.” Today we pay tribute to Lou Andreas-Salomé – author, pioneering psychoanalyst, truth-seeker, iconoclast, libertine and unrepentant individual. Lou Andreas-Salomé, (born Feb. 12, 1861, St. Petersburg, Russia—died Feb. 5, 1937, Göttingen, Ger.), Russian-German writer remembered for her friendships with the great men of her day. Anaïs Nin talks about Lou Andreas-Salomé Between August 8 and August 24 of 1882, Friedrich Nietzsche set down ten stylistic rules of writing in a series of letters to the Russian-born writer, intellectual, and psychoanalyst Lou Andreas-Salomé — one of the first female psychoanalysts. Nietzsche’s 10 Rules for Writers Left to right, Andreas-Salomé, Rée and Nietzsche (1882) A comical scene laid out by Nietzsche, as a sort of a lament by both himself and his friend, Paul, the two of whom had both recently been rejected after proposing marriage to one Lou Salomé (the relentless 'cart driver'). Photographed in the studio of Jules Bonnet in Lucerne in 1882. HYMN TO LIFE Surely, a friend loves a friend the way That I love you, enigmatic life — Whether I rejoiced or wept with you, Whether you gave me joy or pain. I love you with all your harms; And if you must destroy me, I wrest myself from your arms, As a friend tears himself away from a friend’s breast. I embrace you with all my strength! Let all your flames ignite me, Let me in the ardor of the struggle Probe your enigma ever deeper. To live and think millennia! Enclose me now in both your arms: If you have no more joy to give me — Well then—there still remains your pain. ― Lou Andreas-Salomé "The main thing is that life-faith is essentially and vitally present, by means of which we survive." - Lou Andreas-Salomé in Letter to Sigmund Freud Lou Andreas-Salomé - Quotes Books by Lou Andreas-Salomé: Nietzsche Rilke and Andreas-Salomé: A Love Story in Letters The Erotic Sigmund Freud and Lou Andreas-Salomae, Letters Books on Lou Andreas-Salomé Lou Von Salome: A Biography of the Woman Who Inspired Freud, Nietzsche and Rilke Image in Outline: Reading Lou Andreas-Salom Woman and Modernity: The (Life) Styles of Lou Andreas-Salome Women in the Works of Lou Andreas-Salomé: Negotiating Identity Truth About Lou, The: A Novel After Salome Frau Lou: Nietzsche's Wayward Disciple
L'enfer n'est que la vie sur terre, voici le drame de l'existence. Comment vivre en enfer alors, sinon grâce à la poésie? C'est tout l'enjeu d'"Une saison en enfer", recueil de poèmes en prose, seul livre qu'Arthur Rimbaud a fait publier, sorte d'autobiographie tragique entre réel et visions.
PODEROSO CABALLERO ES DON DINERO Madre, yo al oro me humillo, Él es mi amante y mi amado, Pues de puro enamorado De contino anda amarillo. Que pues doblón o sencillo Hace todo cuanto quiero, Poderoso Caballero Es don Dinero. Nace en las Indias honrado, Donde el Mundo le acompaña; Viene a morir en España, Y es en Génova enterrado. Y pues quien le trae al lado Es hermoso, aunque sea fiero, Poderoso Caballero Es don Dinero. Es galán, y es como un oro, Tiene quebrado el color, Persona de gran valor, Tan Cristiano como Moro. Pues que da y quita el decoro Y quebranta cualquier fuero, Poderoso Caballero Es don Dinero. Son sus padres principales, Y es de nobles descendiente, Porque en las venas de Oriente Todas las sangres son Reales. Y pues es quien hace iguales Al duque y al ganadero, Poderoso Caballero Es don Dinero. Mas ¿a quién no maravilla Ver en su gloria, sin tasa, Que es lo menos de su casa Doña Blanca de Castilla? Pero pues da al bajo silla Y al cobarde hace guerrero, Poderoso Caballero Es don Dinero. Sus escudos de Armas nobles Son siempre tan principales, Que sin sus Escudos Reales No hay Escudos de armas dobles. Y pues a los mismos robles Da codicia su minero, Poderoso Caballero Es don Dinero. Por importar en los tratos Y dar tan buenos consejos, En las Casas de los viejos Gatos le guardan de gatos. Y pues él rompe recatos Y ablanda al juez más severo, Poderoso Caballero Es don Dinero. Y es tanta su majestad (Aunque son sus duelos hartos), Que con haberle hecho cuartos, No pierde su autoridad. Pero pues da calidad Al noble y al pordiosero, Poderoso Caballero Es don Dinero. Nunca vi Damas ingratas A su gusto y afición, Que a las caras de un doblón Hacen sus caras baratas. Y pues las hace bravatas Desde una bolsa de cuero, Poderoso Caballero Es don Dinero. Más valen en cualquier tierra, (Mirad si es harto sagaz) Sus escudos en la paz Que rodelas en la guerra. Y pues al pobre le entierra Y hace proprio al forastero, Poderoso Caballero Es don Dinero. Francisco de Quevedo "Poderoso caballero es Don dinero" Juan Manuel Créditos Enlaces relacionados: El © de los carteles, fotografías, textos y vídeos, es exclusivamente de sus autores, propietarios o licenciatarios © Fotografías: dominio publico © Fuente: © Idea, composición y maquetación de estrugo, para este blog. © Todos los derechos reservados 2.020 Vïdeos Autor: Francisco de Quevedo Título: Poderoso Caballero es Don Dinero Declamación: Juan Ochoa Categoría:Música Música en este vídeo Canción:ELIZABETHAN- WCPM Artista:CHRIS PAYNE Álbum:MEDIEVAL - RENAISSANCE-Carlin Con licencia cedida a YouTube por: dRev for a 3rd Party (en nombre de Carlin); AdRev Publishing
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The Cuban author Nicolás Guillén (1902-1989) was one of the most famous writers in Latin America. His poetry showed that he was one of the greatest innovators in Latin American verse. Guillén introduced the Hispanic world to Afro-Cuban folk and musical forms. Nicolás Guillén was born on July 10, 1902, in Camagüey, Cuba. He was one of six children of mulatto parents. Guillén received his early education in his native Camagüey. His father, who was involved in provincial politics, was murdered when Nicolás was 17. After his father’s death he helped support his family by working as a typesetter. He completed his secondary schooling in just two years and began publishing poetry which reflected the prevailing influence of Modernism in the journal Camagüey Gráfico. In 1920 Guillén went to Havana to study law but was forced by economic restraints to return home. In 1921 he returned to Havana and managed to complete one year of formal study at law school. During this period he became actively interested in writing through his association with the literary circles of the capital. He returned to Camagüey in 1922 where, with the help of his brother, he founded the literary journal Lis and worked as the editor of a local newspaper from 1922 to 1926. Early Work In 1926 Guillén again returned to Havana, where he worked as a typist. In the late 1920s he began writing for a special Sunday newspaper section – “Ideales de una Raza” – of the Diario de la Marina devoted to aspects of Black life. It was in this Sunday supplement that he launched his literary career with the publication on April 20, 1930, of Son Motifs. Guillén’s slim collection of eight poems describing the lives of Blacks in Cuba’s urban slums had an electrifying effect on both whites and Blacks who saw in it the genesis of an authentic Cuban art form. The poems were based on the son, an Afro-Cuban dance which was popular at the time and symbolized the dual ethnic/ racial makeup of the island. Although these poems explored a variety of urban situations among poor Blacks – the search for money, tension between Blacks and mulattoes, “passing” – they presented these themes from a festive, musical perspective. The poems in Son Motifs were soon set to music by composers such as Eliseo Grenet and Silestre Revueltas. Guillén’s next book, Sóngoro Cosongo (1931), was longer (it contained 15 poems) and represented a step toward artistic maturity. Although he continued to develop the themes and styles of his first book, the folkloric and picturesque elements were subordinated to capture more authentically the violence and cynicism of ghetto life. In many ways this book is reminiscent of the themes introduced by Langston Hughes in the United States with his Fine Clothes to the Jew (1927). In this second book Guillén focused slightly more attention on problems of general national concern. This was noted in the subtitle “Mulatto poems, ” which clearly indicated Guillén’s concern with what was properly the national essence. Change in Style The collection of poems West Indies Ltd (1934) marked a turning point both in Guillén’s poetic techniques and in his political ideology. Here Guillén universalized his concern for the common man by expanding his vision to include all the marginated peoples of the Caribbean. For example, the poem, which gives title to the collection enumerates a long list of evils which plague the Caribbean, many of which are attributed to U.S. economic imperialism. During the 1930s Guillén worked as a journalist for the liberal newspaper Meiodía and became increasingly involved in politics. He joined the Communist Party in 1937, the same year he made his first trip out of Cuba to attend a congress of writers and artists in Mexico. In 1937 he also traveled to Spain to attend the Second International Writers Congress for the Defense of Culture, where he met writers such as Octavio Paz, Pablo Neruda, Langston Hughes, and Ernest Hemingway, among others. In 1937 he published two books: Songs for Soldiers and Songs for Tourists and Spain:Poem in Four Anguishes and One Hope. In these collections, Guillén increasingly turned to more universal themes and motifs and abandoned temporarily his exploration of Afro-Cuban life. Thus in Spain he decried the evils of fascism and poetically called upon the soldiers of Cortés and Pizarro to return and fight the evils of the modern era. Similarly Song for Soldiersis a moving indictment of militarism. In 1947 Guillén published The Entire Son, a book which marked the integration of his earlier stages into a universalist apprehension of man’s social dilemma. This was followed by The Dove of Popular Flight – Elegies (1958), a collection of poems written in exile from Cuba which focuses directly on social issues of the 1950s. Here Guillén treated contemporary political material in an explicit and forceful way. Typical of his political bent are poems such as “Elegy for Emmett Till” and “Little Rock” (both U.S. racial confrontations), whereas “My Last Name” is a mythological search for his African heritage. Published in 1964, I Have represented the culmination for the poet of the revolutionary process and evinced a sense of satisfaction. Later collections such as The Big Zoo (1967), The Serrated Wheel (1972), and particularly The Daily Diary (1972) show that Guillén continued to mature and was capable of producing verse which is ironic, humorous, and yet ever faithful to his artistic vision which embraced the condition of the common man. Apart from the poetry already mentioned, Guillén wrote hundreds of essays for newspapers, many of which dealt with racial problems in Cuba. An anthology of these articles was published in 1975 under the title Hurried Prose. In 1953 he was awarded the Stalin Prize in Moscow. After the Cuban revolution in 1959, he served in a variety of diplomatic and cultural missions. In 1961 he was named National Poet of Cuba and became president of the Union of Cuban Writers and Artists. Robert Marquez and David McMurray edited Man-making Words:Selected Poems of Nicolas Guillén’s in 1972. Man-making Words was a collection of the Afro-Cuban poet’s works ranging from his early experimental political poetry to his mature descriptions of the socio-historical and everyday life of his beloved Cuba. Broadening the significance of Guillén’s poetry, Ian Isidore Smart wrote Nicolás Guillén, Popular Poet of the Caribbean (1990), protraying the breath and richness of the artistic ability of the poet. Further Reading Dennis Sardinha’s The Poetry of Nicolás Guillén (1976) offers a good general introduction to his work and contains considerable information about his life; Frederick Stimson’s The New Schools of Spanish American Poetry (1970) has a full chapter dedicated to Guillén in addition to a good bibliography; The introduction to Robert Márquez and David Arthur McMurray’s Man Making Words (1972) also offers a good biographic overview of his life and works with a good discussion of his poetry of social protest; An excellent study of Guillén in relation to the poets of Negritude is found in Martha Cobb’s Harlem, Haiti, and Havana:A Comparative Critical Study of Langston Hughes, Jacques Roumain and Nicolás Guillén (1979; Wilfred Cartey’s Black Images (1970) has a chapter related to the poetry of Guillén which deals with the Black experience; Lorna V. William’s Self and Society in the Poetry of Nicolás Guillén (1982) defines Guillén’s racial identity and evaluates his sociopolitical views as they are expressed in his poetry; Keith Ellis’ Cuba’s Nicolás Guillén:Poetry and Ideology (1983) is the most comprehensive literary study of the totality of the poet’s work to date. It contains an extensive bibliography. Also see Twentieth-century Latin American poetry:a bilingual anthology, edited by Stephen Tapscott (Univ of Texas Press, 1996). Neruda and Guillen Havane I Have* By Nicolás Guillén When I see and touch myself, I, Juan with Nothing only yesterday, and Juan with Everything today, and today with everything, I turn my eyes and look, I see and touch myself, and ask myself, how this could have been. I have, let’s see, I have the pleasure of going about my country, owner of all there is in it, looking closely at what I did not or could not have before. I can say cane, I can say mountain, I can say city, say army, now forever mine and yours, ours, and the vast splendor of the sunbeam, star, flower. I have, let’s see, I have the pleasure of going, me, a farmer, a worker, a simple man, I have the pleasure of going (just an example) to a bank and speak to the manager, not in English, not in “Sir,”but in compañero as we say in Spanish. I have, let’s see, that being Black no one can stop meat the door of a dance hall or bar. Or even on the rug of a hotel scream at me that there are no rooms, a small room and not a colossal one, a tiny room where I can rest. I have, let’s see, that there are no rural police to seize me and lock me in a precinct jail, or tear me from my land and cast me in the middle of the highway. I have that having the land I have the sea, no country clubs, no high life, no tennis and no yachts, but, from beach to beach and wave on wave, gigantic blue open democratic: in short, the sea. I have, let’s see, that I have learned to read, to count, I have that I have learned to write, and to think, and to laugh. I have… that now I have a place to work and earn what I have to eat. I have, let’s see, I have what I had to have. * Tengo in Spanish.
