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La Poética De La Experiencia Sensible En La Obra De Denise Levertov

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La Poética De La Experiencia Sensible En La Obra De Denise Levertov UNIVERSIDAD DE CÓRDOBA FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE FILOLOGÍA INGLESA Y ALEMANA LA POÉTICA DE LA EXPERIENCIA SENSIBLE EN LA OBRA DE DENISE LEVERTOV CRISTINA MARÍA GÁMEZ FERNÁNDEZ 2005 UNIVERSIDAD DE CÓRDOBA FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE FILOLOGÍA INGLESA Y ALEMANA LA POÉTICA DE LA EXPERIENCIA SENSIBLE EN LA OBRA DE DENISE LEVERTOV TESIS DOCTORAL Presentada por Cristina María Gámez Fernández Dirigida por: Doctor Bernhard Dietz Guerrero Doctor Antonio Ruiz Sánchez Vº Bº Los Directores Dr. D. Berhnard Dietz Guerrero Dr. D. Antonio Ruiz Sánchez El Doctorando Dña. Cristina María Gámez Fernández Para mis abuelos, por mostrarme con su ejemplo vital la importancia de la honestidad con uno mismo, el trabajo realizado con esmero y el sacrificio por algo mejor. ÍNDICE ÍNDICE ....................................................................................................................... i Lista de abreviaturas .................................................................................................. iv Agradecimientos ......................................................................................................... v INTRODUCCIÓN..................................................................................................... 1 I. MARCO TEÓRICO Y CONTEXTO LITERARIO CAPÍTULO 1. La naturaleza de la experiencia. El fenómeno del conocimiento a través de la percepción sensorial .........................................................................21 1.1. Introducción: la naturaleza de la experiencia y el papel de la percepción sensorial en el arte poético ..................................................23 1.2. El conocimiento a través de la percepción sensible: corrientes filosóficas y aplicaciones literarias relevantes hasta el siglo XX ..............38 1.3. Aportaciones fenomenológicas relevantes sobre percepción y poesía en el siglo XX y el nuevo milenio.............................................. 55 CAPÍTULO 2. La figura de Denise Levertov en la escena literaria estadounidense durante la segunda mitad del siglo XX .......................................69 2.1. De la poesía europea al verso americano. Denise Levertov y otros emigrados literarios: T.S. Eliot, W.H. Auden y Thom Gunn.................... 71 2.2. El modernismo de William Carlos Williams y otros objetivistas en la poética de Denise Levertov .............................................................. 84 2.3. La filiación de Denise Levertov al Black Mountain Group. La especial influencia de Robert Duncan..................................................................... 90 2.4. Concomitancias poéticas con el confesionalismo..................................... 97 2.5. La afinidad de la poesía de Levertov con la corriente de la deep image 100 i CAPÍTULO 3. Evolución vital y poética de Denise Levertov ........................... 103 3.1. Formación europea y comienzos poéticos en Estados Unidos ............... 105 3.2. El compromiso político y la danza triste de la poética levertoviana .........................................................................117 3.3. Perdida en el bosque de la vida: la agonía poética de la autobiografía .................................................................................. 129 3.4. Nuevos senderos estéticos: la reconciliación poética del bien y del mal.................................................................................... 138 3.5. El desconocimiento del sabio: la poesía vivida de Denise Levertov...... 148 CAPÍTULO 4. Perspectivas críticas sobre la producción poética de Denise Levertov ................................................................................................................. 157 4.1. Panorámica general................................................................................. 159 4.2. Aportaciones sobre la poética de Denise Levertov................................. 170 4.3. La poesía política y la percepción en la obra de Levertov ..................... 191 4.4. La poesía de Levertov desde la perspectiva ideológica del género........ 207 4.5. La dimensión religiosa en su obra y la importancia de la percepción.... 226 4.6. Otras aportaciones de carácter marginal................................................. 235 II. EL ABANICO CREADOR DE DENISE LEVERTOV A LA LUZ DE LAS EXPERIENCIAS INMEDIATAS CAPÍTULO 5. La poética de la experiencia perceptiva .................................... 241 5.1. El manifiesto poético de Denise Levertov. La interacción filosófica entre poesía y vida.................................................................................... 243 5.2. Las cualidades del poeta y los atributos de su poesía. El arte y la vida ........................................................................................ 265 5.3. De la necesidad del silencio y la fragilidad de la palabra ........................ 284 5.4. Los elementos presentes en la revelación del misterio ............................ 297 ii CAPÍTULO 6. La percepción del mundo: del cosmos al ser humano ............ 315 6.1. Praising the great web: la percepción de la entidad cósmica ................... 317 6.2. Pobladores de otro orden: manifestaciones divinas en la gran red .......... 333 6.3. Los instrumentos de exploración de la red: los sentidos y la imaginación ................................................................... 358 CAPÍTULO 7. Diversas patologías sensoriales en la poesía de Denise Levertov ................................................................................................ 387 7.1. Las consecuencias poéticas del entumecimiento sensorial ...................... 389 7.2. La percepción en las relaciones humanas: poemas amorosos y eróticos..................................................................... 421 7.3. La exploración poética de la ceguera....................................................... 440 CONCLUSIONES..................................................................................................463 BIBLIOGRAFÍA CONSULTADA...................................................................... 475 III. APÉNDICES Índice de poemas estudiados................................................................................... 515 Galería de imágenes ................................................................................................ 521 iii ABREVIATURAS Poemarios: Early and Uncollected Poems EU Here and Now HN Overland to the Islands OI With Eyes at the Back of Our Heads EBH The Jacob’s Ladder JL O Taste and See TS Relearning the Alphabet RA To Stay Alive SA Footprints FP The Freeing of the Dust FD Life in the Forest LF Candles in Babylon CB Oblique Prayers OP Breathing the Water BW A Door in the Hive DH Evening Train ET Sands of the Well SW This Great Unknowing GU Colecciones: Collected Earlier Poems CEP Poems 1960-1967 P67 Poems 1968-1972 P72 A Door in the Hive & Evening Train H&T iv AGRADECIMIENTOS Me gustaría dar las gracias, en primer lugar, a mis dos directores de tesis. A Bernhard Dietz Guerrero, por brindarme el consejo y la tutela de un verdadero maestro, y a Antonio Ruiz Sánchez, por su agudeza en las correcciones y su dedicación al trabajo bien hecho. También me gustaría agradecer a todos los miembros del Departamento de Filología Inglesa y Alemana su cálida acogida cuando me incorporé como becaria de Docencia hace cinco años y su afecto a partir de entonces. Me he sentido una más de este valioso grupo humano. En especial, Víctor Pavón, Marisa Pascual y Encarnación Requena han seguido mi evolución como persona y como investigadora con interés, y me han apoyado en momentos de flaqueza. Mis gracias sinceras. Doy también gracias a la Junta de Andalucía por otorgarme una beca de FPI, sin cuya financiación no habría podido realizar este trabajo. Gracias a Albert Gelpi y su esposa Barbara, profesores de la universidad de Stanford, amigos y admiradores de Denise Levertov y su obra, quienes me brindaron su apoyo y su ayuda desinteresada como expertos. A Michael True del Assumption College, en Worcester, por sus valiosos consejos y su confianza en mi trabajo. Gracias a José Manuel Rodríguez Herrera, de la universidad de Las Palmas, por compartir conmigo de manera desprendida sus ideas y proyectos. Gracias a los archiveros Maggie Kimball, Pat White y Steven Mandeville-Gamble, del Department of Special Collections and University Archives en Stanford, por su ayuda y sabia orientación con los manuscritos de la poeta. Mi agradecimiento más sincero a mis familias de acogida en Estados Unidos, sin cuya hospitalidad mis estancias de investigación no hubieran sido posibles. Las familias Barroll en Boston y Georgia en Palo Alto hicieron de mi visita una experiencia muy grata. A Rafael Zafra, por demostrarme con su presencia que la dedicación y el esfuerzo siempre tienen recompensa. A todos mis amigos, en especial a Mª José Ramos, Eugenia Díaz y Alfonso Zamorano, por su amistad y apoyo incondicional. v A mis padres, mi tía y mis hermanas, pilares diamantinos donde no sólo se sustentan las muchas horas de trabajo, esfuerzo e incertidumbre sobre el futuro, sino también mi propia vida. vi What those of us whose lives are permeated by a sense of unremitting political emergency, and who are at the same time writers of poetry, most desire in our work, I think, is to attain to such osmosis of the personal and the public, of assertion and of song, that no one would be able to divide our poems into categories. That is, at any rate, my own probably unattainable goal… Denise Levertov vii INTRODUCCIÓN La ingente
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