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Cuadernos Del C En T Ro De Estud Ios De Literatura De M C u ad ern o s del C e n t ro de Estud ios de Literatura de Mend oza 1999 - 2 0 0 0 6 Piedray C a n to uadernos del Centro de Estud de Literatura de Mendoza Universidad Macional de Cuyo Facultad de Filosofía g Letras CELIM Pied ra i) Canto Cuadernos del Centro de Estudios de Literatura de Mend oza Centro de Estudios de Literatura de Mend oza Editorial de la Facultad de Filosofía g Letras M°6 A ñ o s 1999 - 3 0 0 0 Mendoza - Argentina Piedra y Canto Cuadernos del Centro de Estudios de Literatura de Mendoza Consejo Editor Directora: Gloría Videla de Rivero Secretario: Víctor Gustavo Zonana Asistentes: Marta Castellino, Fabiana Varela Consejo Asesor Leonor Arias Saravia ( Universidad Nacional de Salta) Elisa Calabrese (Universidad Nacional de Mar del Plata) Dinko Cvitanovic (Universidad Nacional del Sur) Dolly Lucero Ontiveros (CONICET) Antonio Pagés Larraya (Academia Argentina de Letras) Gaspar Pío del Corro (Universidad Nacional de Córdoba) Colaboraciones: Se publicarán artículos, notas, entrevistas, documentos varios e información bibliográfica vinculados con la crítica y la historia de la literatura de Mendoza. Piedra y Canto es fundamentalmente un órgano de difusión de las investigaciones del CEL1M. Sólo se publicarán las colaboraciones solicitadas por la Dirección y aceptadas por el Consejo Asesor. Las ideas contenidas en los artículos que se publiquen pertenecen al autor, quien será único responsable de las mismas. Reproducción: Los artículos publicados en Piedra y Canto pueden ser reproducidos, siempre que se indique la fuente y que se envíen tres ejemplares de las reproducciones a la revista. Periodicidad: Un número al año. Valor ejemplar y de la suscripción anual: En el país: U$S 12; en el extranjero: U$S 15. Pedidos: La correspondencia general, los pedidos y pagos correspondientes a P iedra y Canto deben enviarse a nombre del Secretario de la revista, CC N° 345, Gabinete 318, Facultad de Filosofía y Letras, Universidad Nacional de Cuyo, Parque General San Martin, Centro Universitario, CP 5500, Mendoza, Argentina. E-mail: [email protected] El presente volumen ha sido financiado con un subsidio de la Secretarla de Ciencia y Técnica de la Universidad Nacional de Cuyo (SECyT). ISSN 0328 -1094 Piedra y Canto Cuadernos del Centro de Estudios de Literatura de Mendoza ,-n° 1 (1993)- Mendoza. Argentina: Universidad Nacional de Cuyo. Facultad de Filosofía y Letras. CELIM. 1999-2000. N° 6 ; 20 cm. Anual ISSN 0328-1094 B.FFYL (UNCuyo) I- LITERATURA II- LITERATURA HISPANOAMERICANA IH-LITERATURA ARGENTINA IV- LITERATURA MENDOCINA V- CRÍTICAlitera ria Colaboraron en la preparación de esta revista Composición: Juan Pablo Lovisolo Diseño de tapa: Víctor Gustavo Zonana Corrección: Carlos Solanes © Copyright by Centro de Estudios de Literatura de Mendoza Todos los derechos reservados Impreso en la Argentina - Printed in Argentina Queda hecho el depósito que previene la ley 11.723 PIEDRA Y CANTO en la tose de dato? latbook (libros y revistas) Disponible en INTERNET En la siguiente dirección: http://www.lathook.com.ar ÍNDICE ARTÍCULOS Víctor Gustavo Zonana. “La predicación metafórica en Colores del júbilo (1933), de Jorge E. Ramponi” ............................ 13 Marta Elena Castellino. “Dos versiones de un mito en las letras de Mendoza (O de cómo ícaro se elevó y cayó)”...................43 Dolly Sales de Nasser. “El arte y el artista en Minotauroamor de Abelardo Arias” .................................................. 65 Víctor Gustavo Zonana. uClave del mundo: Nélida Salvador a través de sus obras poéticas”............................................85 Hebe Beatriz Molina. uLas tejedoras del tiempo de Mercedes Favaro”.......................................................................... 109 Fabiano Inés Várelo. “Un censor costumbrista en La ciudad de barro , de Alejandro Santa María Conill”................123 Lila Bujaldón de Esteves. “Peripecias de dos amigos alemanes en Mendoza: Robert Krause y Johan Moritz Rugendas” ............................................................................. 147 NOTAS Elena Duplancic de Elgueta. “El paso de Uspallata en la visión de algunos viajeros del siglo XIX”.....................................165 Dolly María Lucero Ontiveros. “Juan Solano Luis y su añoranza española”.........................................................................175 María Banura Badui de Zogbi. “De vuelos y regresos. Pájaro ciego , de Luis Gorosito Heredia”.................................... 191 Raúl Femando Pena. “La poesía de Abelardo Vázquez” ...........201 Marta Gómez de Rodríguez Britos. “El poema ilustrado en la década del ’30".....................................................................215 Gloria Videla de Rivero “‘Cigana nupcial’, de Jorge Enrique Ramponi”..........................................................225 SECCIÓN BIBLIOGRÁFICA Gloria Videla de Rivero. “Contribución para una bibliografía de Luis A. Gorosito Heredia (1902-1972)”.................................. 235 RESEÑAS “Gloria Videla de Rivero. Revistas culturales de Mendoza (1905-1997)'\ por Marta Elena Castellino................................... 249 “Revista de la Junta de Estudios Históricos de Mendoza. Tercera Época, N° 2”, por Gloria Videla de Rivero .....................252 “Gloria Videla de Rivero (Coordinadora). Marta Elena Castellino, Hebe Molina, Víctor Gustavo Zonana. Literatura de Mendoza. Espacio, historia, sociedad. Tomo I”, por María Banura Badui de Zogbi ................253 IN MEMORIAM “Germán Orduna”, por Gloria Videla de Rivero ........................... 259 “Edelweiss Serra”, por Gloria Videla de Rivero ............................260 “Diego Francisco Pró”, por Víctor Gustavo Zonana.....................262 ARTICULOS LA PREDICACIÓN METAFÓRICA EN COLORES DEL JÚBILO (1933), DE JORGE E. RAMPONI Víctor Gustavo Zonana Universidad Nacional de Cuyo. CONICET A Gloria Videla de Rivero 1. Introducción En el desarrollo expresivo ramponiano, Colores del júbilo (1933) representa el arribo del poeta a un segundo momento evolutivo1. Asimismo, atestigua la incidencia de las vanguardias históricas en el sistema de la poesía mendocina1 2. En el volumen, las diversas formas de 1 La crítica sobre la obra de Jorge Enrique Ramponi se ha dedicado especialmente al estudio de Piedra infinita (1942) y Los limites y el caos (1972). Para una mirada de conjunto sobre la crítica del poeta ver: Gloría Videla de Rivero. “Jorge E. Ramponi: contribución para una bibliografía”. Piedra y Canto. Cuadernos del Centro de Estudios de Literatura de Mendoza. Mendoza, CELIM, N° 5, 1997-1998, pp. 217-228. En este estudio me interesa continuar la línea de investigación sobre Colores del júbilo que inicia Gloria Videla de Rivero en “Tradición y vanguardia en Colores del júbilo, de Jorge E. Ramponi”. Boletín de la Academia Argentina de Letras. Buenos Aires, LVI, 1991, pp. 467-481 y desarrolla Fabiana Varela en “Jorge E. Ramponi y la vanguardia en Mendoza: el 'Romance del ángel sagitario'”. Piedra y Canto. Cuadernos del Centro de Estudios de Literatura de Mendoza. Mendoza, CELIM, N° 2, 1994, pp. 119-135. Para la determinación de las etapas en la trayectoria poética del autor remito a Gloria Videla de Rivero. ‘Tradición y vanguardia...”, pp. 467-468. 2 Ver sobre este aspecto: Gloria Videla de Rivero. “Notas sobre la literatura de vanguardia en Mendoza: el grupo Megáfono ”. Revista de Literaturas Modernas. Mendoza, Instituto de Literaturas Modernas, N° 28, 1985, pp. 189-210. 14 VÍCTOR GUSTAVO ZONANA predicación metafórica revelan la aguda sensibilidad lingüística de Ramponi. También, su conocimiento de los nuevos modos de repre­ sentación estética que promueven las distintas vertientes del vanguardis­ mo. Con justicia, Colores del júbilo puede incluirse en la estirpe de poemarios “lujuriosos de metáforas”, como Prismas (1924) de Eduardo González Lanuza o Días como flechas (1926) de Leopoldo Marechal. El reconocimiento de esta particularidad del volumen motiva, en el presente trabajo, el análisis de ciertos aspectos relativos a las formas de predicación metafórica. Primeramente, la inserción de su práctica en un contexto de especulaciones teóricas, conforme a un uso habitual en diversos movimientos vanguardistas. En segundo lugar, la organización de los enunciados metafóricos de acuerdo con los siguientes planos: a) conceptual (referido a los dominios conceptuales que se hallan involucra­ dos en el juego de la metáfora); b) gramatical (relativo a la manifestación verbal de las metáforas, es decir a sus formas léxicas y a su estructura sintáctica); c) textual (coherencia; progresión de tema/ rema); d) retórico (solidaridad del enunciado metafórico con otras figuras del discurso). La consideración atenta de estos aspectos requiere el uso de los instrumentos teóricos que-ofrecen los enfoques cognitivos sobre la metáfora3. Estas líneas de investigación presentan una doble ventaja. Sus teorizaciones tienen puntos en común con las reflexiones de los escritores vanguardistas sobre el tropo4. Además, los estudios cognitivos 3 George Lakoff y Mark Johnson. Metaphors We Live By. Chicago, Chicago University Press, 1980; Mark Tumer. Dead is the Mother o f Beauty. Chicago, Chicago University Press, 1987; George Lakoff, Mark Tumer. More than Cool Reason. A Field Guide to Poeíic Metaphor. Chicago, Chicago University Press, 1989; Mark Tumer, Gilíes Fauconnier. “Conceptual integration and formal expression”. Metaphor and Symbolic Activity. University o f Toronto.N0 10, pp. 183-204. He considerado además aportes de la Lingüística Aplicada: Lynne Cameron and Graham
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