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Latin American Language Poetry, Themes and Techniques

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Latin American Language Poetry, Themes and Techniques LATIN AMERICAN LANGUAGE POETRY, THEMES AND TECHNIQUES: A RENEWAL OF POETIC DISCOURSE IN POST-MILLENNIUM AUTHORS A Dissertation by NANCY W. DE HONORES Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Eduardo Espina Co-Chair of Committee, Stephen Miller Committee Members, Alain Lawo-Sukam J. Lawrence Mitchell Head of Department, María Irene Moyna August 2017 Major Subject: Hispanic Studies Copyright 2017 Nancy W. De Honores ABSTRACT Latin American Language Poetry, Themes and Techniques: A Renewal of Poetic Discourse in Post-Millennium Authors provides a study of Latin American poetry with works from the second half of the 20th and first two decades of the 21st Centuries. This study analyzes the works of David Rosenmann-Taub (Chile 1927), José Kozer (Cuba 1940), and José Morales Saravia (Perú 1954) to reveal the themes and techniques they utilize as tools in their labors. On the lyrical and literary level, the investigation provides a briefing of sound, identity, and the anabatic or ascension theory in relationship with their works and post-contemporary sociocultural endeavors. Additionally, it focusses on the new approaches and paths they take within their poetic styles and the new elements and components that characterize their works. While these poets are now considered under the Neobaroque style, their approach based on the crafting and molding of language accommodates their works under the umbrella of “Post-Millenium Latin American Language Poetics.” This fact renews poetic discourse in the field. The research establishes a theoretical frame to study the themes and techniques. It also presents a descriptive approach along with a concise poetry analysis of several works by the above-mentioned authors and renders a view of their evolution and accessibility of their works. ii DEDICATION I dedicate this dissertation to my mother and father, Blanca Luna Victoria, and Oswaldo Walasky; to my grandmother Ofelia, and my husband César. Also, to my youngest son Erick, who constantly encouraged my endeavors and rewarded my work with incentives from Madrid, Paris, Berlin, Beijing, Shang-Hai, Tokyo, etc. And, to Dominican religious Mother Angel, and Mother Katelyn, my Kindergarten and 3rd Grade teachers, respectively, who taught me persistence, discipline, and hard work can make a difference in life. iii ACKNOWLEDGEMENTS My warmest thanks and eternal gratitude to all members of my dissertation committee: Dr. Stephen Miller, Dr. Alain Lawo-Sukam, Dr. Larry Mitchell, for theirmost valuable work in reading and wise advice in editing. Special gratitude and thanksto my Chair, Dr. Eduardo Espina, who believed in me and despite of his many obligations took time to help me and support my efforts and work, without him this work would not have the structure it does. Also, my heartfelt thanks to the CORDA Foundation, for their willingness providing the books I needed. My special gratitude to José Kozer my poet-friend, who wrote several dedications in his books for me, a humble student, and made me feel honored to be one of his disciples in life; also to poet and writer José Morales Saravia, who no matter the distance (Berlin), answered my email messages. iv CONTRIBUTORS AND FUNDING SOURCES Faculty Committee Recognition This work was supervised by a dissertation committee consisting of Professors Eduardo Espina, Advisor, Professor Stephen Miller, Co-Advisor, and Professor Alan Lawo-Sukam, of the Department of Hispanic Studies. Also, by Professor J. Lawrence Mitchell, Emeritus Professor from the Texas A&M English Department. All work for this dissertation has been conducted and completed independently by the author of this dissertation. Funding Sources There are no outside funding contributions to acknowledge related to the research and compilation of this document. v TABLE OF CONTENTS Page ABSTRACT .......................................................................................................................ii DEDICATION ................................................................................................................. iii ACKNOWLEDGEMENTS .............................................................................................. iv CONTRIBUTORS AND FUNDING SOURCES .............................................................. v TABLE OF CONTENTS .................................................................................................. vi LIST OF FIGURES ........................................................................................................... ix LIST OF TABLES ............................................................................................................. x CHAPTER I PREFACE AND INTRODUCTION ........................................................... 1 Sound, the Soul of Poetry ............................................................................................. 10 Identity: A Space of One’s Own .................................................................................. 19 Anabatic Reason, a Purpose for Ascension .................................................................. 24 The Neobaroque, a Legacy ........................................................................................... 29 Origins and Conditioning Facts for the Emergence of the Neobaroque .................. 30 Names, Nicknames, and Appellatives of the Neobaroque ....................................... 33 Defining the Neobaroque ......................................................................................... 37 Expansion ................................................................................................................. 41 CHAPTER II POST-MILLENNIUM LANGUAGE POETRY: A NEW LYRICAL DIMENSION FOR THE AMERICAS ............................................................................ 44 Beginning Centers ........................................................................................................ 45 Post-Millennium Language Poetry: Definition and Characteristics ............................ 49 Influences and Predecessors ......................................................................................... 53 Themes in Post-Millennium Language Poetry ............................................................. 54 Techniques/Strategies of Post-Millennium Poetry ....................................................... 57 Language Poetry Constituents/Representatives/Authors ............................................. 61 The Expansion and Extension of Language Poetry ..................................................... 65 Linguistic Borders ........................................................................................................ 69 Recent Criticism ........................................................................................................... 71 Post-Millennium Language Poetry by-of the Americas for the World ........................ 77 vi CHAPTER III DAVID ROSENMANN-TAUB: THEMES, TECHNIQUES, AND A RHETORICAL SOUND OF POETRY ....................................................................... 80 David Rosenmann-Taub’s Poetic Approach ................................................................ 80 Themes: Baroque/Neobaroque/Post-Millennium Language Poetry ............................ 83 Techniques/Strategies—Multiple Approaches ........................................................... 121 Linguistic Techniques: Elements and Predominant Sound Patterns ...................... 122 Sonic Devices ............................................................................................................. 142 Multiple Appreciation and Challenging Interpretation .............................................. 149 Analysis of “Hipóstasis:” Themes, Techniques, and Sound Rhetoric ....................... 151 Educational Themes as Areas of Concentration in “Hipóstasis” .............................. 152 Linguistic Techniques, Sound Rhetoric/Graphics in “Hipóstasis” ............................ 156 Analysis of “El encargo:” Themes and Socio-Cultural Orientation ......................... 171 Linguistic Strategies, Graphics, and Sound Rhetoric in “El encargo” .................. 174 Linguistic and Rhetorical Toolbox ......................................................................... 175 Grammatical Appreciation ................................................................................. 175 Lexical Approach: Literal/ /Symbolic Meaning, and Punctuation Marks .............. 177 Syntax and Semantic Interface ............................................................................... 182 Sound Rhetoric: Orality, Rhyme, Rhythm, and Phonology ....................................... 187 Orality ..................................................................................................................... 187 Rhyme, Rhythm, and Phonology ........................................................................... 189 Complexities and Evolution of Rosenmann-Taub’s Works ....................................... 195 Combining Sound and Visual Appreciation............................................................... 200 CHAPTER IV JOSÉ KOZER: THEMES AND STRATEGIES IN THE POETICS OF MEMORY, IDENTITY, AND ABUNDANCE ..................................................... 214 Themes and Topics: Katharsis and Profusion............................................................ 221 Themes: A Post-Millennium
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