EL SIGNO Y SU SEMIOSIS: DISCURSO POETICO DE OLIVERIO GIRONDO. (SPANISH TEXT).
Item
-
Title
-
EL SIGNO Y SU SEMIOSIS: DISCURSO POETICO DE OLIVERIO GIRONDO. (SPANISH TEXT).
-
Identifier
-
AAI8112355
-
identifier
-
8112355
-
Creator
-
GARCIA, S. OFELIA.
-
Date
-
1981
-
Language
-
Spanish
-
Publisher
-
City University of New York.
-
Subject
-
Literature, Latin American
-
Abstract
-
The poetic discourse of Oliverio Girondo consists of a constant semiosis of the sign into a higher level of significance. Even in his first two books of poems: Veinte poemas para ser le(')idos en el tranv(')ia (1922) and Calcoman(')ias (1928) the reader becomes aware of the use of semantic humor as a means of distorting the mimetic reality of the poems to produce the semiosis. In the first chapter we examine Girondo's relationship with other textual interpretants: the absurd world of the "greguer(')ias" of Ramon Gomez de la Serna, the ludic spirit of the Lugones of El lunario sentimental and of the Guiraldes of El cencerro de cristal, the cubism of Max Jacob, Apollinaire and Paul Morand, and finally the metaphoric ingenuity of the "ultra(')istas" from Seville and Argentina. Although he was widely known as an "ultra(')ista," we demonstrate that Girondo's metaphysical humor places him in a distinct "avant-garde" position, going beyond all literary movements of the 20th century.;Espantapajaros, published in 1932, represents, with its use of prose poems, the transition from a critique of both the subject and the object to a critique of language itself. Read as a metonym of Le cornet a des of Max Jacob, Espantapajaros values the signifier over the signified of the sign, and pays attention to the connotative rather than the denotative function of the word. The metaironic eroticism of the signs thus connects Girondo's Espantapajaros to the poetic texts of Marcel Duchamp and the surrealists.;Girondo's last two books of poetry are metatexts, where he experiments with the limits of language itself. In an effort to discover a poetic sign free from all cultural restraints, the poet reunites language, myth and art in a sacred bond, thus bringing mankind back to the original indistinction.;In Persuasion de los d(')ias (1942) Girondo simplifies and purifies his poetic language so as to reach the "Absolute Nothingness" of Mallarme and the "plenary silence" of Octavio Paz. His desire to find the original cosmic rhythm is answered in the "pampa" which he internalizes in the long poem, Campo nuestro (1946).;Girondo's effort to foreground poetic language and motivate its sign does not end here. En la masmedula transforms the linguistic sign through morphological humor into a poetic universe that supersedes the limitation of conventional language: the arbitrariness of the sign. His poetry activates the sacred power of the word which then creates a new world and a new human being. Since many modern poets have attempted to motivate the linguistic sign, we relate Girondo's poetic discourse with that of Klebnikov, Leon Paul Fargue, Henri Michaux, Andre Martel and James Joyce. We also examine Girondo's relationship with works of other Latin American authors who have pushed language into the foreground of expression: Mariano Brull, Cesar Vallejo, Vicente Huidobro and Julio Cortazar.;Since the semiotical perspective of this dissertation only concerns itself with the writing of the poetic text and not with the biographically defined individual that produced it, we include three appendices which shed some light on the life of Girondo and his role as poetic catalyzer of Argentina's recent poets.
-
Type
-
dissertation
-
Source
-
PQT Legacy CUNY.xlsx
-
degree
-
Ph.D.
-
Program
-
Spanish
