THE ORIGINS OF "CREACIONISMO": THE EARLY WORKS OF VICENTE HUIDOBRO (1911--1916) (CHILE).
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Title
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THE ORIGINS OF "CREACIONISMO": THE EARLY WORKS OF VICENTE HUIDOBRO (1911--1916) (CHILE).
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Identifier
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AAI8119671
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identifier
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8119671
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Creator
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PERDIGO, LUISA MARINA.
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Contributor
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Prof. Mary Ann Caws
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Date
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1981
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Language
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English
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Publisher
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City University of New York.
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Subject
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Literature, Comparative
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Abstract
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Much has been written about the notion of Creacionismo and the Creacionista enterprise, but less about the literary and philosophical roots of Creacionismo. While most critical studies have dealt with the works from El espejo de agua on, very few have dealt with the preceding works: this dissertation undertakes a detailed study of the early works of Vicente Huidobro from 1911 to 1916 (including El espejo de agua), delving into the constituents of Huidobro's early writings--leitmotifs, images, themes, rhetorical and stylistic devices--in relation to influential sources. The question of literary influences is studied in a chronological framework taking into account the gradual development of Huidobro's style as it became exposed to new and different material.;This thesis proves that the sources of Creacionismo are found not only in the inherent Spanish tradition and in Huidobro's religious formation, but more importantly in the basic Romantic and Symbolist currents of European literature, influential not only on Huidobro's literary formation, but also on Reverdy's as well as on the literary legacy of the Avant-garde writers, with whom Huidobro came in contact in Europe.;The sources treated here can be grouped into two categories: those who have been poorly studied in relation to Huidobro: the French Symbolists, mainly Baudelaire, Mallarme, Rimbaud, Saint-Pol-Roux and Verlaine; the Cubists, with special attention to Reverdy; and those whose works have been totally ignored in relation to Huidobro's works, and who are key elements in the formation of Creacionismo: the Spanish American Modernista Amado Nervo and the Spanish mystics, Santa Teresa de Jesus and Fray Luis de Leon; the American Transcendentalist Emerson, the Belgian Symbolist Georges Rodenbach.;In our analyses we employ various methods whenever they seem appropriate, in accordance with the type of text being analyzed. Methods range from the stylistic one (Guiraud, Riffaterre) to the transformational (Ruwet, Fodor/Katz), to the semiotic one (Eco, Kristeva, Riffaterre); we also follow Bousono's theories for classifying and comparing the different images. The works themselves are divided into two main parts: in Chapter II, the poet in Chile--1911 to 1914--: from Ecos del alma to Adan; and in Chapter III, the year 1916: El espejo de agua.;Throughout we pose several questions: when and where did Creacionismo really begin: after the theoretical statements of 1914 at the Atheneum of Santiago?, at the Atheneum of Buenos Aires in 1916?, in Adan or in El espejo de agua? We ask whether Creacionismo was restricted to being a mastery of the latest Modernista techniques before Huidobro left for France, or whether this so-called Modernismo contained more than just Modernismo?, what linked thematically, philosophically, and stylistically all these early books so apparently different? We prove that Creacionismo did not begin ex-nihilo, as most critics believe but that from the years 1912, 1913 and 1914, it evolved gradually, until it reached what became the style of El espejo de agua, the style which Huidobro took to France, and found parallel to the prevailing one of Nord-Sud, especially, to that of Reverdy. Although the evolution of Huidobro's writings after El espejo de agua was pronounced, his style remained basically Symbolist.
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Type
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dissertation
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Source
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PQT Legacy Restricted.xlsx
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degree
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Ph.D.
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Program
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Comparative Literature