837 research outputs found
Del escrito ensayístico Los orígenes de la música y la música primitiva de Alejo Carpentier y de su proyección en su novela Los pasos perdidos: de un eufónico viaje a la semilla
No full textThe popularization of essays and theories that deal with Carpentier and his narrative took place throughout the 60's, 70’s, 80’s and early 90's. After a smooth fever about Carpentier in the recent years of the last century, the interest for the autor reappear with the celebration of the centenary of his birth. However, the number of such interdisciplinary approaches, which have already been made to the musical essays of the author, is, by far, poor and meagre. With this article we proceed, on the one hand, to dissect, analyze and present Carpentier’s unpublished essay Los orígenes de la música y la música primitiva, the importance of which, as a significant part of the musical essays by the Cuban author, has so far devalued by the members of the critical apparatus; and to examine, on the other hand, how the musical essay is used by the author as a programmatical theory for the consolidation of his novel Los pasos perdidos.La proliferación de escritos teóricos e investigaciones en torno a la figura de Alejo Carpentier y su novelística se hizo hecho notorio a lo largo de los años 60, 70, 80 e inicios de los 90. Tras un aplacamiento de dicha fiebre en las postrimerías del anterior siglo, el interés por el autor rebrota con la celebración del centenario de su nacimiento (2004). Con todo, cabe apuntar que resulta pobre y exiguo el número de acercamientos de tipo interdisciplinario que se han practicado para con la ensayística de índole musicológica del autor. En el presente artículo procedemos, por un lado, a diseccionar, analizar y presentar el ensayo inédito de Carpentier Los orígenes de la música y la música primitiva, cuya importancia, como una significativa parte de la ensayística musicológica del autor cubano, ha sido devaluada por los integrantes del aparato crítico; y a examinar, por otro lado, cómo el ensayo sirve al autor como teoría programática para la consolidación de su novela Los pasos perdido
Jules Romains, Jacques Benoist-Méchin, Jacques de Bourbon-Basset, le général Carpentier, Albert Champdor, Robert Flacelière, Jean Lartéguy, Jacques Madaule, Gérard Walter, Alexandre le Grand (Coll. « Génies et Réalités »), 1962
No full textPédech Paul. Jules Romains, Jacques Benoist-Méchin, Jacques de Bourbon-Basset, le général Carpentier, Albert Champdor, Robert Flacelière, Jean Lartéguy, Jacques Madaule, Gérard Walter, Alexandre le Grand (Coll. « Génies et Réalités »), 1962. In: Revue des Études Anciennes. Tome 65, 1963, n°3-4. pp. 509-511
Despedida de Carpentier (viaje a mi semilla)
No full textThe article synthesizes the fifty-year mutual trajectory of a critic, Roberto González Echevarría and the writings of an author, Alejo Carpentier. It goes over the trails left by one and the other. Roberto González Echevarría is the most lucid and insightful critic Carpentier ever had and Carpentier is the writer who most systematically appears in the work of Roberto González Echevarría. Both also had a deep and tense friendship. In this original critical and autobiographical adventure, the reader will be present in what González Echevarría himself calls a journey to his Carpenterian sources and a farewell by the great novelist.Keywords: Alejo Carpentier; Roberto González Echevarría; Magical Realism, Marvelous Real; Boom of the Latin American Novel.O artículo resume una trayectoria de más de cincuenta años de trabajo de un crítico, Roberto González Echevarría, con la obra monumental de un escritor, Alejo Carpentier. Acompañar la obra y la vida de uno, es seguir las huellas del otro. Es Roberto González Echevarría el más lúcido e incisivo crítico que ha tenido Carpentier y es Carpentier el escritor que con más sistematicidad ha estado en la obra de Roberto González Echevarría. Ambos mantuvieron además una profunda y tensa relación de amistad. En esta original aventura crítica y autobiográfica, el lector asiste a lo que el propio crítico llama de un viaje a su semilla carpentereana y una despedida del gran novelista.Palabras clave: Alejo Carpentier; Roberto González Echevarría; realismo mágico; realismo maravilloso; Boom de la novela hispanoamericana.O artigo resume uma trajetória de mais de cinquenta anos de trabalho de um crítico, Roberto González Echevarría, com a obra monumental de um escritor, Alejo Carpentier. Acompanhar o trabalho e a vida de um é seguir os passos do outro. Roberto González Echevarría é o crítico mais lúcido e incisivo que Carpentier já teve, e Carpentier é o escritor que com mais sistematicidade esteve na obra de Roberto González Echevarría. Os dois também mantiveram uma amizade profunda e tensa. Nesta original aventura crítica e autobiográfica, o leitor testemunha o que o próprio crítico chama de uma viagem à sua semente carpentereana e uma despedida do grande romancista.2Palavras-chave: Alejo Carpentier; Roberto González Echevarría; realismo mágico; realismo maravilhoso; Boom do romance hispano-americano
The Lost Steps from Carpentier: between the Marvellous Real and Jungle Novel
No full textTato práce analyzuje nejznámější román kubánského spisovatele Aleja Carpentiera, Ztracené kroky (Los pasos perdidos, 1953). Jedná se o vrcholné dílo konceptu tzv. zázračného reálna, jehož autorem je právě Carpentier, který tento literární směr definoval v ?Předmluvě? k dílu Království z tohoto světa (El reino de este mundo, 1949). První část práce je věnována definici zázračného reálna a následné analýze Ztracených kroků jakožto zástupce tohoto literárního směru. Tento román se řadí i mezi tzv. pralesní román, který je typický pro hispanoamerickou literaturu. Následuje tedy také analýza konceptu pralesního románu a analýza Ztracených kroků z tohoto hlediska. Poslední část práce je věnována autobiografickým prvkům, které se vyskytují v tomto díle.This work analyses the most famous novel of Cuban writer Alejo Carpentier, The Lost Steps (Los pasos perdidos, 1953). It is considered as a prime work of the concept of the Marvellous Real, whose author is Carpentier, who defined this literary genre in the ?Prologue? of The Kingdom of This World (El reino de este mundo, 1949). The first part of the work is dedicated to definition of the Marvellous Real and subsequent analysis of The Lost Steps as a representative of this literature genre. This novel is ranked among to the Jungle Novel, which is typical for the Hispano-American literature. The next part analyses the concept of the Jungle Novel and The Lost steps as its representant. The last part of the work is dedicated to the autobiographical elements, which are included in this novel
O’Casey vs. Sheehy-Skeffington: Tragicomedy in The Plough and the Stars and the Feminist Protest
No full textMartha C. Carpentier is Professor of English at Seton Hall University in New Jersey, where she teaches courses in 20th-century British and Irish literature. Most recently, she is the editor of Joycean Legacies (Palgrave MacMillan 2015) and author of articles on James Joyce, George Orwell, and Graham Greene that have appeared in Mosaic and Joyce Studies Annual. She is a co-editor of Critical Inquiries Into Irish Studies
The baroque in the late works of Alejo Carpentier
No full text"There is, as Roberto Gonzalez Echevarria has noted an ""unstable core"" or a ""radical and pervasive discord at the center of Carpentier's production"" (The Pilgrim at Home 17). In this study, we focus on the notion of instability to approach the baroque. This style in Carpentier's work represents the tension between two modes of signification which produce narrative excess. While it appears that this instability is unconscious in the early works, it is argued that there is a conscious effort in the late works to exploit and revel in discursive instability."This study provides a revision of the current critical construction of Carpentier's baroque style, drawing upon the studies of critics such as Severo Sarduy, Jose Lezama Lima and Eugenio D'Ors. Four novels are examined: El recurso del metodo (1974), Concierto barroco (1974), La consagracion de la primavera (1979), and El arpa y la sombra (1979). All consciously exploit the unstable center to challenge the traditional readings of confessional self-accounting, identity and self-definition."There are two principal themes examined throughout this work. The first is called the ""Adamic project"". In the 1950s, Carpentier suggested that defining Latin American reality in the novel was the responsibility of the novelist. In these works, Carpentier subverts the pretenses of cultural self-definition. He suggests that these foundational acts are reductionist ideologies based on constructed notions of identity. The second predominant theme is a criticism of the baroque theatrical self. Carpentier examines how space imposes the notion of identity and, in so doing, he attempts to resolve the problematics established in the short story ""Viaje a la semilla"" (1944). Carpentier, demystifies the concept of identity as a theatrical, imposed by space and, in the process, attempts to recover the intimate self lost to capitulation and compromise.""The baroque, one of Europe's most complex and conservative discourses, becomes a counter-discourse which challenges the hegemonic notion of identity. Baroque discourse is a metaphor for Latin America, a world in a constant process of symbiosis, mutation and synthesis. For Carpentier, ""el legitimo estilo del novelista latinoamericano actual es el barroco"" (Ensayos 41)."Made available in DSpace on 2011-05-07T14:07:41Z (GMT). No. of bitstreams: 2
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Chateaubriand y Pitou, proveedores 'reales' de El siglo de las luces de Alejo Carpentier
No full textAbstract: The essay analyses the intertextual dialogue in El siglo de las luces by Alejo Carpentier with the work by the conservative writer Chateaubriand and the memories Voyage Cayenne, by the French monarchist Louis-Ange Pitou. Both authors are included in the preparatory documents of the novel, conserved in Havana and never consulted until now. Whereas Carpentier resignifies the literal quotes of the literary text by means of the co-text, the fragments of the historical-testimonial work are amplified, in accordance with the typical baroque style of the author. Both works overthrow the ideas proposed by El siglo de las luces, because Chateaubriand defends Romanticism and Pitou attacks the barbarism of the Revolution. These two examples contribute to grasp the poetics of Carpentier that consists of rewriting, subversion and assimilation of texts, often written by Europeans and related to America
Alejo Carpentier, a cross-cultural author. The case of "El reino de este mundo"
No full textThe Cuban Alejo Carpentier is a cross-cultural author, writing between cultures. He takes European literary strategies in order to accomplish his aim: to depict the Latin American essence as no one had done before. To do so, he develops new instruments: the marvelous real and the neobarroque. In this article, we will consider Carpentier’s transcultural strategies and, from this point of view, his representation of Latin America in the novel El reino de este mundo (The kingdom of this world). The novel presents the subcontinent as a transcultural product, and there is a group of characters who already represent the new world: Monsieur Lenormand de Mezy, Paulina and Henri Christophe. Mackandal, on the other hand, embodies the marvelous real, a strategy that is in itself a transcultural product
Alejo Carpentier ante lo indígena: ¿antropólogo, escritor o nativo?
No full textABSTRACT: Two written pieces on the matter of indigenous peoples by the Cuban writer, Alejo Carpentier (the novel Los Pasos Perdidos and the story Los Advertidos) have led some to give the author the title of “anthropologist”. This title, however, can be called into question when these pieces – and others in the same context – are examined in light of what would be a specifically anthopoligal attitude in Latin American narrativeRESUMEN: Dos trabajos de tema indígena del escritor cubano Alejo Carpentier (la novela Los pasos perdidos y el relato Los advertidos) han gozado de una recepción entusiasta en la que el autor es visto como “antropólogo”. Dicho reconocimiento, sin embargo, puede ponerse en tela de juicio al examinar las obras –y otras del mismo contexto– a la luz de lo que sería una actitud propiamente antropológica en la narrativa latinoamericana
El testimonio sobre la Guerra Civil en la literatura periodística de Alejo Carpentier
No full textThis article proposes a critical reflection of the four chronicles that Alejo Carpentier wrote in the years of the Spanish Civil War. In order to
cover an exhaustive proposal of critical interpretation, the reading of
Carpentierian texts has to be detached from an attentive analysis of the
argumentative strategies of those pages, so unusual in the Cuban literary
production. To achieve this objective, a discourse qualitative analysis approach will be used, in particular, to argue the pragmatic inclusion of the
Cuban reader in what the author experienced. Through a critical reading
of the discourse, the conclusions will try to define the chronicles of the
Carpentier’s España bajo las bombas in the more general framework of
the long history of transatlantic relations between Europe and America
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