Aesthetics of Equilibrium: The Vanguard Poetics of Vicente by Bruce Dean Willis

By Bruce Dean Willis

Aesthetics of Equilibrium is the 1st book-length comparative research of the theoretical prose by means of significant Latin American vanguardist contemporaries, Mario de Andrade (Brazil, 1893-1945) and Vicente Huidobro (Chile, 1893-1948). Willis bargains a comparative research of 2 allegorical texts, Huidobro's "Non serviam" and Mario's "Parabola d’A escrava que nao e Isaura."

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Extra info for Aesthetics of Equilibrium: The Vanguard Poetics of Vicente Huidobro and Mario de Andrade (Purdue Studies in Romance Literatures)

Sample text

Adam is in turn the master of Poetry, since she is after all the “escrava” of the title, although she does not appear to serve him. , is an implied slave of Poetry’s beauty and truth; but he is also her liberator, the chosen one who arrives after generations of servitude. In the beginning, Adam’s plágio [plagiary] unlike Huidobro’s poet’s “nueva era,” does not arise from years of meditation in work and fear. Instead, it springs spontaneously from greed and cunning mimicry: “Invejoso e macaco o primeiro homem resolveu criar também” [Envious and apelike the first man resolved to create too] (OI 201).

However, because Hegel’s slave and master relation- 14 A Desire for Equilibrium ship exists alongside the mother and son relationship, the atmosphere of struggle intensifies. Furthermore, the second struggle that Todorov postulates may be foreshadowed in the poet’s address to his fellow poets; in the presence of the adult, he tries to establish authority over his equals. After his presumably successful revolt, the poet disparages Mother Nature’s matronly role: “adiós, madre y madrastra” (716). Through the use of madrastra, the poet diminishes his relationship with her, bringing into doubt any genetic or hereditary connection, while associating her with a traditional villainess archetype, the Wicked Stepmother.

Ella es el lenguaje del Paraíso y el lenguaje del Juicio Final, ella ordeña las ubres de la eternidad, ella es intangible como el tabú del cielo” (716).

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