000			03227cam a2200277 a 4500
001			0000068466
003			0001
008			151223s2011 pau b 001 0 eng
020			_z9780611480160 (cloth : alk paper)
020			_z9780611480177 (electronic)
020			_a9781611480160 (pbk.)
040			_aDLC _cDLC _dDLC
082	0	0	_a861.64 _222
084			_a861.64 _bPRI-I
100	1		_aPritchett, Kay, _d1946-
245	1	0	_aIn pursuit of poem shadows : _h[Book] : _bpureza Canelo's second poetics / _cKay Pritchett.
260			_aLewisburg, [Pa.?] : _bBucknell University Press, _cc2011.
300			_a220 pages. ; _c23 cm.
520			_aBorn in the small Extremaduran town of Moraleja in 1946, Spanish poet Pureza Canelo, at the age of twenty-five, published her first collections of poetry, Celda verde and Lugar comn︢ (winner of the 1970 Adonais Prize). By 1979, she had settled upon an understanding of her own aesthetic evolution, which she elaborated in Habitable (Primera poťica). Then, in 1986, after a period of disenchantment with the written word during which she published only two chapbooks-Espacio de emocin̤ (1981) and Vega de la paloma (1984)-she redefined her position in Tendido verso (Segunda poťica). Designed to complement Nature's Colloquy with the Word: Pureza Canelo's First Poetics (Bucknell, 2004), the current text deciphers the intricate poetic language of the poet's mature works, which, at the time of writing, included the two above-mentioned chapbooks as well as Tendido verso, Pasin̤ inďita (1990), and No escribir (1999). The author traces recurrent aesthetic and philosophical positions that serve to differentiate the poet's first and second poetics. Tendido verso is the volume in which temporality supersedes essence and, in so doing, breaks with insights expressed by Juan Ramn̤ Jimňez during his Modernist phase. In Pasin̤ inďita the intimate pronominal discourse between poet and creative other allows them to coalesce into an indeterminate being. At this point the desired goal of the creative process is achieved; the "holy wedding" (hieros gamos) of poet and creative other occurs. No escribir abandons the struggle of Canelo's previous books and carries out the method prescribed by her second poetics. She recognizes that only the creative process can satisfy her desire, and that love, the dominant symbol for creation, indeed, allows the pain of poetic failure to cease. Passion, nonetheless, must stop short of fulfillment, since the written poem, laden with the poet's gaze and subjectivity, cannot exist apart from its shadow.
521			_aAll.
650			_aCanelo, Pureza, _d1946- _zCriticism and interpretation.
650			_aCanelo, Pureza, _d1946- _zVersification.
852			_p53395 _90.00 _h861.64 PRI-I _vGift and Donations _b2nd Floor _dBooks _t1 _q1-New _aJZL-CUI
852			_p53396 _90.00 _h861.64 PRI-I _vGift and Donations _bAuxiliary Section _dBooks _t2 _q1-New _aJZL-CUI
852			_p53397 _90.00 _h861.64 PRI-I _vGift and Donations _bAuxiliary Section _dBooks _t3 _q1-New _aJZL-CUI
999			_c73666 _d73666