The Andean imprint in the poetry of César Vallejo

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If in The Black Messengers the thematic rebellion manifests itself, especially before a world abandoned by God, and if in Trilce the categorical rebellion predominates against the statute of language and the symbolic universe, Human Poems and Spain, Take This Chalice from Me make up the perfect synt...

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Autor principal: Lespada, Gustavo
Formato: Artículo publishedVersion
Lenguaje:Español
Publicado: Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires) 2020
Materias:
Ayllu
poetry
community
language
orality
poesía
comunidad
lenguaje
oralidad
poesia
comunidade
linguagem
oralidade
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/zama/article/view/9619
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=9619_oai
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Repositorio Digital de la Universidad de Buenos Aires (UBA) de Universidad de Buenos Aires
id I28-R145-9619_oai
record_format dspace
spelling I28-R145-9619_oai2025-11-17 Lespada, Gustavo 2020-11-30 If in The Black Messengers the thematic rebellion manifests itself, especially before a world abandoned by God, and if in Trilce the categorical rebellion predominates against the statute of language and the symbolic universe, Human Poems and Spain, Take This Chalice from Me make up the perfect synthesis of social and human criticism with the boldest formal transgressions. The poetic project of César Vallejo, which begins to take shape from his first verses, contains –in addition to Quechua terminology and imaginary– records of orality and numerous identity elements typical of the Inca worldview in whose ancestry he took pride. The communal conceptions of the Inca Ayllu are found in his syncretic Christianity in The Black Messengers, and then manifest in Trilce, in frank opposition to the modern city’s hostility and contractual or mercantilist relations. This work aims to identify and study this persistent cultural identity from different entrances to his poetic work. Si en Los heraldos negros se manifiesta la rebeldía temática, sobre todo ante un mundo abandonado por Dios, y si en Trilce predomina la rebelión categórica contra el estatuto del lenguaje y el universo simbólico, Poemas humanos y España, aparta de mí este cáliz componen la síntesis perfecta de la crítica social y humana con las transgresiones formales más audaces. El proyecto poético de César Vallejo, que comienza a perfilarse desde sus primeros versos, contiene –además de terminología e imaginario quechua– registros de la oralidad y numerosos elementos identitarios propios de la cosmovisión incaica de cuya ascendencia se enorgullece. Las concepciones comunitarias del Ayllu incaico se encuentran cifradas en su cristianismo sincrético en Los heraldos negros, para luego manifestarse en Trilce, en franca oposición a la hostilidad y las relaciones contractuales o mercantilistas de la ciudad moderna. Identificar y estudiar esta persistente identidad cultural a partir de distintas entradas a su obra poética es el objetivo de este trabajo. Se em Los heraldos negros a rebelião temática se manifesta num mundo abandonado por Deus, e se em Trilce a rebelião categórica predomina contra o estatuto da língua e do universo simbólico, nas obras Poemas Humanos e España, aparta de mí este cáliz são a síntese perfeita de críticas sociais e humanas combinadas às mais ousadas transgressões formais. O projeto poético de César Vallejo, que começa a tomar forma após seus primeiros versos, contém - além da terminologia e o imaginário quíchua - registros de oralidade e numerosos elementos de identidade típicos da cosmovisão inca de cuja ancestralidade ele se orgulha. As concepções comunais dos Ayllu Inca são encontradas em seu cristianismo sincrético nos Los heraldos negros e depois em Trilce, em franca oposição à hostilidade e às relações contratuais ou mercantilistas da cidade moderna. Este trabalho alveja identificar e estudar essa identidade cultural persistente nas diferentes entradas de sua obra poética. application/pdf text/html https://revistascientificas.filo.uba.ar/index.php/zama/article/view/9619 10.34096/zama.a12.n12.9619 spa Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires) https://revistascientificas.filo.uba.ar/index.php/zama/article/view/9619/8381 https://revistascientificas.filo.uba.ar/index.php/zama/article/view/9619/8403 Zama; Vol. 12 No. 12 (2020); 113 Zama; Vol. 12 Núm. 12 (2020); 113 Zama; v. 12 n. 12 (2020); 113 2422-6017 1851-6866 Ayllu poetry community language orality Ayllu poesía comunidad lenguaje oralidad Ayllu poesia comunidade linguagem oralidade The Andean imprint in the poetry of César Vallejo La impronta andina en la poesía de César Vallejo A marca andina na poesia de César Vallejo info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=9619_oai
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-145
collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
language Español
orig_language_str_mv spa
topic Ayllu
poetry
community
language
orality
Ayllu
poesía
comunidad
lenguaje
oralidad
Ayllu
poesia
comunidade
linguagem
oralidade
spellingShingle Ayllu
poetry
community
language
orality
Ayllu
poesía
comunidad
lenguaje
oralidad
Ayllu
poesia
comunidade
linguagem
oralidade
Lespada, Gustavo
The Andean imprint in the poetry of César Vallejo
topic_facet Ayllu
poetry
community
language
orality
Ayllu
poesía
comunidad
lenguaje
oralidad
Ayllu
poesia
comunidade
linguagem
oralidade
description If in The Black Messengers the thematic rebellion manifests itself, especially before a world abandoned by God, and if in Trilce the categorical rebellion predominates against the statute of language and the symbolic universe, Human Poems and Spain, Take This Chalice from Me make up the perfect synthesis of social and human criticism with the boldest formal transgressions. The poetic project of César Vallejo, which begins to take shape from his first verses, contains –in addition to Quechua terminology and imaginary– records of orality and numerous identity elements typical of the Inca worldview in whose ancestry he took pride. The communal conceptions of the Inca Ayllu are found in his syncretic Christianity in The Black Messengers, and then manifest in Trilce, in frank opposition to the modern city’s hostility and contractual or mercantilist relations. This work aims to identify and study this persistent cultural identity from different entrances to his poetic work.
format Artículo
publishedVersion
author Lespada, Gustavo
author_facet Lespada, Gustavo
author_sort Lespada, Gustavo
title The Andean imprint in the poetry of César Vallejo
title_short The Andean imprint in the poetry of César Vallejo
title_full The Andean imprint in the poetry of César Vallejo
title_fullStr The Andean imprint in the poetry of César Vallejo
title_full_unstemmed The Andean imprint in the poetry of César Vallejo
title_sort andean imprint in the poetry of césar vallejo
publisher Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires)
publishDate 2020
url https://revistascientificas.filo.uba.ar/index.php/zama/article/view/9619
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=9619_oai
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