Publication: Julio Cortázar y John Keats: hacia una ecología poética
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2019-02-21
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Universidad Complutense de Madrid
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Abstract
En el andamiaje literario de la poética de Julio Cortázar (1914-1984), el romanticismo ocupa un lugar crucial pero mal entendido y estudiado hasta hoy, siempre a la sombra de las corrientes del siglo XX que lo sucedieron y que dejaron también huellas sobre su obra: el surrealismo y el existencialismo, que frecuentemente anticipa y de las que en ocasiones es difícil distinguirlo. Entre los autores románticos, la relación de la obra de Cortázar con la del poeta inglés John Keats es, junto a la de Poe, la más íntima, fértil y duradera,pero ha sido también la más incomprendida por la crítica. Imagen de John Keats (1951-1952), inédito hasta 1996 y pocas veces tenido en cuenta, es un homenaje a Keats y un viaje de su autor a través de los orígenes de la poesía moderna, pero es a la vez una biografía literaria del Cortázar de 1951, el año de su partida definitiva a París, cierre de su etapa argentina. Piedra angular de la poética del primer Cortázar, contiene la semilla desde la que crecerá su futura visión de mundo y funda la estrategia ensayística de libros de madurez como La vuelta al día en ochenta mundos (1967), Último round (1969), Territorios (1978), Los autonautas de la cosmopista (1983) o Salvo el crepúsculo (1984)...
In the literary architecture that underpins the poetics of Julio Cortázar (1914-1984), romanticism occupies a key place, but one that has been misunderstood and little studied to date. Consideration of romanticism has always been overshadowed by the twentieth-century movements that succeeded it and also left their mark on Cortázar’s work: surrealism and existentialism, which romanticism frequently anticipates and from which they are, on occasion, difficult to distinguish. Among the romantic authors, the link between Cortázar’s work and that of the English poet John Keats is, along with the connection with Poe, the most intimate, fertile and lasting, though it is also the most misinterpreted by critics. Imagen de John Keats (1951-1952), unpublished until 1996 and rarely taken into consideration, is a tribute to Keats and a journey by the author through the origins of modern poetry. It is also a literary biography of Cortázar in 1951, the year that he finally left for Paris, closing his Argentinian period. A cornerstone in the poetics of early Cortázar, this work contains the seed from which would grow his future worldview, providing the foundation for his approach to the essay in more mature works such as La vuelta al día en ochenta mundos (1967), Último round (1969),Territorios (1978), Los autonautas de la cosmopista (1983) and Salvo el crepúsculo (1984)...
In the literary architecture that underpins the poetics of Julio Cortázar (1914-1984), romanticism occupies a key place, but one that has been misunderstood and little studied to date. Consideration of romanticism has always been overshadowed by the twentieth-century movements that succeeded it and also left their mark on Cortázar’s work: surrealism and existentialism, which romanticism frequently anticipates and from which they are, on occasion, difficult to distinguish. Among the romantic authors, the link between Cortázar’s work and that of the English poet John Keats is, along with the connection with Poe, the most intimate, fertile and lasting, though it is also the most misinterpreted by critics. Imagen de John Keats (1951-1952), unpublished until 1996 and rarely taken into consideration, is a tribute to Keats and a journey by the author through the origins of modern poetry. It is also a literary biography of Cortázar in 1951, the year that he finally left for Paris, closing his Argentinian period. A cornerstone in the poetics of early Cortázar, this work contains the seed from which would grow his future worldview, providing the foundation for his approach to the essay in more mature works such as La vuelta al día en ochenta mundos (1967), Último round (1969),Territorios (1978), Los autonautas de la cosmopista (1983) and Salvo el crepúsculo (1984)...
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Tesis de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española IV, leída el 21/11/2018. Retirada por expreso deseo de la autora.