In his first published collection of poetry, Cortejo y epinicio (1949), Chilean author David Rosenmann-Taub (1927) references Jewish culture, prayers and beliefs. This project seeks to foreground the Jewishness in his work, as well as the cross-cultural spaces it creates. One of the central means in which Rosenmann-Taub explores Jewish forms of relating to God is through the use of apostrophe. The first section of this essay offers a theoretical framework for discussing apostrophe in poetry and prayer. The three following sections focus on three poems – “Elegía y Kadisch,” “Gólgota,” and “Schabat” – that depict speakers talking to or about God. Their reactions range from continued pleading with God, in the hope of hearing some response, to an attempt to speak for God to a refusal to address God at all. With each section, I consider the poem alongside the Jewish prayers and conventions that serve as a reference point for the poem’s rewritten prayers to God. This comparison not only highlights the notable presence of Jewish forms in Rosenmann-Taub’s poetry, but also points to how he challenges and reframes them. Rosenmann-Taub dramatizes the thresholds between belief and disbelief, divine and earthly, to point to the construction of faith as a mode of being that collapses these boundaries. In the final section of the essay, I situate Rosenmann-Taub’s work within its historical and literary context to highlight the ways in which his inquiries resonate with other poetic works emerging in Chile at that moment in time, as well as how he builds on them by representing Jewishness, heterogeneity, and heterodoxy as part of Chilean culture. / text

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 344-363). Also available for download via the World Wide Web; free to University of Oregon users.

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The intention of the thesis is characterization of the innovative poetry, which appears in a composition named Altazor o el viaje en paracaídas by avant-garde poet Vicente Huidobro. In the beginning, I will focus on describing the situation, which anticipated the creation, partly I will present an author`s background and artistic circles, where he used to appear in. He was influenced significantly by francophone environment. Part of his work, including fragments of Altazor, was even written in french language. Consecutively I will describe the evolution of his literary creation to the moment of writing the Altazor. During this period Vicente Huidobro introduced his own literary movement - the creationism. I will subsequently compare fundamentals of the creationism with the ideas of the Spanish philosopher José Ortega y Gasset expressed in his essay named The Dehumanization of art. Here I will focus on describing the perception of literary creations at the time of writing both pieces and also I will outline characteristics of "new art". Then I will analyse the composition of the Altazor itself with regard to composition, language and themes. I will place the most emphasis on thematic analysis of the composition, where I will focus on usage of recurring motifs. In the language analysis I will explain...

O livro Canto general, de Pablo Neruda, é uma das mais importantes obras poéticas do século XX. Escrito em plena Guerra Fria, almeja abordar a totalidade do continente americano sob a égide do engajamento político de seu autor, importante militante do Partido Comunista à época da composição da obra. Este trabalho pretende discutir as escolhas feitas pelo autor quanto à politização de sua poesia e suas consequências estéticas e políticas, com particular interesse no processo de mitificação da História e das lutas sociais operado por Neruda em seu livro. Para tanto, a análise dos poemas busca integrar em uma só leitura a ponderação dos elementos míticos mobilizados pelo autor e sua interação com a mensagem ideológica e política explícita na obra, caracterizando o conjunto de Canto general como um exemplo de arte de intervenção. A análise se completa na leitura de Alturas de Macchu Picchu, principal conjunto de poemas do livro e considerado a melhor chave para entender a particular conjunção entre mito e política na obra do poeta chileno. / Pablo Nerudas Canto General is one of the most important poetic works of the twentieth century. Written during the Cold War, aims to cover the entirety of the American Continent under the influence of the political engagement of its author, who was an important member of the Communist Party at the time of the works composition. This dissertation discusses the choices made by the author regarding the politicization of his poetry and its aesthetic and political consequences, with particular interest in the mythologizing of history and of social struggles operated by Neruda in his book. For this purpose, the analysis of poems seeks to integrate into the reading the reflection about mythical elements mobilized by the author and his interaction with the ideological and political message explicit in the work, characterizing Canto General as an example of interventionist art. The analysis is completed with the reading of The Heights of Macchu Picchu, the main section of poems in the book, considered by many the best key to understand the particular conjunction between myth and politics in the work of the Chilean poet.

O livro Canto general, de Pablo Neruda, é uma das mais importantes obras poéticas do século XX. Escrito em plena Guerra Fria, almeja abordar a totalidade do continente americano sob a égide do engajamento político de seu autor, importante militante do Partido Comunista à época da composição da obra. Este trabalho pretende discutir as escolhas feitas pelo autor quanto à politização de sua poesia e suas consequências estéticas e políticas, com particular interesse no processo de mitificação da História e das lutas sociais operado por Neruda em seu livro. Para tanto, a análise dos poemas busca integrar em uma só leitura a ponderação dos elementos míticos mobilizados pelo autor e sua interação com a mensagem ideológica e política explícita na obra, caracterizando o conjunto de Canto general como um exemplo de arte de intervenção. A análise se completa na leitura de Alturas de Macchu Picchu, principal conjunto de poemas do livro e considerado a melhor chave para entender a particular conjunção entre mito e política na obra do poeta chileno. / Pablo Nerudas Canto General is one of the most important poetic works of the twentieth century. Written during the Cold War, aims to cover the entirety of the American Continent under the influence of the political engagement of its author, who was an important member of the Communist Party at the time of the works composition. This dissertation discusses the choices made by the author regarding the politicization of his poetry and its aesthetic and political consequences, with particular interest in the mythologizing of history and of social struggles operated by Neruda in his book. For this purpose, the analysis of poems seeks to integrate into the reading the reflection about mythical elements mobilized by the author and his interaction with the ideological and political message explicit in the work, characterizing Canto General as an example of interventionist art. The analysis is completed with the reading of The Heights of Macchu Picchu, the main section of poems in the book, considered by many the best key to understand the particular conjunction between myth and politics in the work of the Chilean poet.

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La dictature de la Junte militaire du Chili (11 septembre 1973 – 1990), dont la violence est d’autant plus marquante qu’elle opère dans une période très récente de l’histoire du pays, interroge l’autonomie du système symbolique des textes littéraires produits dans ce contexte. En effet, c’est la première fois dans l’histoire de la littérature chilienne qu’une grande quantité de textes sont écrits et publiés depuis l’exil ou depuis des centres de détention.Considérant ce phénomène spécifique dans son temps, cette étude s’attache à identifier les figures de la mémoire dans le langage poétique à partir de la figuration de la violence, telle qu’elle s’exprime dans la production de six poètes, qui s’étend sur une période de quarante ans (1950-1980). L’analyse de ces œuvres met en évidence la capacité du langage poétique à transcender la codification d’un contexte aussi important qui n’est pourtant pas l’unique évènement marquant de violence d’Etat dans l’histoire du Chili. L’analyse d’un corpus de textes écrits par Nicanor Parra, Enrique Lihn et Jorge Teiller, références majeures de la poésie de Gonzalo Millán, Tomás Harris et Rodrigo Lira, est présentée selon une double perspective, linguistique et socio-littéraire. La première partie de cette thèse mobilise le concept de « sujet en procès », emprunté à la théorie du langage de Julia Kristeva, Cette perspective a pour ambition d’analyser dans quelle mesure et comment la figuration de la violence constitue une parole de la mémoire et un questionnement sur l’identité nationale dans la poésie chilienne. La deuxième partie s’appuie sur la perspective de la « théorie des champs » et du « pouvoir symbolique » tel que l’envisage Pierre Bourdieu pour analyser l’impact du discours historique de l’identité nationale et sa représentation de l’exercice de la violence dans les champs de la production politique et littéraire.Envisagées dans une perspective moins restreinte à leur contexte socio-historique immédiat de production, les relations qu’entretiennent le langage, la violence et le pouvoir figurent ainsi au cœur de cette recherche. / The dictatorship of the military junta in Chile (09.11.1973-1990), the violence of which is all the more striking as it covers a very recent period in the history of this country, questions the autonomy of the symbolical system of the literary texts produced in this context. Indeed,it is the first time in the history of Chilean literature such an amount of texts have been written and published from exile or detention centres.Taking into account that this phenomenon is specific to its period, this study aims at studying the representations of memory in poetic language. It starts from the figuration of violence as it is expressed over a period of forty years (1950-1980) in six poets' production.The analysis of these works highlights the ability of poetic language to transcend the codification of so important a context, which is not, however, the only striking event of State violence in the history of Chile.The analysis of a collection of texts written by Nicanor Parra, Enrique Lihn and Jorge Teiller, major references of Gonzalo Millán, Tomás Harris and Rodrigo Lira 's poetry, is presented according a double perspective, linguistic as well as socio-litterary. The first part of this thesis focuses on the concept of the « subject in process », taken from Julia Kristeva's theory of language.This perspective aspires to analyze to what extent and how the representation of violence constitutes an expression of memory and a questioning about national identity in the Chilean poetry.The second part is based on the perspective of the theory of fields and the symbolic power as seen by Pierre Bourdieu in order to analyze the historical speech about national identity, and its representation of the exercise of violence in the fields of political and litterary production.Considered in a perspective which is less limited to their immediate socio-historical context of production, the relations maintained by language, violence and power, appear at the heart of this research. / Una época tan violenta e históricamente cercana como la de la dictadura de La Junta Militar (11 de septiembre de 1973 / 1990), problematiza, entre otras, la autonomía del sistema simbólico de los textos literarios producidos dentro de ese contexto. A partir de lo anterior, nuestro estudio se interesa en la identificación de la memoria en el lenguaje poético desde la figuración de la violencia, principalmente aquel de seis poetas que abarca un periodo de cuarenta años (1950-1980). El interés del análisis versa sobre la capacidad del lenguaje poético para trascender la especificidad de un contexto tan importante y significativo, que sin embargo no es el único hito de violencia de Estado en la historia de Chile. La relación entre lenguaje poético y violencia se vuelve así central para la presente investigación.El estudio de textos de Nicanor Parra, Enrique Lihn y Jorge Teillier, como antecedentes poéticos mayores para la poesía de Gonzalo Millán, Tomás Harris y Rodrigo Lira, se presenta bajo una doble perspectiva : lingüística y socio-literaria. La primera parte del análisis implica un concepto de lenguaje poético acorde a la teoría del « sujeto en proceso » de Julia Kristeva. Esta perspectiva ambiciona verificar si las figuras de la violencia constituyen un discurso de memoria y de identidad en la poesía chilena. La segunda parte, se basa en la « teoría de campos » y del « poder simbólico » de Pierre Bourdieu, para analizar el impacto del discurso histórico de identidad nacional y la representación del ejercicio de la violencia en los campos de producción política y literaria.