La thèse se propose de caractériser l’image de celui-qui-resurgit (resurrecto) dans l’oeuvre du poète cubain José Lezama Lima, en suivant une double approche phénoménologique et déconstructiviste. En prenant comme point de départ les concepts de différence, de métaphore et d’image, l’analyse se déploie en trois parties : esquisse d’une voie phénoménologique susceptible de rendre compte des éléments de signification les plus caractéristiques de l’oeuvre du poète ; approfondissement de la poétique lézamienne et plus particulièrement de l’image du resurrecto; et réflexion générale sur l’acte de lecture à partir d’une expérience de prise de contact avec la poésie de Lezama par un public de jeunes lycéens de Bogotá, Colombie / This approach to Cuban poet José Lezama Lima’s work is meant to characterize the image of the Resurrecto’s poetic art and poetry from the phenomenological and deconstructive perspectives, and particularly, from the ideas of difference, metaphor, and image. In order to achieve this purpose, a three-stage process is followed. Firstly, a phenomenological path that considers general aspects of the poet’s work is sketched. Secondly, Lezamian’s poetic art is deepened, particularly into the resurrecto’s image. And finally, the effects of Lezama’s poetry on readers who experienced some of the poet’s texts though a reading held in an educational institution in Bogota, Colombia are shown

In this thesis I argue that José Lezama Lima's Paradiso is unique among Latin-American novels of the 1960s because it is a hybrid of literary genres - narrative and essay, as well as a "poetic system." Through an open literary framework, the author explores the essence of "cubanía" though language that is both colloquial and elaborate, both devoted to traditions and aiming for transgressions: a novel that reaches for the pinnacle of neobaroque prose. To sustain my argument, I have performed an exhaustive exegesis of my primary text, as well as extensive external research in secondary texts of the highest canonical reputation, about the baroque and the neobaroque including the works of Eugene D'Ors, Mariano Picón Salas, Severo Sarduy, Guillermo Sucre, Irlemar Chiampi, and the novel in discussion so well examined by Iván González Cruz, Julio Cortázar, and the sister of the author, Eloísa Lezama Lima, among others. I have considered broadly the features and peculiarities that cause Paradiso to excel as a novel, always keeping in mind Lezama Lima's distinctiveness as a writer of ironies implicit in the discourse of Latin-American otherness. In Paradiso, this discourse of copy and model, as well as of revenge on the dominant metropolitan center--all within the surroundings of a paradoxical challenge to European baroque patterns--takes root by means of a seldom-expressed and playful hybridism unparalleled in twentieth-century Spanish literature. My argument operates from the broad to the specific, first by defining and explaining, sometimes in dissenting terms, the baroque, its historical evolution and Spanish roots, its arrival in Spanish America, its new identity when synthesized with native traditions there, and its neo-baroque profile in the twentieth century. Finally we arrive at a meeting with "el Señor Barroco", Lezama Lima, himself, as he promenades the paved streets of old Havana under a gigantic, colorful parasol, buffeted by a dancing, tropical breeze, and holding in one hand a volume of Paradiso. He walks absentmindedly until he reaches the esplanade of the malecón. There, he puts aside his book, asks us to approach him, and then confesses to us the impetus of his lifelong obsession to lay the foundation of a poetic system of the universe in Paradiso.

Zugl.: Berlin, Humboldt-Univ., Diss., 2004

Thesis (Ph. D.)--University of Chicago, Department of Comparative Literature, June 2000. / Includes bibliographical references. Also available on the Internet.

Humboldt-Universiẗat, Diss., 2004--Berlin.

Tesis para optar al grado de Magíster en Literatura

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica / El objetivo de esta investigación es postular una(s) significación(es) del cuerpo como representación en la poesía de José Lezama Lima, previa selección de un corpus que incluye sus libros: Muerte de Narciso (1937), Enemigo Rumor (1941) y La Fijeza (1949). El método que utilizaré para fundamentar esta lectura se basa en establecer nociones extraídas, principalmente, desde la ensayística del autor, como ejes cosmovisivos de su poesía y, por lo tanto, como elementos necesarios para la interpretación de los cuerpos de y en el poema. De esta manera, se llega a confrontar el abismo del cuerpo en la escritura y de la escritura como cuerpo, creando la ambivalencia y confusión entre ambos, que provoca un espacio continuo de sobrenaturalidad donde la materia circundante referida confronta a su imagen y abisma, a su vez, todo conocimiento a este espacio inestable fundado en el poema.

This thesis project explores the connection between Cuban identity and the twentieth-century Neobaroque. The paper approaches the Neobaroque as a concept that reoriginates or "refracts" culture, implying a relationship between Baroque forms and post-colonial Latin America that creates a transformation of cultural expression. Furthermore, the Neobaroque is seen relating to questions of cultural identity, post-colonialism, transculturation, mestizaje, and Latin American modernity. The Neobaroque's relevancy with Cuba is stipulated in twentieth-century writings of three Cuban authors known as the Cuban triumvirate: José Lezama Lima, Alejo Carpentier, and Severo Sarduy. Similar themes of these writers concerning the Neobaroque's connection with the urban environment of Havana as well as connections to José Martí's writing Nuestra América are highlighted as key components connecting the Neobaroque with Cuban culture. / Graduate / 0336 / 0626 / scruiksh@uvic.ca