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(DOC) Romper el espejo Delmira decadente | MARÍA JOSÉ BRUÑA BRAGADO - Academia.edu

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Fue importante el espacio dedicado a Delmira Agustini en una publicación de la relevancia y visibilidad cultural de Ínsula en ese número 813 porque contribuyó a volver la mirada crítica hacia una escritora imprescindible del Modernismo hispánico cuya obra no ha sido suficientemente leída, trabajada y valorada. Por otra parte, el trabajo deja constancia de la continuidad y fortalecimiento a lo largo de 20 años de carrera académica de uno de sus ejes de investigación fundamentales: Delmira Agustini en el contexto de la Modernidad hispánica y rioplantense, tema de mi tesis doctoral que dio lugar a dos libros (Peter Lang, 2005 y Verbum, 2008). El artículo, en concreto, explora la idea de que Delmira Agustini es una poeta que conoce la tradición, está inmersa en el espíritu estético de su época –decadentismo, simbolismo, modernismo-, cuyo código domina para imitarlo, reelaborarlo, desestabilizarlo, transformarlo y reflexiona sobre el oficio creador, sus propósitos y proyecciones. Lejos de la espontaneidad o falta de planificación que la mirada crítica patriarcal le atribuía, se percibe un interés y trabajo consciente en su construcción poética. Es una poeta exigente y tenaz, autosuficiente e inconformista, que lee con avidez y rigor, anota y corrige con insistencia, reescribe, selecciona, piensa, polemiza y dialoga en sus textos, poemas y cartas, directa o indirectamente, con otros autores mayoritariamente masculinos. Delmira Agustini trata de estar al día de las novedades, intercambia impresiones y libros, los pide a París y publica en revistas poemas, retratos femeninos de sociedad nada complacientes y algunos textos que dejan constancia de su ars poética y de una conciencia moderna de la profesionalización del escritor. Y todo ello en el marco estricto, necesariamente limitado, que el campo cultural ofrece a una mujer en el Montevideo de entresiglos. Son sus lecturas, esa meditada formación intelectual –incompleta en la medida en que todas lo son-, junto a su inteligencia y una pulsión poética de la que nunca duda, lo que le permite renovar el imaginario modernista, desarticularlo sin disolverlo, y dar, a esta estética, un audaz giro desde otro lugar, creando un universo propio. En definitiva, no podemos hablar de la creación de Agustini como si fuera poeta de un solo proyecto y de una sola concepción, de la misma manera que no podemos considerar a un Baudelaire, igualmente con una obra mínima, poeta de una sola poética. Agustini, mujer de genio, toma de sus precursores la retórica, la sensibilidad, pero también la consciencia de lo importante que es, para la poesía moderna, la evolución, la experimentación y originalidad en la búsqueda de una voz propia. Así, subvierte las prácticas poéticas modernistas y decadentes, pero previamente las imita. Conoce, además, los complejos mecanismos de funcionamiento y autorización del campo literario con cuyos términos negocia permanentemente en su deseo de inscripción en el mismo y por eso abre cauces de expresión múltiples que no agota del todo. Escribe con denuedo en ambas direcciones: para afuera y para adentro. Y lo hace desde una inconfundible libertad creativa.","author":[{"@context":"https://schema.org","@type":"Person","name":"MARÍA JOSÉ BRUÑA BRAGADO"}],"contributor":[],"dateCreated":"2021-01-06","dateModified":"2021-01-06","datePublished":"2014-01-01","headline":"Romper el espejo Delmira decadente","inLanguage":"es","keywords":["Gender Studies","Modernity","Subversion","Decadentism","Delmira Agustini","Modernismo Hispanoamericano"],"locationCreated":null,"publication":"Insula. 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Fue importante el espacio dedicado a Delmira Agustini en una publicación de la relevancia y visibilidad cultural de Ínsula en ese número 813 porque contribuyó a volver la mirada crítica hacia una escritora imprescindible del Modernismo hispánico cuya obra no ha sido suficientemente leída, trabajada y valorada. Por otra parte, el trabajo deja constancia de la continuidad y fortalecimiento a lo largo de 20 años de carrera académica de uno de sus ejes de investigación fundamentales: Delmira Agustini en el contexto de la Modernidad hispánica y rioplantense, tema de mi tesis doctoral que dio lugar a dos libros (Peter Lang, 2005 y Verbum, 2008).\nEl artículo, en concreto, explora la idea de que Delmira Agustini es una poeta que conoce la tradición, está inmersa en el espíritu estético de su época –decadentismo, simbolismo, modernismo-, cuyo código domina para imitarlo, reelaborarlo, desestabilizarlo, transformarlo y reflexiona sobre el oficio creador, sus propósitos y proyecciones. Lejos de la espontaneidad o falta de planificación que la mirada crítica patriarcal le atribuía, se percibe un interés y trabajo consciente en su construcción poética. Es una poeta exigente y tenaz, autosuficiente e inconformista, que lee con avidez y rigor, anota y corrige con insistencia, reescribe, selecciona, piensa, polemiza y dialoga en sus textos, poemas y cartas, directa o indirectamente, con otros autores mayoritariamente masculinos. Delmira Agustini trata de estar al día de las novedades, intercambia impresiones y libros, los pide a París y publica en revistas poemas, retratos femeninos de sociedad nada complacientes y algunos textos que dejan constancia de su ars poética y de una conciencia moderna de la profesionalización del escritor. Y todo ello en el marco estricto, necesariamente limitado, que el campo cultural ofrece a una mujer en el Montevideo de entresiglos. Son sus lecturas, esa meditada formación intelectual –incompleta en la medida en que todas lo son-, junto a su inteligencia y una pulsión poética de la que nunca duda, lo que le permite renovar el imaginario modernista, desarticularlo sin disolverlo, y dar, a esta estética, un audaz giro desde otro lugar, creando un universo propio. \t\nEn definitiva, no podemos hablar de la creación de Agustini como si fuera poeta de un solo proyecto y de una sola concepción, de la misma manera que no podemos considerar a un Baudelaire, igualmente con una obra mínima, poeta de una sola poética. Agustini, mujer de genio, toma de sus precursores la retórica, la sensibilidad, pero también la consciencia de lo importante que es, para la poesía moderna, la evolución, la experimentación y originalidad en la búsqueda de una voz propia. Así, subvierte las prácticas poéticas modernistas y decadentes, pero previamente las imita. 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Revista de Letras y Ciencias Humanas 813"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"es","title":"Romper el espejo Delmira decadente","broadcastable":true,"draft":false,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [103334262]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{&quot;location&quot;:&quot;swp-splash-paper-cover&quot;,&quot;attachmentId&quot;:65357936,&quot;attachmentType&quot;:&quot;docx&quot;}"><img alt="First page of “Romper el espejo Delmira decadente”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/65357936/mini_magick20210106-3496-f2jfmi.png?1609967886" /><img alt="Academia Logo" class="ds-work-cover--file-icon" src="//a.academia-assets.com/assets/academia-logo-redesign-2015-A-971495bd31377b9367f5ce5ca92bbc27dd8a843db989cbce3408389c670b62c0.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free DOCX</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Romper el espejo Delmira decadente</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="103334262" href="https://usal.academia.edu/MAR%C3%8DAJOS%C3%89BRU%C3%91ABRAGADO"><img alt="Profile image of MARÍA JOSÉ BRUÑA BRAGADO" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/103334262/28983565/27038039/s65_mar_a_jos_.bru_a_bragado.jpg" />MARÍA JOSÉ BRUÑA BRAGADO</a></div><p class="ds-work-card--detail ds2-5-body-sm">2014, Insula. Revista de Letras y Ciencias Humanas 813</p><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">El artículo forma parte de un dossier monográfico sobre Delmira Agustini publicado en la revista Ínsula en 2014 para conmemorar el centenario de su muerte (1914-2014) en el que colaboraban los prestigiosos críticos y escritores Cristina Peri Rossi, Fernando Aínsa, Rosa García Gutiérrez y Carina Blixen. Fue importante el espacio dedicado a Delmira Agustini en una publicación de la relevancia y visibilidad cultural de Ínsula en ese número 813 porque contribuyó a volver la mirada crítica hacia una escritora imprescindible del Modernismo hispánico cuya obra no ha sido suficientemente leída, trabajada y valorada. Por otra parte, el trabajo deja constancia de la continuidad y fortalecimiento a lo largo de 20 años de carrera académica de uno de sus ejes de investigación fundamentales: Delmira Agustini en el contexto de la Modernidad hispánica y rioplantense, tema de mi tesis doctoral que dio lugar a dos libros (Peter Lang, 2005 y Verbum, 2008). El artículo, en concreto, explora la idea de que Delmira Agustini es una poeta que conoce la tradición, está inmersa en el espíritu estético de su época –decadentismo, simbolismo, modernismo-, cuyo código domina para imitarlo, reelaborarlo, desestabilizarlo, transformarlo y reflexiona sobre el oficio creador, sus propósitos y proyecciones. Lejos de la espontaneidad o falta de planificación que la mirada crítica patriarcal le atribuía, se percibe un interés y trabajo consciente en su construcción poética. Es una poeta exigente y tenaz, autosuficiente e inconformista, que lee con avidez y rigor, anota y corrige con insistencia, reescribe, selecciona, piensa, polemiza y dialoga en sus textos, poemas y cartas, directa o indirectamente, con otros autores mayoritariamente masculinos. Delmira Agustini trata de estar al día de las novedades, intercambia impresiones y libros, los pide a París y publica en revistas poemas, retratos femeninos de sociedad nada complacientes y algunos textos que dejan constancia de su ars poética y de una conciencia moderna de la profesionalización del escritor. Y todo ello en el marco estricto, necesariamente limitado, que el campo cultural ofrece a una mujer en el Montevideo de entresiglos. Son sus lecturas, esa meditada formación intelectual –incompleta en la medida en que todas lo son-, junto a su inteligencia y una pulsión poética de la que nunca duda, lo que le permite renovar el imaginario modernista, desarticularlo sin disolverlo, y dar, a esta estética, un audaz giro desde otro lugar, creando un universo propio. En definitiva, no podemos hablar de la creación de Agustini como si fuera poeta de un solo proyecto y de una sola concepción, de la misma manera que no podemos considerar a un Baudelaire, igualmente con una obra mínima, poeta de una sola poética. Agustini, mujer de genio, toma de sus precursores la retórica, la sensibilidad, pero también la consciencia de lo importante que es, para la poesía moderna, la evolución, la experimentación y originalidad en la búsqueda de una voz propia. Así, subvierte las prácticas poéticas modernistas y decadentes, pero previamente las imita. Conoce, además, los complejos mecanismos de funcionamiento y autorización del campo literario con cuyos términos negocia permanentemente en su deseo de inscripción en el mismo y por eso abre cauces de expresión múltiples que no agota del todo. Escribe con denuedo en ambas direcciones: para afuera y para adentro. Y lo hace desde una inconfundible libertad creativa. </p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{&quot;location&quot;:&quot;continue-reading-button--work-card&quot;,&quot;attachmentId&quot;:65357936,&quot;attachmentType&quot;:&quot;docx&quot;,&quot;workUrl&quot;:&quot;https://www.academia.edu/44849699/Romper_el_espejo_Delmira_decadente&quot;}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{&quot;location&quot;:&quot;download-pdf-button--work-card&quot;,&quot;attachmentId&quot;:65357936,&quot;attachmentType&quot;:&quot;docx&quot;,&quot;workUrl&quot;:&quot;https://www.academia.edu/44849699/Romper_el_espejo_Delmira_decadente&quot;}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="65357936" data-landing_url="https://www.academia.edu/44849699/Romper_el_espejo_Delmira_decadente" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="70692173" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/70692173/Reimaginando_la_imagen_La_ruptura_de_Delmira_Augustini">Reimaginando la imagen: &quot;La ruptura&quot; de Delmira Augustini</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="42075306" href="https://brown.academia.edu/JillKuhnheim">Jill Kuhnheim</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Hispanic poetry review, 2001</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{&quot;location&quot;:&quot;wsj-grid-card-download-pdf-modal&quot;,&quot;work_title&quot;:&quot;Reimaginando la imagen: \&quot;La ruptura\&quot; de Delmira Augustini&quot;,&quot;attachmentId&quot;:80335891,&quot;attachmentType&quot;:&quot;pdf&quot;,&quot;work_url&quot;:&quot;https://www.academia.edu/70692173/Reimaginando_la_imagen_La_ruptura_de_Delmira_Augustini&quot;,&quot;alternativeTracking&quot;:true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/70692173/Reimaginando_la_imagen_La_ruptura_de_Delmira_Augustini"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="8100170" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/8100170/_Mito_vital_y_mito_est%C3%A9tico_en_Delmira_Agustini_o_cuando_la_realidad_se_desdice_a_s%C3%AD_misma_">&quot;Mito vital y mito estético en Delmira Agustini (o cuando la realidad se desdice a sí misma)&quot;</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3178766" href="https://ulpgc.academia.edu/%C3%81ngelesMateodelPino">Ángeles Mateo del Pino</a></div><p class="ds-related-work--abstract ds2-5-body-sm">AUTORA: ÁNGELES MATEO-DEL-PINO &quot;Mito vital y mito estético en Delmira Agustini (o cuando la realidad se desdice a sí misma)&quot;, Philologica Canariensia, nº 4-5, Facultad de Filología, Universidad de Las Palmas de Gran Canaria, 1999, pags. 197-210. 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En efecto, gran parte de sus composiciones, especialmente las del final-Los cálices vacíos y El rosario de Eros-, se vertebran en torno a esa ausencia o vacío absoluto que se cierra, en muchos casos, con el encuentro, con la llegada del otro. Desde esta perspectiva, la vinculación del lenguaje místico 1-que trata de verbalizar una ausencia, de relatar una pérdida, de expresar lo inefable-y el lenguaje del deseo es evidente 2 , tal y como apunta Michel de Certeau 3 , dado que tanto la mística como la erótica nacen de la nostalgia y el impulso de borrar a Dios como objeto de amor exclusivo. Pero ya después del siglo XIII una lenta y progresiva desmitificación religiosa da paso a una también paulatina mitificación amorosa en la civilización occidental. El único cambio de escena es que el centro de la misma ya no es la divinidad, sino «el otro» y, en la literatura masculina, esto es, en la prácticamente única literatura existente-«Amor Cortés»-, la otredad está representada por la mujer. 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Agustini experimentó en sí misma la dualidad entre las convenciones y los modelos literarios planteados desde una perspectiva tradicionalmente masculina y su propia subjetividad lírica, ya que las imágenes femeninas habían constituido siempre la materia estética (lo otro) y no el sujeto (yo) del texto poético. Para minimizar los estragos de la «ansiedad de la influencia», intensificados por la «ansiedad de autoridad», Agustini se esconde tras una serie de máscaras femeninas que van cambiando a lo largo de su trayectoria artística y vital. 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