This road / and no one travels / except the twilight.
Matsuo Bashoo + +
THE LIRA
Pythagoras developed the square law of proportions, which states that a musical string gives another string sounds themselves, whose length is doubled. When the voltage or force that is hogged this is four times the gravity of a planet quadruple in size and twice the other which is a similar distance.
usually sound for a string can vibrate in unison with a shorter one in the same species, its voltage must be increased in proportion to the square of its longer length, and so that the gravity of a planet is equal to that of another planet closest to the Sun, should be increased to the square of the distance of the largest solar star.
If we superimpose several musical strings stretched from the Sun to the planets, to vibrate in unison in tone would be necessary to increase or decrease in tensions over its own share would be needed to equal the gravities of the planets.
is Lyra the Lyre of Orpheus. The Thracian prince, musician of the Argonauts. Son of Apollo and Calliope nymph who give as a gift Lira. Orpheus achieves interpret so that even the wild beasts, rocks and trees were charmed by his music. He feels a deep love for the nymph Eurydice. However, their marriage blessed not stay long. Well, Eurydice wandering through the fields with other nymphs when he was seen by the Aristeus pastor, who was impressed by its beauty and pursued, without reciprocity. While
Fleeing Eurydice was bitten by a snake in the grass die from its poison. Orpheus was devastated [1] , but decided to find his wife in the underworld, the realm of Pluto and Persephone (Proserpina in some texts) who like the rest, were captivated by his music. Gaining permission to take Eurydice and get you back to the land of the living.
They called Eurydice but there was no response, she was among ghosts. Orpheus receive provided do not look back, to have emerged from the valley of Hades, or the gift he had been granted would be taken. Through the darkness and silence they ascended the path. Orfeo anxious about the possibility that his wife was not strong enough to reach the exit, looks and Eurydice is returned to the deep, dying a second time with a last farewell of his beloved, as recorded by Ovid in his Metamorphosis "(X 47-63).
+ +
Accordingly, Orpheus was inflexible approach to the women of Thrace, and preferred the company of young boys. The women were furious and during the rites of Bacchus threw stones at the bard. The stones fell silent the sound of the lyre, Orpheus felt weak and fell to the helpless cries. Women dismembered his body and threw his head Lira and Hebro river. The Muses gathered its members and buried them.
Orpheus to the underworld was to spend eternity with Eurydice. Jupiter himself launched the bard's lyre to heaven. Lira can be easily recognized because it contains a Vega, a zero magnitude, the second brightest star. Vega is also part of the Summer Triangle, Deneb and Altair formed.
Orpheus to the underworld was to spend eternity with Eurydice. Jupiter himself launched the bard's lyre to heaven. Lira can be easily recognized because it contains a Vega, a zero magnitude, the second brightest star. Vega is also part of the Summer Triangle, Deneb and Altair formed.
First, the context, the metamorphosis is defined as the act or process of change in form or substance. Has been considered as a way, course or destination, with hints of time (before and after); sequence from one state to another, pace and conclusion. The danger of monotony is approached by a number of changes that, through change, becoming substance taken in sublime poem.
+++++++
A
Pacific Orfeo
In the early years twentieth century, developed in Europe many avant-garde movements. Among them, the literary cubism, following the pictorial legacy of Picasso, Braque and Gris.
Apollinaire is regarded as the theorist of the movement. In fact, it is noted as the beginning of cubism in 1913, when he published his book The Cubist artists, in defense of this group, and in the same year also sees light's "The antitradición futurist."
Rosamel Don Valley incorporates the contents of the European vanguard, its literature is mainly characterized by the fragmentation of reality and then re-compose (forerunner of deconstruction). Creator of poems, novels, stories, essays and magazines. Moses Gutierrez Gutierrez Filadelfio [2] who takes the pseudonym of his childhood sweetheart, Rosa Amelia del Valle, wrote the poem "Orpheus," which limited our corpus work invites us to the resurrection of the dream.
The Orphic journey begins. These were years of bohemian bars Matucana and Quinta Normal. Calle San Francisco 328 and Eleuterio Sánchez. "The poet is increasingly becoming a street, a resident of the modern city that is directed towards those sectors opaque, unknown or, conversely, over-central city life to participate in the rite there is, the concrete manifestation yet deeply transformed, defiled and degraded, the foundation myth " [3] .
angels apparently favor the environment, since the dependence rosamelianos poet deny any connection to Huidobro and Neruda. However, in the hermetic saga involving Ovid, Euripides, Novalis, Hölderlin, Blake, Chaucer, Shakespeare, Shelley, Browning, Auden, Leopardi, Rilke, Poe, Nerval, Baudelaire, Verlaine and Milton.
Not to mention their own musical materiality of Del Valle, also find us references to it in works like "The DESCENTE of Orphée aux Enfer "(1687) Marc-Antoine Charpentier, and" Orpheus and Ewridika "(1791) Jewstignei of MIF, in" The Death of Orphée "(1827) Hector Berlioz, the symphony" Orpheus " (1854) by Franz Liszt, in the "Nocturnos" (1899) by Claude Debussy, in "The Malheur of Orphée" (1925) were Darius Milhaud, "Der Neue Orpheus" (1925) Kurt Weill, "Orpheus and the Mermaid "(1947) Igor Stravinsky. Also in brazileño soundtrack of the film "Black Orpheus," in "Orpheus" (1979) Arthur Dangelo, in the "Ouverture to Orpheus" (1982) Louis Andriessen, and "Orpheus behind the wire" (1983) by Hans Werner Henze. ++++++++++++++++++++++++++++++++++
A
Pacific Orfeo
In the early years twentieth century, developed in Europe many avant-garde movements. Among them, the literary cubism, following the pictorial legacy of Picasso, Braque and Gris.
Apollinaire is regarded as the theorist of the movement. In fact, it is noted as the beginning of cubism in 1913, when he published his book The Cubist artists, in defense of this group, and in the same year also sees light's "The antitradición futurist."
Rosamel Don Valley incorporates the contents of the European vanguard, its literature is mainly characterized by the fragmentation of reality and then re-compose (forerunner of deconstruction). Creator of poems, novels, stories, essays and magazines. Moses Gutierrez Gutierrez Filadelfio [2] who takes the pseudonym of his childhood sweetheart, Rosa Amelia del Valle, wrote the poem "Orpheus," which limited our corpus work invites us to the resurrection of the dream.
The Orphic journey begins. These were years of bohemian bars Matucana and Quinta Normal. Calle San Francisco 328 and Eleuterio Sánchez. "The poet is increasingly becoming a street, a resident of the modern city that is directed towards those sectors opaque, unknown or, conversely, over-central city life to participate in the rite there is, the concrete manifestation yet deeply transformed, defiled and degraded, the foundation myth " [3] .
angels apparently favor the environment, since the dependence rosamelianos poet deny any connection to Huidobro and Neruda. However, in the hermetic saga involving Ovid, Euripides, Novalis, Hölderlin, Blake, Chaucer, Shakespeare, Shelley, Browning, Auden, Leopardi, Rilke, Poe, Nerval, Baudelaire, Verlaine and Milton.
Not to mention their own musical materiality of Del Valle, also find us references to it in works like "The DESCENTE of Orphée aux Enfer "(1687) Marc-Antoine Charpentier, and" Orpheus and Ewridika "(1791) Jewstignei of MIF, in" The Death of Orphée "(1827) Hector Berlioz, the symphony" Orpheus " (1854) by Franz Liszt, in the "Nocturnos" (1899) by Claude Debussy, in "The Malheur of Orphée" (1925) were Darius Milhaud, "Der Neue Orpheus" (1925) Kurt Weill, "Orpheus and the Mermaid "(1947) Igor Stravinsky. Also in brazileño soundtrack of the film "Black Orpheus," in "Orpheus" (1979) Arthur Dangelo, in the "Ouverture to Orpheus" (1982) Louis Andriessen, and "Orpheus behind the wire" (1983) by Hans Werner Henze. ++++++++++++++++++++++++++++++++++
We are legion! Aseveraría quickly the devil. But it also was likely to materialize in evil personified, a: Marcuse, Blanchot, Pound, Eliot, Breton, Aragon, Cocteau, Eluard and Apollinaire. And, of course, our guest of honor Don Valley Rosamel. Notes
a critic about the latter: "His poetry is fanopoiética, to use the characterization of Ezra Pound. That is, conjures up images that are inappropriate for logos. However, after reading it you realize that these inequalities reflecting the conception of a universe ... His poetry is the drain of a culture that has lighting, right here, a Pacific Orfeo " [4] .
The anthologist and author of "Rosamel Valley: A Pacific Orfeo" [5] Hernan Giron Castilian, points out that "the Chilean poet is not an appendix Bretonian. It would have been the same, with or without André Breton and the Surrealists Orthodox. " Still, we recognize the influences of surrealism, and futurism creationism in his work, recovered in the hands of Christian authors such as work rosameliana Formoso, Ismael Hawk and Christian Gomez, in addition to Professor Maria Eugenia Urrutia. Emphasis is
his "poetic work" published 2000, Volume I and II. Compilation, foreword, bibliography and notes by Leonardo Sanhueza, with collages of Ludwig Zeller, a work that was released by Sáez JC editor, where only excluded "Lunados Poems", the first book that the author himself destroyed.
In this context, the author presents himself contrary to the doctrine of ideas, or Logos in which objects appear to us and make possible the experience and truth as correspondence. Thus obtaining, go beyond the nihilism and apocalyptic tome of contemporary philosophy (Derrida), where the man is an instrument of manipulation and the moral behavior is structured on the production (capital of desire, Guattari). The reason being is objectifies in instrumental, but this dynamic is not incorporated by the author in content.
a critic about the latter: "His poetry is fanopoiética, to use the characterization of Ezra Pound. That is, conjures up images that are inappropriate for logos. However, after reading it you realize that these inequalities reflecting the conception of a universe ... His poetry is the drain of a culture that has lighting, right here, a Pacific Orfeo " [4] .
The anthologist and author of "Rosamel Valley: A Pacific Orfeo" [5] Hernan Giron Castilian, points out that "the Chilean poet is not an appendix Bretonian. It would have been the same, with or without André Breton and the Surrealists Orthodox. " Still, we recognize the influences of surrealism, and futurism creationism in his work, recovered in the hands of Christian authors such as work rosameliana Formoso, Ismael Hawk and Christian Gomez, in addition to Professor Maria Eugenia Urrutia. Emphasis is
his "poetic work" published 2000, Volume I and II. Compilation, foreword, bibliography and notes by Leonardo Sanhueza, with collages of Ludwig Zeller, a work that was released by Sáez JC editor, where only excluded "Lunados Poems", the first book that the author himself destroyed.
In this context, the author presents himself contrary to the doctrine of ideas, or Logos in which objects appear to us and make possible the experience and truth as correspondence. Thus obtaining, go beyond the nihilism and apocalyptic tome of contemporary philosophy (Derrida), where the man is an instrument of manipulation and the moral behavior is structured on the production (capital of desire, Guattari). The reason being is objectifies in instrumental, but this dynamic is not incorporated by the author in content.
"With the release of Orfeo (1944) the author's obsession is present as a defined project: to explain (to be ambiguous or paradoxical that such an undertaking) the existence of man through myth ...
... This is a poem mighty, monumental and serious, that Rosamel rewritten again and again in the rest of his books, myth and perhaps re-reading his own poetry with greater ease of body, approaching more and better spirit of music in his magnum opus called " [6] .
In this context, our goal is to place the code as rosameliano characteristic of secrecy and Orphism. This requires setting a synchronic cut, suspension and observe the behavior of text:
+++++++++ "Orpheus" Orpheus [7]
... This is a poem mighty, monumental and serious, that Rosamel rewritten again and again in the rest of his books, myth and perhaps re-reading his own poetry with greater ease of body, approaching more and better spirit of music in his magnum opus called " [6] .
In this context, our goal is to place the code as rosameliano characteristic of secrecy and Orphism. This requires setting a synchronic cut, suspension and observe the behavior of text:
+++++++++ "Orpheus" Orpheus [7]
++++++++++++++++++++++++++++++++++++++++
1 This is a source for sleep, clarity does not open,
alone in the stem of sleep.
Welcome, traveler eaten poke you
4 Ciego from water to land.
Everything would go through a glass bridge
Without sheep blood, heat folded.
But the song, the joy, the body leaning
8 Behind the trees in hell;
The light in the abyss, the step backward.
O Day of days, living image of the fire, Dressed
angel heaven behind
12 And of the things that hold death petrified.
Around, nothing more than about:
In the marriage of water and fire.
Or the ascent of fish infernal
16 How come the chorus? Does it come the sword of thunder?
Do white songs? "Wail the assembled gods?
around, no more than around.
Nobody leaves the meeting. Nobody covers the tracks.
20 In order to cross space angels and demons,
where man and burning his feet.
But water, water revives dead and wash the night.
And everything is about nothing more than round.
24 And what a beautiful fable is the tale of mourning.
closed head, the outside world. The rumor of the body
night fell into the abyss of light
Hit torn distance:
28 "In the endless shadow at last."
and soul and body out of the city, transfixed
winter crying In black and no doors.
"Oh stones, come to me rodeadme!"
32 Fable, Fable. The beautiful story of mourning.
Somewhere the star and a height of keys.
around, no more than around. Oh
salt lost mouth.
36 The movable side of the earth.
man without a chorus, the man behind him. Lost
age, warm, radiant, meeting.
Taken from the hand at night. 40 Between
snakes and rain.
And my hope, my rock of fire temples. Aro
in flames in front of me!
But darkness is a bee stuck in the air. 44
much time there, in the sound, on the statue. Amada
by lightning and night.
And the wind and clouds and the earth joy. Just breathe
blindness and fall. 48 Reverted
suddenly broken in body image and
Towards the abyss unparalleled and thirst.
Touched by the crown of a voice irritated.
In the warm end of the earth.
52 And the anthem of the visions that come at a time.
Who are you? Enclosed is my mouth, drowning their candles. Wife
mine and tailing between vapor
of hands alone at night. 56
strange around me lock up gates.
A star on a throne, a head in a tree.
And especially the angry voice, sat trembling in the water. Oh
anger of my statue, standing on the brink of all thirst!
60 Here are my secrets so long hostage
In a cold light, night, closed on the forehead.
And the golden rod, the language that was dancing dust
dance outside in the day and night. Worn 64 foot
music in my time and now
From the ground, similar to the root and rain.
But the shine has been known under things
Between the snakes and eagles reflected. 68
whistle Becoming head movement or shadow
water from the air to the leaves, to the body
Estranged on the threshold of sleep, in the glare. Where man
flattening out at its mines.
72 What will become of us without the chore without lights, double echo
Without that tend toward the hands?
One day, one time without the hectic heat.
Just one night without buried root movement. Oh
force 76 gold lit area
The strange emptiness of the absent gods!
But not now, nor the song, now no sound;
Neither the flame in her hair, and the storm in the legs.
80 The decline, nothing but the fire down by springs.
For art of darkness, the rim of the glass where the mouths
live the evil drunken bee.
Forever in a melodic bridge in an act without noise, Under 84
nested sirens.
The decline, nothing more than relegation. And yet Humidity
land, suns, hills, water harmonious
storm clinging to the body without light, noise, the horror. 88
Eurydice! Eurydice! That is the fleeing
bed bars in Quiet in your body.
I dreamed of singing in the hills, crossed
Chest love, their eyes void. 92
Set aside fear and their gear, cut the flame root.
What is the breath of a man among men? Oh
our night, a burning stick, feverish voices with lightning
heart outside the rings. 94
United in the cup overturned wanted to hold us,
Go to the song thrown into the fires
For mouths sealed by the beautiful spider death.
But I had dreamed and the dream is a scissor
100Abierta by the angels of the night.
24 And what a beautiful fable is the tale of mourning.
closed head, the outside world. The rumor of the body
night fell into the abyss of light
Hit torn distance:
28 "In the endless shadow at last."
and soul and body out of the city, transfixed
winter crying In black and no doors.
"Oh stones, come to me rodeadme!"
32 Fable, Fable. The beautiful story of mourning.
Somewhere the star and a height of keys.
around, no more than around. Oh
salt lost mouth.
36 The movable side of the earth.
man without a chorus, the man behind him. Lost
age, warm, radiant, meeting.
Taken from the hand at night. 40 Between
snakes and rain.
And my hope, my rock of fire temples. Aro
in flames in front of me!
But darkness is a bee stuck in the air. 44
much time there, in the sound, on the statue. Amada
by lightning and night.
And the wind and clouds and the earth joy. Just breathe
blindness and fall. 48 Reverted
suddenly broken in body image and
Towards the abyss unparalleled and thirst.
Touched by the crown of a voice irritated.
In the warm end of the earth.
52 And the anthem of the visions that come at a time.
Who are you? Enclosed is my mouth, drowning their candles. Wife
mine and tailing between vapor
of hands alone at night. 56
strange around me lock up gates.
A star on a throne, a head in a tree.
And especially the angry voice, sat trembling in the water. Oh
anger of my statue, standing on the brink of all thirst!
60 Here are my secrets so long hostage
In a cold light, night, closed on the forehead.
And the golden rod, the language that was dancing dust
dance outside in the day and night. Worn 64 foot
music in my time and now
From the ground, similar to the root and rain.
But the shine has been known under things
Between the snakes and eagles reflected. 68
whistle Becoming head movement or shadow
water from the air to the leaves, to the body
Estranged on the threshold of sleep, in the glare. Where man
flattening out at its mines.
72 What will become of us without the chore without lights, double echo
Without that tend toward the hands?
One day, one time without the hectic heat.
Just one night without buried root movement. Oh
force 76 gold lit area
The strange emptiness of the absent gods!
But not now, nor the song, now no sound;
Neither the flame in her hair, and the storm in the legs.
80 The decline, nothing but the fire down by springs.
For art of darkness, the rim of the glass where the mouths
live the evil drunken bee.
Forever in a melodic bridge in an act without noise, Under 84
nested sirens.
The decline, nothing more than relegation. And yet Humidity
land, suns, hills, water harmonious
storm clinging to the body without light, noise, the horror. 88
Eurydice! Eurydice! That is the fleeing
bed bars in Quiet in your body.
I dreamed of singing in the hills, crossed
Chest love, their eyes void. 92
Set aside fear and their gear, cut the flame root.
What is the breath of a man among men? Oh
our night, a burning stick, feverish voices with lightning
heart outside the rings. 94
United in the cup overturned wanted to hold us,
Go to the song thrown into the fires
For mouths sealed by the beautiful spider death.
But I had dreamed and the dream is a scissor
100Abierta by the angels of the night.
++++++++++++++++++++++++
++++++++++++++++ + + +++++++++++++++
epistemic understanding
Where is the subject in the Orphic code? To address this question have explanatory models, implicit theories and social representations. There open source to find categories that include properties of contexts, events and strategies, selective analysis and interpretation, provision of hermeneutic units, building codes and categories. Invention of networks and new meaning. There are therefore legitimate and time criteria that justify the theme. However, the text should support his reading.
This aspect opens a horizon of expectations, as it reinforces the vehicular function of poetry, as she must allow access to a higher plane, one that means more time spent reading. And since the system used to transmit the content of communication necessarily remains indissoluble links with the surrounding life. The poet as subject language assumes a value system, sequences and domination, where the language does not play a reality, but a control mechanism and inserts in the process of cultural identity.
This brings us to a disciplinary map sets the limits of the known universe, "since that converge on a specific type of poem archetypal codes of the human mind, codes of poetry in general, the time the trend and gender, and those who belong to the realm of personal mythology or poetic universe of the author, ie the hierarchy of their recurrent motifs " [8]
Around epistemic understanding, both T. And M. Kuhn Foucault an important role for language in the constitution of knowledge. Not enough experimental evidence or arguments, it resorts to the rhetoric and logic. In this context, the hermeneutical method (exegesis) is the recovery of hidden meaning in the word, which has a plurality of meanings emphasizing that the interpretation is always something unfinished.
hermeneutics is "a founding subjectivity" is the first origin, interior hidden behind the manifest exteriority. Exegesis rests on course of a large hidden text in which his bail interpret its hidden meaning. "Every speech concealed the power to say nothing of what he said and wrapping and a plurality of meanings" [9] .
exegesis refers to a Telos, a purpose that is hidden but already advanced, the meaning is the intention of consciousness, the telos of a subject that tries to achieve "total revolution from which everything is organized" [10] .
Episteme is the set of relationships that can be attached at a particular time, the discursive practices originate certain epistemological figures. The episteme is not a knowledge nor a form of rationality, and aims to build a system of postulates and axioms, but intends to explore a limitless field of relations, recurrence, continuities, discontinuities " [ 11] .
Albano Episteme review this category called "a the sum or range of knowledge and objective categories that determine the opening and closing of the knowledge, under a scheme of appearance, residence, neighborhood, similarities, differences ... These epistemes not respond to a historical periodization, but his criterion of demarcation is based on the number of discursive processes taking place inside, and under its effect, lead to the development, emergence, and expiration of certain objects and statements " [12] .
Episteme is knowledge of the fundamental code of a culture is located, according to archaeological method in the certainties and not in the Doxa. The codes cover a wide range of knowledge of an era, many of them scientific. The archaeological method, used by Foucault, notes that the culture code is accessible to us only through the study of language and discourse, therefore, would be a discursive approach.
In "Words and things" Foucault notes that "the grammar of beings is their exegesis." In other words, language, speech, and the code are the structures in which we think things. This means episteme that it is not possible but as an experience of language in the order of things in which he says exist. Foucault sought an order in time-space bounded by the culture that allowed the emergence and access to the word in a contextual space delimited.
words, "the codes of culture since they have some experience of the order of things in light of the expose ratio. The man has launched some experience of the Same and the Other ... The ratio experienced by the order of things in a box having taxonomic identities things which resemble each other in an order which is familiar. But both have identities in order that experience also puts other things as the other, which is not related to the network of similarities but one that excludes " [13] .
rosameliano code
natural language tends toward the expression, through linguistic operations that emphasize the message content. Discussion the theory of Russian Formalism is centered around the "practical discourse against the poetic discourse" as Todorov notes in 1965. For Jakobson, the rhythm can be considered as a projection of paradigmatic selection principle and equivalence on the syntagmatic axis or linear selection. In this sense poetry is a means to highlight the message, where the line is the presentation.
now. Without claiming that the whole issue is reduced to the level of specificity, content, format, design deep, deep structure and formal structure (surface). Include certain assumptions. If a dwelling is made to the context, Don Rosamel manages to write before to inhabit. Solitaire. Airtight. Auspicious. Always waiting for the arrival time of renewal.
Therefore, the issue within the code [14] rosameliana existing work we notice the manifestation of an unvarying central theme. As part of description should be noted that, ultimately, the effort is displayed on the "show in terms of universal artistic operations how the text components of the subject emanating rhetorically" [15] .
We wonder if there is a place, which we take the tour where the elements take form as if a sleepwalker travelers get to the end was exactly in sync with the arrival of the hour. Likewise, the transmission of divine messages and their connection with one or the other makes will become the voice of all the poets for the music alone be able to tell in the absence of it, that: Orpheus has lost, has failed .
That's what we call tanatografías in his poetry, and in the midst of a strange atmosphere unfold events that appear to be driven by mysterious forces whose random, according to Le Cortege d'Orphee uo Bestiaire [16] would allow us to place the code Rosamel del Valle's own hermetism et Orphism.
So, what gives strength to the mighty story is that his thinking successful programmatic levels integrate ideological, aesthetic and philosophical in a way that otherwise would not be enough to break the gap between the depths and continuities sequence. Fully aware
his work communicates in a voice that has no age or interest in desacentuar the importance of the end and instead rejoice in transit. Valley advocates the use of expressive resources and the use of a nebula puzzle activity that leads to destinations intransitive.
strategist thinks the impossible and say what should not. Thus, the teller is designed an internal module that comes from the dark, which comes as an adventure, as an expression, whose mission is to bring light and show something that lives in him and is, he is extraversion, self-revelation, interpretation, and self-realization is a whole unfinished at his universe of possibilities. For
from silence and noise, clarity and gloom, all things and systems are named again and again; Heavens, heavens and gardens, where the separation and expulsion are the hallmark. Seal in the closing direction [17] because close the door threshold that permits cross, receive messages, listening to echoes, and to discover passages between the images. Of course, images that are party to the production of other images (sustained exaltation) that would be, finally, the course desired alchemical.
"Only this was to look into Hell. All the glory of his work, all the power of his art and the very desire for a happy life under the beautiful light of day are sacrificed to that one concern: to look at the night that hides the night the other night, hiding that appears " [18] .
In the words of the poet: "United in the cup overturned wanted to hold us, / Go to the song thrown into the fires / By mouths sealed by the beautiful spider death / But I had dreamed and the dream is a scissor / Started by the angels of the night. "
Where is the subject in the Orphic code? To address this question have explanatory models, implicit theories and social representations. There open source to find categories that include properties of contexts, events and strategies, selective analysis and interpretation, provision of hermeneutic units, building codes and categories. Invention of networks and new meaning. There are therefore legitimate and time criteria that justify the theme. However, the text should support his reading.
This aspect opens a horizon of expectations, as it reinforces the vehicular function of poetry, as she must allow access to a higher plane, one that means more time spent reading. And since the system used to transmit the content of communication necessarily remains indissoluble links with the surrounding life. The poet as subject language assumes a value system, sequences and domination, where the language does not play a reality, but a control mechanism and inserts in the process of cultural identity.
This brings us to a disciplinary map sets the limits of the known universe, "since that converge on a specific type of poem archetypal codes of the human mind, codes of poetry in general, the time the trend and gender, and those who belong to the realm of personal mythology or poetic universe of the author, ie the hierarchy of their recurrent motifs " [8]
Around epistemic understanding, both T. And M. Kuhn Foucault an important role for language in the constitution of knowledge. Not enough experimental evidence or arguments, it resorts to the rhetoric and logic. In this context, the hermeneutical method (exegesis) is the recovery of hidden meaning in the word, which has a plurality of meanings emphasizing that the interpretation is always something unfinished.
hermeneutics is "a founding subjectivity" is the first origin, interior hidden behind the manifest exteriority. Exegesis rests on course of a large hidden text in which his bail interpret its hidden meaning. "Every speech concealed the power to say nothing of what he said and wrapping and a plurality of meanings" [9] .
exegesis refers to a Telos, a purpose that is hidden but already advanced, the meaning is the intention of consciousness, the telos of a subject that tries to achieve "total revolution from which everything is organized" [10] .
Episteme is the set of relationships that can be attached at a particular time, the discursive practices originate certain epistemological figures. The episteme is not a knowledge nor a form of rationality, and aims to build a system of postulates and axioms, but intends to explore a limitless field of relations, recurrence, continuities, discontinuities " [ 11] .
Albano Episteme review this category called "a the sum or range of knowledge and objective categories that determine the opening and closing of the knowledge, under a scheme of appearance, residence, neighborhood, similarities, differences ... These epistemes not respond to a historical periodization, but his criterion of demarcation is based on the number of discursive processes taking place inside, and under its effect, lead to the development, emergence, and expiration of certain objects and statements " [12] .
Episteme is knowledge of the fundamental code of a culture is located, according to archaeological method in the certainties and not in the Doxa. The codes cover a wide range of knowledge of an era, many of them scientific. The archaeological method, used by Foucault, notes that the culture code is accessible to us only through the study of language and discourse, therefore, would be a discursive approach.
In "Words and things" Foucault notes that "the grammar of beings is their exegesis." In other words, language, speech, and the code are the structures in which we think things. This means episteme that it is not possible but as an experience of language in the order of things in which he says exist. Foucault sought an order in time-space bounded by the culture that allowed the emergence and access to the word in a contextual space delimited.
words, "the codes of culture since they have some experience of the order of things in light of the expose ratio. The man has launched some experience of the Same and the Other ... The ratio experienced by the order of things in a box having taxonomic identities things which resemble each other in an order which is familiar. But both have identities in order that experience also puts other things as the other, which is not related to the network of similarities but one that excludes " [13] .
rosameliano code
natural language tends toward the expression, through linguistic operations that emphasize the message content. Discussion the theory of Russian Formalism is centered around the "practical discourse against the poetic discourse" as Todorov notes in 1965. For Jakobson, the rhythm can be considered as a projection of paradigmatic selection principle and equivalence on the syntagmatic axis or linear selection. In this sense poetry is a means to highlight the message, where the line is the presentation.
now. Without claiming that the whole issue is reduced to the level of specificity, content, format, design deep, deep structure and formal structure (surface). Include certain assumptions. If a dwelling is made to the context, Don Rosamel manages to write before to inhabit. Solitaire. Airtight. Auspicious. Always waiting for the arrival time of renewal.
Therefore, the issue within the code [14] rosameliana existing work we notice the manifestation of an unvarying central theme. As part of description should be noted that, ultimately, the effort is displayed on the "show in terms of universal artistic operations how the text components of the subject emanating rhetorically" [15] .
We wonder if there is a place, which we take the tour where the elements take form as if a sleepwalker travelers get to the end was exactly in sync with the arrival of the hour. Likewise, the transmission of divine messages and their connection with one or the other makes will become the voice of all the poets for the music alone be able to tell in the absence of it, that: Orpheus has lost, has failed .
That's what we call tanatografías in his poetry, and in the midst of a strange atmosphere unfold events that appear to be driven by mysterious forces whose random, according to Le Cortege d'Orphee uo Bestiaire [16] would allow us to place the code Rosamel del Valle's own hermetism et Orphism.
So, what gives strength to the mighty story is that his thinking successful programmatic levels integrate ideological, aesthetic and philosophical in a way that otherwise would not be enough to break the gap between the depths and continuities sequence. Fully aware
his work communicates in a voice that has no age or interest in desacentuar the importance of the end and instead rejoice in transit. Valley advocates the use of expressive resources and the use of a nebula puzzle activity that leads to destinations intransitive.
strategist thinks the impossible and say what should not. Thus, the teller is designed an internal module that comes from the dark, which comes as an adventure, as an expression, whose mission is to bring light and show something that lives in him and is, he is extraversion, self-revelation, interpretation, and self-realization is a whole unfinished at his universe of possibilities. For
from silence and noise, clarity and gloom, all things and systems are named again and again; Heavens, heavens and gardens, where the separation and expulsion are the hallmark. Seal in the closing direction [17] because close the door threshold that permits cross, receive messages, listening to echoes, and to discover passages between the images. Of course, images that are party to the production of other images (sustained exaltation) that would be, finally, the course desired alchemical.
"Only this was to look into Hell. All the glory of his work, all the power of his art and the very desire for a happy life under the beautiful light of day are sacrificed to that one concern: to look at the night that hides the night the other night, hiding that appears " [18] .
In the words of the poet: "United in the cup overturned wanted to hold us, / Go to the song thrown into the fires / By mouths sealed by the beautiful spider death / But I had dreamed and the dream is a scissor / Started by the angels of the night. "
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The metamorphosis of the inner shaft
a movement of people and things, the constant change of transparency and darkness. It is the metamorphosis that makes possible the passage between the realms. Metamorphosis is the act or process of change from one form or substance, is a modification of the structures or functions in ways possible, change is simply chemical secular change in shape. But change is acted as a greater punishment, a new form developed between invertebrate zoology larva.
Behavior change is a greater punishment, otherwise change demands that occurred during classical allusions, and just before the sequences and from sequences, with a telos to which we can identify.
Such is the leap to the other as act as a convergent and divergent effort and prefigures a major find because it notes that since then (...), has neither past nor future, only transformations, overburden explains about Derrida. The decrease (read fall) is real, as Orpheus himself indicates in his: "I burn" [19] . Then be possible to establish that the snake skin is not a sign of salvation.
Such is the degree of differentiation, as is the body that threatens the loss of Paradise, which seems to be rendered before this plan. However, the traveler returns it loses possession again movement and loss: clarity in the territory of the poet, as a series of codes Orphic enough to guess his message as a disturbing invasion. Now, to glimpse the full set of relations we see that move a total story. As happens with Christ, where we know the end. Both created sequences that run parallel with hallucinatory force, but without the frenzy of the first vulnerable.
Other intertextual references, as when translating the poem "In the tomb of Apollinaire" Allen Ginsberg: "I'm buried here and rest in my grave under a tree." For example, Rilke in the first of his sonnets: "Orfeo sings. Oh tall tree in the ear! ".
In Rilke, the distinction between the earthly and heavenly is not decisive. Up and down blend and overlap, and can be inhabited by creatures of unknown origin. However, the choir of angels is not in the same place as in "The Duino Elegies" by Rilke. The reason is the code rosameliano.
Thus, the language has its own system of verbal signs, therefore there would be no moral reason but epistemes, responding to a social classification based on certain ways of knowing and studying. In the case of the Valley is a particular form of knowledge. Because who is out of the episteme, transgress the norms based in forms of knowledge and social discourse. In 1930, reinforces Huidobro said to write: "... that having great wealth of imagination, manages to be sober ..." [20] .
birthday code has a structural sense, as the envoy carries the role of omniscient observer. It has always been there, and from their place has very little logocentric perspective, existing series of symbols (universal, social and personal). The predominance of this must be significant because the materiality of the code is subject to the direction and sound, while the layout of a page like this and denote the formal apparatus that are made fully aware of the poetic language.
This awareness prevents access to content through exploiting the potential of language material, as there is a figurative use of the physics of language and textual axiology, which means that the author implicitly in the work marks the conditions of readability.
We will approach the analysis by strata. We must determine who is the speaker, according to the poem as the description implies some kind of seer. I had dreamed, he says. Apostrophe. Who goes?, Are there identifiable rhythms?, How does the verb?, How useful to the sender pays the iteration?, Or Who are actants that are embodied in the time period?
So there are anachronisms chronic universal value through which the map relates to disciplinary signs of social life, but also linked with universal symbols, given some structural awareness. According to the theory of the versions ... it represents the latest version, Orpheus is ... Batman.
Finally, the son of Calliope Thracian prince who loved Eurydice, we will work with images in his song: removal, reduction, earth / fire. The descent, nothing more than relegation. And yet, soles, hills, water, storm and ground moisture. The exercise is recurrent because it puts the text in its series, where?: In-the-eyes-of-Orpheus. In which we observe in particular the movement of the latent content, and we noticed an ownership interest in a particular context. That is, according to another variation of chowder recipe in terms of similarities and deconstructions by distance. There is no inside or outside, only a surface reflection or rather of inflection.
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E pílogo, chrysanthemums and Tristan
they passed the early centuries of barbarism, the men settled in civilized communities, whose splendor the poet found more inspiration in the absence, whose strength is not its ferocity deposed Orpheus and revered because it is the triumph allegorized singing about himself. Thus, the magical power of the characters deserve Orphic verses of Horace:
++++++++++++++++ birth Wild interpresque homines deorum hoc ob Lenir Dictus rabidosque tigris lions [21] .
Orpheus was honored and exalted in his power to charm the kingdoms: mineral, vegetable and animal. In Euripides we find documents in the retinue of Orpheus. Other Latin poets recreate the reason to celebrate the greatness of character in his poems sung. In its original hymn to Venus, goddess of pleasure and fertility, Hominum divomque voluptas, Alma Venus, says Lucretius, frolicked in his honor by the cheerful lawns every incessantly and fast flowing rivers, wherever it was all I had life to the lure of its pleasures following. Ovid made an interesting transformation in the application of reason to sing not to the gods, but the bard as a central figure in a chorus of beasts and birds.
Similarly, Candela Bupropion and participated in the abduction and kidnapping which eventually falling in love. Will not be something that, like Eurydice, of both being in the dark you end up liking it. Then, as a result of this encounter is born Tristan, who was supposed to be a tiger, but was not thinking I would love to thereby Crisanta.
There is a strange detail in the story, only he called him Crisanta. It is said that moves and takes life at certain times. They say that Crisanta enters the sea with a blanket. Rego is Greek blanket or coat. Regolith is the layer between the lithosphere and atmosphere. And Rilke in the first of his sonnets, sing: Oh, tall tree in the ear! ... Beasts come to the singing of God.
As a finishing touch, we emphasize that the story reinforces the notion in Kant around stable structures which organizes the world right. The truth as an object. Back to reconsider if the truth is identified with what we do in the world. Thus, the rhetoric was the focus of concern philological (habeas doctrine). In this sense, there must be a science that studies signs in social life that allows us to pass the material through semantic fields, such science allow us to discover the rhetorical structure absent in each type of argumentative text, since it lies in the cultural foundations of the buildings. ++++++++++++++++++++
reading the work of the poem Rosamel Valley enters dialogue with another kind of reality, the poem opens Biographical / structural, collaborating with the rhythm creating "physical communication vehicles" with her. I hope to return alive from such a trip!, Even to mourn their loss and wait for the inspiration: Orfeo is music. ++++++++++++++++++++
Notes
[1] Suffering is an experience that becomes a limiting condition is not desirable and mandatory. It affects the whole person and the cause is cultural. Yet suffering is a human being's experience, who in turn tends to reject. For this reason, we ask: How revived the pain, or do you have to get them in the interior?. Against the reasons to leave the invention, throw ourselves into the void ... The metaphor of metamorphosis.
[2] In 1918, working as a linotype operator, then as a reporter for the newspaper La Nacion. Post Office official. Case two cultural magazines: Ariel and Panorama. His friend Humberto Diaz-Casanueva incorporates it into the publishing department of the United Nations. Goes to New York. 8 mm films in his encounters with Allen Ginsberg.
returned to Chile in 1963. The literary world receives him coldly, but despite not having the legitimacy of their peers persists. He died on September 22, 1965.
[3] Triviños, G., in the introduction, "When you come in the door is opened without the touch", del Valle, Rosamel, "Fire and Ceremonies", Chile, Editorial Universidad de Concepción, 2001, p. 5 ff.
[4] Guerrero, PP, "Visionary Unorthodox", November, 2000, El Mercurio.
[5] del Valle, R., "A Pacific Orfeo", Lom Ediciones, Santiago, 2000.
[6] Zambra, A., "The Return of Rosamel" Revista Rocinante, January 2001.
[7] Journal of Poetry and Poetic Theory "ORPHEUS, 33 Key names of actual poetry Chile, Santiago.
[8] Zholkovsky, A., "Poems," the book "Discourse and literature" compiled by van Dijk, Ed XXX, p. 133.
[9] Foucault, M., "Archaeology of Knowledge", 2 nd ed., Mexico, XVI, 1972, p. 201.
[10] Foucault, M., ibid., P. 245.
[11] Albano, S., "Michel Foucault - Glossary epistemological" Ed Quadrata, Buenos Aires, 2004, p. 83.
[12] Albano, S., "Michel Foucault - Glossary of applications," Ed Quadrata, Buenos Aires, 2004. p.136.
[13] Ordonez, J., ibid., P.23.
[14] "The code word has a legal origin. And indeed, the code in the communication plays the role of a law: the rule to be followed to produce or receive messages. "Says Descombes, V.," So and so ", Ed Chair, Collection Theorem , Madrid, 1998, p. 135.
[15] Zholkovsky, A., "Poems," the book "Discourse and literature" compiled by van Dijk, Ed XXX, p. 132.
[16] There is a beautiful edition with woodcuts by Raoul Dufy, Delaplanche, 1911.
[17] "In the early 60's was much talk about" end of philosophy "... in a very low equivalent Heidegger ... most times to the following accusations: philosophy is the ideology of Western ethnicity (...) Derrida, following Bataille and Blanchot, proposes a otherwise diagnosis: The story has finished (...). We all know simply as the closure (emphasis added), if not as the end of history (...). For what begins then, beyond the absolute knowledge, thoughts unpublished are needed to sort through the memories of the old signs (...). The order of reason is absolute, because we can not appeal against her but she can not protest against it but it keeps us in his own field, but the use of ruse and strategy (...) . There is thus a possibility, the trick: the ruse and strategy ... and pretend to obey a tyrannical rule, but at the same time proposing setting traps who can not resolve cases (...). The strategy of deconstruction is the trick that allows you to speak at the same moment in which, after all, there is nothing to say, because the speech was made absolute (. ..). Consequently, in this order of utterance is simulation simulation simulation (to make as if I really ... I only pretended to pretend) ... after the comedian was hiding a murderer. "Descombes, V. "So and so", Ed Chair, Collection Teorema, Madrid, 1998, pp. 180-183.
[18] Blanchot, M., "The Literary Space", Ed Ibérica, S. A., 1992, p. 162.
[19] recommend in favor of the series, see the film "The Descent of Orpheus" by John Ford or listen to the song "Voodoo Child" by Jimi Hendrix.
[20] Mestre, JC who prefaces "The vision communicated" Rosamel del Valle, Editorial Nascimento, 1956.
[2] In 1918, working as a linotype operator, then as a reporter for the newspaper La Nacion. Post Office official. Case two cultural magazines: Ariel and Panorama. His friend Humberto Diaz-Casanueva incorporates it into the publishing department of the United Nations. Goes to New York. 8 mm films in his encounters with Allen Ginsberg.
returned to Chile in 1963. The literary world receives him coldly, but despite not having the legitimacy of their peers persists. He died on September 22, 1965.
[3] Triviños, G., in the introduction, "When you come in the door is opened without the touch", del Valle, Rosamel, "Fire and Ceremonies", Chile, Editorial Universidad de Concepción, 2001, p. 5 ff.
[4] Guerrero, PP, "Visionary Unorthodox", November, 2000, El Mercurio.
[5] del Valle, R., "A Pacific Orfeo", Lom Ediciones, Santiago, 2000.
[6] Zambra, A., "The Return of Rosamel" Revista Rocinante, January 2001.
[7] Journal of Poetry and Poetic Theory "ORPHEUS, 33 Key names of actual poetry Chile, Santiago.
[8] Zholkovsky, A., "Poems," the book "Discourse and literature" compiled by van Dijk, Ed XXX, p. 133.
[9] Foucault, M., "Archaeology of Knowledge", 2 nd ed., Mexico, XVI, 1972, p. 201.
[10] Foucault, M., ibid., P. 245.
[11] Albano, S., "Michel Foucault - Glossary epistemological" Ed Quadrata, Buenos Aires, 2004, p. 83.
[12] Albano, S., "Michel Foucault - Glossary of applications," Ed Quadrata, Buenos Aires, 2004. p.136.
[13] Ordonez, J., ibid., P.23.
[14] "The code word has a legal origin. And indeed, the code in the communication plays the role of a law: the rule to be followed to produce or receive messages. "Says Descombes, V.," So and so ", Ed Chair, Collection Theorem , Madrid, 1998, p. 135.
[15] Zholkovsky, A., "Poems," the book "Discourse and literature" compiled by van Dijk, Ed XXX, p. 132.
[16] There is a beautiful edition with woodcuts by Raoul Dufy, Delaplanche, 1911.
[17] "In the early 60's was much talk about" end of philosophy "... in a very low equivalent Heidegger ... most times to the following accusations: philosophy is the ideology of Western ethnicity (...) Derrida, following Bataille and Blanchot, proposes a otherwise diagnosis: The story has finished (...). We all know simply as the closure (emphasis added), if not as the end of history (...). For what begins then, beyond the absolute knowledge, thoughts unpublished are needed to sort through the memories of the old signs (...). The order of reason is absolute, because we can not appeal against her but she can not protest against it but it keeps us in his own field, but the use of ruse and strategy (...) . There is thus a possibility, the trick: the ruse and strategy ... and pretend to obey a tyrannical rule, but at the same time proposing setting traps who can not resolve cases (...). The strategy of deconstruction is the trick that allows you to speak at the same moment in which, after all, there is nothing to say, because the speech was made absolute (. ..). Consequently, in this order of utterance is simulation simulation simulation (to make as if I really ... I only pretended to pretend) ... after the comedian was hiding a murderer. "Descombes, V. "So and so", Ed Chair, Collection Teorema, Madrid, 1998, pp. 180-183.
[18] Blanchot, M., "The Literary Space", Ed Ibérica, S. A., 1992, p. 162.
[19] recommend in favor of the series, see the film "The Descent of Orpheus" by John Ford or listen to the song "Voodoo Child" by Jimi Hendrix.
[20] Mestre, JC who prefaces "The vision communicated" Rosamel del Valle, Editorial Nascimento, 1956.
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