Relevant bibliographies by topics / Nicaraguan poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Nicaraguan poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Nicaraguan poetry"

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Monte Casablanca, Antonio, and Crystal Neill. "“Notes and Letters”: Music of the City in Flight / Trans-Migratory Poetry. By Antonio Monte Casablanca. Translated by Crystal Neill, with Amanda Minks and Lila Ellen Gray." Ethnomusicology Translations, no. 11 (May 26, 2021): 1–29. http://dx.doi.org/10.14434/emt.no.11.32396.

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In this essay I draw from memory studies and Latin American cultural studies to reflect on Notas y Letras (Notes and Letters), a collaboration by the Nicaraguan band Nemi Pipali and the poet Adolfo Beteta. I analyze these artistic expressions, music and poetry, at their place of convergence—the city of Managua—making audible some of the mechanisms that combine symbolic universes in Nicaraguan culture. This transdisciplinary reading allows me to propose that 1) music becomes a social marker of performative memory, transmitted by sounds present in hybrid Latin American cities, and 2) the migrant subject is displaced and divided between the center and the periphery. Citation: Monte Casablanca, Antonio. “Notes and Letters”: Music of the City in Flight / Trans-Migratory Poetry. Translated by Crystal Neill, with Amanda Minks and Lila Ellen Gray. Ethnomusicology Translations no. 11. Bloomington, IN: Society for Ethnomusicology, 2021. Originally published in Spanish as “‘Notas y Letras’: Música de la ciudad en fuga / Poesía transmigratoria.” Revista de Historia (Instituto de Historia de Nicaragua y Centroamérica) 33/34 (2015): 108-129.
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Heyck, Denis L., and Steven F. White. "Modern Nicaraguan Poetry, Dialogues with France and the United States." Hispania 78, no. 1 (March 1995): 79. http://dx.doi.org/10.2307/345216.

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Hood, Edward Waters, and Stephen F. White. "Modern Nicaraguan Poetry: Dialogues with France and the United States." World Literature Today 68, no. 3 (1994): 541. http://dx.doi.org/10.2307/40150403.

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Kaiser-Lenoir, Claudia. "Nicaragua: Theatre in a New Society." Theatre Research International 14, no. 2 (1989): 122–31. http://dx.doi.org/10.1017/s030788330000609x.

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One of the most revealing traits of the Nicaraguan revolution is manifested in the profound changes registered in the realm of culture. If Sandinista ideology focuses not on the fate of an élite but on that of the vast majority of the Nicaraguan people, it follows that for people to become the true subject of politics they have to become the true subject of culture as well. The popular Sandinista victory of July 1979 brought about the immediate establishment of the Ministry of Culture (the first in the country's history). Its goal: to give shape and nourishment to the popular effervescence and creative energies awakened by the long struggle. Work began with the organization of theatre, poetry, music and dance workshops throughout all sectors of the Nicaraguan society (army and police included), with the inauguration of Centres of Popular Culture in all regions, the creation of cultural committees in all grass-roots organizations, the training of ‘cultural promoters’ to work with regional governments, and with the task of rescuing and revitalizing popular cultural traditions.
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Cohen, Jonathan. "Evolving to Science Poetry: Three Poems by Ernesto Cardenal." American, British and Canadian Studies 41, no. 1 (December 1, 2023): 239–46. http://dx.doi.org/10.2478/abcsj-2023-0028.

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Abstract Nicaraguan poet-priest Ernesto Cardenal (1925–2020) is one of the most important Latin American poets. He developed his “exteriorist” poetics in the 1950s, much influenced by Anglo-American poets, in particular Ezra Pound, to differentiate his poetry from the prevailing subjectivist verse in Latin America. The impact of Pound’s canto technique on his work is clear, as well. Cardenal’s epic poem Cántico cósmico (Cosmic Canticle), published in 1989, is his magnum opus. This work is distinguished by his avant-garde use of science and its language, as he contemplates the entire cosmos and issues of being and non-being. Revolution is another major aspect of the poem, reflecting Cardenal’s commitment as a Christian-Marxist revolutionary. My translations of three fragments of his Cosmic Canticle selected by him are published here for the first time. They represent his focus on the origin of our planet and life on Earth.
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Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (May 1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.

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The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and struggle’, enshrined in the titles of two Spanish American anthologies (C. W. 1967 and Gac Artigas 1973), which nicely stresses both their ‘combative’ and their ‘constructive’ aspects, while one of the best of their singers – the Uruguayan Daniel Viglietti – describes his own songs as being ‘in some measure both de protesta and de propuesta’ (i.e. as much ‘proposing’ as they are ‘protesting’). The document with which this article is chiefly concerned uses the term ‘revolutionary song’, which clearly covers both those aspects, but such songs may be seen to perform a far more complex range of tasks than any of those labels might suggest, as soon as their functions are examined ‘on the ground’ within the immediate context of the predominantly oral cultures of Latin America to which they are addressed: cultures in which traditional folksong has retained its power and currency largely undiminished by the changes of the twentieth century, and in which the oral nature of song (with the message of its lyrics reinforced by music) helps it to gain a wider popular diffusion than the more ‘literary’ but unsung texts which make up the greater part of the genre of so-called ‘committed poetry’ (‘poesía de compromiso’) to which the lyrics of such songs clearly belong (see Pring-Mill 1978, 1979).
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Pascual Battista, Rosario. "José Emilio Pacheco: lector y antólogo del modernismo." Literatura Mexicana 32, no. 1 (January 20, 2021): 163–90. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26857.

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José Emilio Pacheco (1939-2014) devoted part of his essay production to reconstruct the past of letters and, in particular, was interested in the Modernist movement. From two anthological texts: Anthology of Modernism [1884-1921] (1970) and Modernist Poetry. A General Anthology (1982), and a selection of journalistic notes that he published in the Mexican magazine Proceso, Pacheco aimed at broadening the spectrum of Modernist figures and avoiding to keep to a single figure, such as that of the Nicaraguan Rubén Darío. This article reconstructs the dialogues and reciprocities that José Emilio Pacheco traces with the literary tradition of Modernism and that are sustained, on the one hand, in connections between poets, as it is the case of Manuel Gutiérrez Nájera and José Martí and, on the other hand, in the recovering of poets less well-known by literary criticism, such as Salvador Díaz Mirón.
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Schnirmajer, Ariela Érica. "Rubén Darío, lector de Almafuerte." (an)ecdótica 5, no. 1 (January 29, 2021): 183–99. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19790.

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In 1896, Darío published one of his most important books in Buenos Aires: Los Raros, an article collection about the writers that most interested him. Through them, he revealed his belief system, based on the cultural heroes who, from his point of view, founded the roots of modern tradition. In this article we focus on a “raro” who didn´t enter Los Raros: Pedro Bonifacio Palacios, known by his pseudonym Almafuerte. Despite the distances between Darío’s poetic proposals in his stay in Buenos Aires and Almafuerte’s profile, close to social romanticism and to a “vociferous” tone, the Nicaraguan author considered him a precursor. The investigation unravels the reasons for these postulates in two journalistic articles published in La Nación of Buenos Aires in 1895. We propose that Darío places Almafuerte on the new poetry path. To do this, he leads to the figure of the oxymoron, in which he tries to sharp the edges that distance Almafuerte’s poetics from his, and brings him closer to the defense of art professionalization. Simultaneously, Darío adopts the imprecating tone of the poet from Buenos Aires.
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Hanson, Lori, and Jonah Walters. "A Poetic Tribute to the Spirit of Canada-Nicaragua Solidarity: Tools for Peace." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 9, no. 1 (September 1, 2023): 1–20. http://dx.doi.org/10.15402/esj.v9i1.70821.

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Tools for Peace (T4P) was a grassroots campaign in the 1980s that mobilized Canadians in every province and territory from diverse walks of life and extended large quantities of material support to Nicaragua’s Sandinista revolution. Despite having been recognized by the Nicaraguan state as one of the most important international solidarity efforts of the Sandinista era, T4P has received strikingly little scholarly attention. The paper analyzes 27 interviews with Tools for Peace participants that were conducted in the mid-1980s for an anthology that was never published, the transcripts of which are now found in the public archives at McMaster University. The interviewees’ words evoke the moods, sentiments, and dispositions that animated T4P. Weaving scholar-activism with arts-informed inquiry, this paper presents those sentiments in a series of found poems that seek to both engage and inspire their readers. Through these poems, the paper evokes the experiential and affective dimensions of international solidarity as it was enacted through this novel historical experience. We suggest that T4P was exemplary of the spirit of solidarity in the global movement in support of the Sandinista revolution, but also unique in its Canadian-ness, leading us to advocate a definition of international solidarity that emphasizes its situatedness, together with its experiential and affective dimensions.
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Doherty, Taylor Marie. "“Contact is Community”: A Conversation with Margaret Randall." Middle Atlantic Review of Latin American Studies 8, no. 1 (June 29, 2024): 147–85. http://dx.doi.org/10.23870/marlas.458.

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Interview with US writer and Latin Americanist Margaret Randall, accompanied by a selection of her poetry and photographs. She shares her thoughts on the interconnection of memory and place; personal contact for building community, connection, and mutuality; translation; risk-taking; art and social change. She also shares previously unpublished photos from her time in Cuba and Nicaragua in the 1980s. Entrevista con la escritora latinoamericanista estadounidense Margaret Randall acompañada de una selección de sus poesías y fotografías. Comparte sus ideas sobre la interconexión de memoria y lugar, el contacto personal para promover comunidad, conexión y mutualidad, la traducción, el riesgo y el arte y el cambio social. También comparte fotografías inéditas de sus estancias en Cuba y Nicaragua en los años ochenta.
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Dissertations / Theses on the topic "Nicaraguan poetry"

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Underwood, Jan. "Revolution, connectedness and kinwork : women's poetry in Nicaragua." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61970.

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Nakanishi, Laurel. "Offshore." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3268.

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OFFSHORE is a collection of lyric essays that examines the intersections between human cultures and the natural world. The essays inspect issues of identity and belonging in different geographic, cultural, and political landscapes. Part one of the book centers on the cultural and natural landscapes of Hawaii and Japan. Part two explores interpersonal relationships in Montana. And part three focuses on social justice issues in Nicaragua and Florida. Each of the essays in this collection balances intellectual exploration with personal narrative and poetic description, allowing the essays to be simultaneously concept-driven while maintaining lyric force.
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Sharper, Donna C. "Llamadas para la liberación en los salmos de Ernesto Cardenal." University of Toledo / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1481326494397004.

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García, Núñez de Cáceres Jorge Federico. "La afectividad como contra-discurso de la poesía comprometida de Daisy Zamora, Otto René Castillo y Roque Dalton." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1858.

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In this work, I explain that the focus of criticism on the Central American poetry of the second half of the twentieth century has emphasized its political content. I argue, however, that such a limited view obscures the broader import of this poetry and its place in Latin American literature. By reading the work of Nicaraguan Daisy Zamora, Guatemalan Otto René Castillo, and Salvadoran Roque Dalton with an emphasis on affectivity rather than revolution, I suggest a different relationship between the poet and society, one that is not limited to the marginal figure of the mujer soldado, the poeta guerrillero or the poeta marxista in conflict with all societal norms. Rather, I argue that my study portrays the complex subjectivity of the speaker/poet not unlike that of non-revolutionary poets, as well as his or her multi-dimensional affective connections to family and society. At the same time, an analysis of affect in this poetry allows us to reconsider the nature of the revolutionary figure itself, no longer a myth or a romantic hero, but an individual inserted in society in a more complex way. In Chapter 1, “Daisy Zamora: De la mujer-soldado a la mujer-mujer”, I contend that an analysis of affectivity of her poetic work reveals how personal memory constructs an individualized subjectivity different from that of a woman-soldier. In the second chapter, “Otto René Castillo: De la lucha revolucionaria a la soledad del poema,” I argue that a negative connotation of romantic love is projected in his poems bringing about traces of existential solitude in the lyric subjectivity. Furthermore, Castillo’s poetry elicits a binary opposition between “the people” and the guerrillero in which the former is portrayed as lacking of agency. The third chapter, “Roque Dalton: y/o subjetividad en crisis,” reveals the ways in which the Salvadoran poet textualizes a poetic of disenchantment by way of projecting disdain and contempt to the “motherland.” In conclusion, my approach pinpoints how Zamora, Castillo and Dalton share the same preoccupations, affects and ways to conceive reality, which are also similar to the practices of those poets whose works are better-known given their national origin or because their poetic production has been widely studied by academia. This document has been written in Spanish.
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Books on the topic "Nicaraguan poetry"

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Gullette, David. Nicaraguan peasant poetry from Solentiname. Albuquerque, NM: West End Press, 1988.

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Mayra, Jiménez, ed. Poesía de las fuerzas armadas: Talleres de poesía. Managua, Nicaragua: Ministerio de Cultura, 1985.

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Hurtado, Isolda, editor, writer of introduction, writer of added commentary, Silva, Fernando Antonio, 1957- editor, and Festival Internacional de Poesía de Granada (14th : 2018 : Granada, Nicaragua), eds. Antología de poesía. Granada: Festival Internacional de Poesía Ciudad de Granada, 2018.

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GODOY, Carlos MEJIA. The Nicaraguan epic. London: Katabasis, 1989.

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Selva, Salomón de la. El soldado desconocido, y otros poemas: Antología. México: Fondo de Cultura Económica, 1989.

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MImmo, Michele Ludovico. La fina corteza de la realidad: Español-spagnolo = La sottile corteccia della realtá : spagnolo-italiano. Managua, Nicaragua: [publisher not identified], 2018.

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Sanchez, Ricardo Boza. El poeta profundo de la sencillez. Santo Tomás de Lovigtisca, Chontales, Nicaragua: Editorial Huellas, 2021.

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author, Belli Gioconda 1948, and Belli Gioconda 1948-, eds. Seguir viaje. 9th ed. [Managua]: Uruk Editores, 2015.

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Gutiérrez, Alvaro. Retrato platicado cantares a la maga (2012 - 2015). Managua: Foro Nicaragüense de Cultura, 2020.

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Valle-Castillo, Julio. Memento de vivos y difuntos (1973-2007). Managua, Nicaragua: Centro Nicaragüense de Escritores, 2008.

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Book chapters on the topic "Nicaraguan poetry"

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"3. Nicaraguan Poetry from Dario to Cardenal." In Literature and Politics in the Central American Revolutions, 53–80. University of Texas Press, 1990. http://dx.doi.org/10.7560/746664-004.

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"4. Nicaraguan Poetry of the Insurrection and Reconstruction." In Literature and Politics in the Central American Revolutions, 81–114. University of Texas Press, 1990. http://dx.doi.org/10.7560/746664-005.

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Minks, Amanda. "Folklore, Region, and Revolution in Nicaragua." In Indigenous Audibilities, 107–40. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197532485.003.0004.

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Abstract Chapter 3 analyzes folkloric discourse in the writings of Nicaraguan intellectuals and poets, including Pablo Antonio Cuadra and Ernesto Mejía Sánchez, and the great nineteenth-century poet Rubén Darío. While Indigenous peoples in western Nicaragua were considered sources for national heritage, Indigenous peoples in eastern Nicaragua were excluded from national heritage. The eastern, Caribbean coast of Nicaragua had initially been colonized by England prior to annexation by Nicaragua (with US support) in the late nineteenth century. The region included many English speakers with a range of racial/ethnic identities; those with some African ancestry were especially subject to exclusion from national belonging in folkloric writings. This Nicaraguan case study brings out the contestation of who counts as Indigenous, tracing the different positioning of Indigenous peoples in western and eastern Nicaragua, as well as the exclusionary ideologies around African ancestry. There is also a tension in this chapter between political repression and psychological repression, suggesting that repressed voices are not entirely silenced.
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Bachner, Andrea. "World-Literary Hospitality." In The Making of Chinese-Sinophone Literatures as World Literature, 103–21. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888528721.003.0006.

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Most debates about what constitutes world literature put emphasis on movement and creation, on world literary originality or activity, thus drawing a skewed map of world-literary intensity. What if we paid attention to an equally important part of literary worlding, namely the capacity for receiving literary impulses from other cultures, the ability to translate, integrate, rewrite, and (re-)create? This essay challenges commonplaces of textual agency and espouses a methodology attentive to world-literary hospitality. It juxtaposes two examples of world-literary circulation from the early 1920s between Latin America and China: The first is Mexican writer José Juan Tablada’s (1871-1945) 1920 poetry collection Li-Po y otros poemas (Li-Po and Other Poems)—an experiment in visual poetry inspired by Chinese and Japanese culture. The second is one of the earliest translations of a Latin American literary text into Chinese: Mao Dun’s 1921 Chinese rendition of Nicaraguan writer Rubén Darío’s story “El velo de la reina Mab” (“The Veil of Queen Mab”), published originally in 1888. Rather than showing how Chinese literary texts can be read through the lens of world-literary approaches, I aim to read these texts as scenes of world-literary hospitality, and thus as experiments in proposing alternative world-literary patterns.
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Wells, Allen. "The Poet and the Rebel." In Latin America's Democratic Crusade, 21–53. Yale University Press, 2023. http://dx.doi.org/10.12987/yale/9780300264401.003.0002.

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This chapter examines an unusual partnership during the late 1920s between the Nicaraguan rebel Augusto Sandino and an obscure Honduran poet and bookdealer, Froylán Turcios. The goals they articulated—opposition to dictatorship, anti-imperialism, the internationalization of the Panama Canal, Central American unification, economic nationalism, and a panhemispheric, Indo-Hispanic unity—reflected an ambitious cross-fertilization of ideas shared by two generations of public intellectuals and activists. To volunteer in Sandino’s Latin American Legion idealistic students and activists first traveled to Turcios’s bookshop in Tegucigalpa, Honduras to meet with the poet, where he personally vetted prospective recruits before sending them on to the rebels’ remote, mountainous redoubt in neighboring Nicaragua.
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"Between Two Thieves." In Divine Inspiration The Life of Jesus in World Poetry, edited by Robert Atwan, George Dardess, and Peggy Rosenthal, 460–62. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195093513.003.0106.

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Abstract Then two bandits were crucified with him, one on his right and one on his left. Nicaragua, 1867-1916. See page 49 for biographical information on this poet. "Knight" is translated from the Spanish by Lysander Kemp.
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Patea, Viorica. "“Cantos” or “Cantares”?" In Cross-Cultural Ezra Pound, 127–46. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979800.003.0011.

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Viorica Patea’s essay opens with an account of José Vasquez Amaral’s long struggle translating Pound’s Cantos into Spanish and the argument he and Pound had about the correct equivalent in Spanish of the term, “canto.” Pound refused to accept that the Spanish “cantar” was appropriate for the parts in El Poema del Cid, but never after that. Still after their debate, Pound insisted on using “cantares” for both Rock-Drill and Thrones because it tallied with his idea of The Cantos as the “tale of the tribe.” Patea then swivels to another revealing dimension of Pound’s work in translation: contrasting controversies involving translations of Pound’s poetry under communism. Whereas the authorities in Communist Romania suppressed the Pound translations of Nicolas Steinhardt and prosecuted him, in Nicaragua the poet and staunch Marxist Ernesto Cardenal openly celebrated Pound as a master. Patea’s investigation reveals that, while Pound is often read (and repudiated) as a political writer, more persistently, he is admired not for his politics, but for how his poetry resists ideological limits altogether.
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Aguilar, Mario I. "Liberation Theology." In Christian Theologies of the Sacraments. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9780814724323.003.0021.

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This chapter identifies theologies of sacraments in the context of liberation theology, rooted primarily in work among poor Christians in 1960s Latin America. In doing so it addresses the “first step” (“the experience of God through the poor and the marginalized”) and the “second step” (“the historical and theological developments that led to the beginnings of liberation theology as a reflection on Christian experience”). The seminal work in liberation theology developed by Gustavo Gutiérrez and Juan Luis Segundo is described, as is the impact of the 1968 Latin American Bishops Conference in Medellin. In addition, the work of Ernesto Cardenal, a Nicaraguan Catholic priest, poet, and politician, in viewing the Eucharist in connection to the prophetic work of Jesus Christ among the poor is examined—specifically in the context of celebrating Eucharist in the Nicaraguan peasant communities of the archipelago of Solentiname.
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Elmore, Peter. "Crónica y comentarios." In Metáfora de la experiencia: la poesía de Antonio Cisneros, 47–55. Pontificia Universidad Católica del Perú, 2023. http://dx.doi.org/10.18800/9972421465.004.

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Antonio Cisneros (Lima, 1941), ampliamente antologado y tradu, ciclo, es uno de los poetas peruanos que en los años 60 modificaron el panorama literario del país. Esta conversación sobre su poesía (y sobre la poesía) surgió a raíz de la reciente aparición de su último libro, Crónica del Niño Jesús de Chilca (que obtuvo en 1980 el segundo premio del «Rubén Darío» de Nicaragua); Cisneros es también autor de Destierro (1961), David (1962), Comentarios reales (1964, Premio Nac. de Poesía), Canto ceremonial contra un oso hormiguero (1968, Premio «Casa de las Américas»), y El libro de Dios y de los húngaros (1978).
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