Relevant bibliographies by topics / Nicaraguan Poets

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Academic literature on the topic 'Nicaraguan Poets'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Nicaraguan Poets"

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Teixeira, Faustino. "O itinerário místico de Ernesto Cardenal." Revista Eclesiástica Brasileira 73, no. 290 (October 24, 2018): 381–408. http://dx.doi.org/10.29386/reb.v73i290.655.

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Conhecido na América Latina e no Caribe como um poeta revolucionário, Ernesto Cardenal (1925-) produziu, ao longo de sua vida, obras em prosa e em verso que estão marcadas igualmente por significativa densidade mística. Há que buscar captar ao longo desse singular itinerário os traços dessa presença espiritual que talvez esteja na base da riqueza e expressividade de sua vida e produção teórica. O poeta nicaraguense vem hoje reconhecido por vários autores como um dos mais fecundos e originais poetas do século XX, e revela-se de fundamental importância desocultar as coordenadas contemplativas presentes na sua rica narrativa.Abstract: Known in Latin America and in the Caribbean as a revolutionary poet, Ernesto Cardenal (1925-) produced during his life works in prose and verse that are equally marked by a significant mystical density. It is now essential to try and capture along this singular trajectory the traits of this spiritual presence that most probably is at the base of the richness and expressivity of his life and theoretical production. The Nicaraguan poet is now recognized by various authors as one of the most productive and original poets of the 20th century and it is of paramount importance to unveil the contemplative coordinates present in his rich narrative.Keywords: Latin America. Literature. Mystical. Religion. Cardenal.
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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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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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Martínez Rivas, Carolos. "Poesía de Milagros Terán." Cultura de Paz 19, no. 60 (August 2, 2013): 33–37. http://dx.doi.org/10.5377/cultura.v19i60.1176.

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La poesía de Milagros Terán, una de las poetas más importantes de Nicaragua, es presentada en Cultura de Paz. La belleza de lo cotidiano en la trascendencia de la palabra poética. Carlos Martínez Rivas, extraordinario y singular poeta de nuestra lengua, escribe una carta valorando textos de Milagros Terán. DOI: http://dx.doi.org/10.5377/cultura.v19i60.1176 Cultura de Paz • Año XIX • N° 60 • Mayo - Agosto 2013 P / 33-37
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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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Jaentschke, Marcel. "Si yo fuera mayo: adiós al poeta Carlos Rigby Moses." Wani, no. 73 (March 8, 2018): 10–11. http://dx.doi.org/10.5377/wani.v0i73.7448.

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Este texto es una reseña biográfica y artística del poeta costeño Carlos Rigby Moses. Señala no solo sus primeros pasos en los círculos literarios del país, sino también las distintas actividades artísticas y políticas de este polifacético poeta caribeño: su afición a la música y al trombón, su participación y compromiso revolucionarios y el importante papel vinculante entre la cultura caribeña y la del Pacífico de Nicaragua. Nos conduce además por un recorrido temático de sus mejores poemas y nos da a conocer las actividades y relaciones que este gran poeta tuvo con los principales literatos y artistas de Nicaragua. Acompaña a este artículo un pronunciamiento del Centro Nicaragüense de Escritores y poemas de Carlos Rigby.
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Ortiz-Vilarelle, Lisa. "Milk Poems and Blood Poems: Revolutionary Embodiment and the New Nicaraguan Woman." a/b: Auto/Biography Studies 33, no. 2 (May 4, 2018): 417–36. http://dx.doi.org/10.1080/08989575.2018.1445589.

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Sandino Argüello, Rodolfo. "Modernización de las leyes en Nicaragua." Encuentro, no. 79 (February 7, 2008): 85–88. http://dx.doi.org/10.5377/encuentro.v0i79.3651.

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El primer número de la revista Encuentro, correspondiente a los meses de enero y febrero de 1968, aparece dirigido por el reconocido intelectual y parlamentario Dr. Julio Ycaza Tigerino (qepd), teniendo como secretario al poeta Luís Rocha Urtecho. Esta revista académicocientífica de la Universidad Centroamericana, que este año cumple cuarenta de existir, es la más antigua en su género en Nicaragua. Creo conveniente mencionar en esta colaboración a quienes durante tantos años la han dirigido y a quienes se debe que haya llegado a lo que es hoy: un valioso instrumento cultural para la investigación en todos los órdenes. A partir de 1969 la dirigió el filósofo Romano García y sucesivamente: Luís A. Claramount, psicólogo (1971), Horacio Peña, poeta (1973), Enrique Alvarado Martínez, humanista (1979), Amando López, s.j. (1980), Raúl Moreno, s.j. (1984), César Jerez, s.j. (1984) Peter Marchetti, s.j. (1986), Melba Castillo (1993), Nelly Miranda, socióloga (1995), Vidaluz Meneses, poeta (1997), Marcos Membreño Idiáquez, sociólogo (1998), Eduardo Valdez s.j. (2003), Federico Sanz s.j. (2004), Doctora Mayra Luz Pérez Díaz, nuestra actual rectora (2005). Loor a la obra de estos ilustres académicos y académicas.
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Pascual Gay, Juan. "Rubén Darío en México o una visita que no tuvo lugar." SIGLO DIECINUEVE (Literatura hispánica), no. 23 (October 31, 2019): 199–211. http://dx.doi.org/10.37677/sigloxix.v0i23.44.

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El 8 de septiembre de 1910, a bordo del Saint Nazaire, llegó al puerto de Veracruz el poeta Rubén Darío, comisionado por el gobierno de Nicaragua para asistir a la celebración del Centenario de la independencia. Un conflicto diplomático entre Nicaragua y Estados Unidos impidió que Darío participara en los festejos. Sin embargo, las repercusiones literarias y culturales de esta no-visita no se hicieron esperar. Así, a partir de 1910 y hasta 1920, son rastreables algunas consecuencias. Este texto cartografía los preparativos realizados en México para recibir al poeta, así como diferentes crónicas de su visita al país, para aportar finalmente algunos hechos vinculados a esta extraña visita.
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Rueda, Juna, and Francesc Mesquita-Joanes. "First data on the Radiospongilla crateriformis (Potts, 1882) (Porifera: Spongillidae) from Nicaragua." Anales de Biología, no. 38 (July 19, 2016): 103–7. http://dx.doi.org/10.6018/analesbio.38.11.

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Durante el desarrollo de un curso sobre la evaluación de la calidad biológica de las aguas continentales en León (Nicaragua), se recolectaron ejemplares de la esponja de agua dulce Radiospongilla crateriformis (Potts, 1882) (Porifera: Spongillidae), la cual se cita aquí por primera vez para el país. Los muestreos se realizaron durante la tercera semana de enero de 2016 en el río Los Aposentos. Este circula dentro del recinto del Jardín Botánico Ambiental (JBAUNAN-León). Se aportan datos sobre la autoecología de los ejemplares recolectados y se discuten ciertas diferencias morfológicas con respecto a otras citas en países cercanos. In the framework of a field course on water quality assessment in León (Nicaragua), we collected specimens of the freshwater sponge Radiospongilla crateriformis (Potts, 1882) (Porifera: Spongillidae), which is herein cited for the first time for this country. Samples were obtained during the third week of January 2016 from river Los Aposentos. This stream runs through the Environmental Botanical Garden (Jardín Botánico Ambiental, JBA-UNAN-León). We present data on the species autoecology and discuss morphological differences with previous findings from surrounding areas.
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Dissertations / Theses on the topic "Nicaraguan Poets"

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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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Books on the topic "Nicaraguan Poets"

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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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Urtecho, José Coronel. Libro de conversaciones sobre libros. Managua, Nicaragua: Editorial Nueva Nicaragua, 1994.

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Cardenal, Ernesto. La revolución perdida. Madrid: Trotta, 2004.

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Cardenal, Ernesto. Los años de Granada: Continuación de Vida perdida. 2nd ed. [Managua]: Anamá Ediciones Centroamericanas, 2004.

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Cardenal, Ernesto. Los años de Granada: Continuación de La vida perdida. Managua: Ediciones Centroamericanas Anamá, 2001.

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1966-, García-Obregón Omar, and Palacios Conny 1953-, eds. El güegüense al pie de Bobadilla: Poemas escogidos de la poesía nicaragüense actual. Managua, Nicaragua: PAVSA, 2008.

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Darío, Rubén. La vida de Rubén Darío escrita por el mismo. Caracas, Venezuela: Biblioteca Ayacucho, 1991.

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Valle-Castillo, Julio. El autor y su obra. [Managua, Nicaragua]: Ediciones Festival Internacional de Poesía de Granada, 2011.

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Brantome, Carola. El autor y su obra: Carola Brantome. [Managua, Nicaragua]: Ediciones Festival Internacional de Poesía de Granada, 2012.

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Belli, Gioconda. El autor y su obra. Managua: Ediciones Festival Internacional de Poesía de Granada, 2011.

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Book chapters on the topic "Nicaraguan Poets"

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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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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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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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"Chapter 6. Th e Mission in Nicaragua: San Francisco Poets Go to War." In The Heart of the Mission, 152–77. University of Pennsylvania Press, 2017. http://dx.doi.org/10.9783/9780812294149-008.

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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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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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