Relevant bibliographies by topics / Spanish Erotic poetry

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Academic literature on the topic 'Spanish Erotic poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Spanish Erotic poetry"

1

Weber, Alison. "Golden Age or Early Modern: What's in a Name?" PMLA/Publications of the Modern Language Association of America 126, no. 1 (2011): 225–32. http://dx.doi.org/10.1632/pmla.2011.126.1.225.

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As few hispanists have failed to notice, early modern Spain is more often appearing as an alternative term for what we used to call the Spanish Golden Age. University catalogs still advertise courses on Golden Age poetry, but lectures are more apt to bear titles such as “The Crisis of the Gift in Early Modern Spain.” Although some recent books—Inventing the Sacred: Imposture, Inquisition, and the Boundaries of the Supernatural in Golden Age Spain (Keitt), Honor and Violence in Golden Age Spain (Taylor), and An Erotic Philology of Golden Age Spain (Martín)—display Golden Age in their titles, th
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2

De Ros, Xon. "El legado oculto de Antonio Machado a la generación de poetas del medio siglo." Prosemas 4 (February 19, 2020): 203. http://dx.doi.org/10.17811/prep.4.2019.203-222.

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Resumen: Los estudios dedicados a investigar la ascendencia de Antonio Machado en la generación poética del 50 han resaltado la crítica social y la reflexión metafísica como rasgos comunes en ambos. Este artículo se propone explorar el componente erótico, un aspecto poco estudiado en la poesía de Machado a pesar de la relevancia que tiene en la obra de sus apócrifos, examinando uno de los poemas tempranos de «Galerías» a la luz de su lectura por parte de Jaime Gil de Biedma. El análisis de las estrategias que generan el potencial erótico del poema machadiano, a través de enfoques proporcionado
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3

Lynd, Juliet, and Ana Roncero-Bellido. "Art, Poetry, and Testimonio in Cecilia Vicuña’s Saborami (1973)." Letras Femeninas 43, no. 1 (2017): 93–119. http://dx.doi.org/10.14321/letrfeme.43.1.0093.

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Abstract Saborami (1973) is the first book published by Chilean poet-artist Cecilia Vicuña (b. 1947) and one of the first artistic denunciations of the violence of the September 11, 1973 military coup d’état in Chile. This understudied work of the Chilean neo avant-garde was first published in a bilingual Spanish-English edition with Beau Geste Press, one of the most influential independent presses for the publication, printing and duplicating of experimental art in the 1970s. This first artisanal edition of 250 copies was constructed from recycled paper and gathered several of the art project
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4

Kaczor, Katarzyna. "Wyrazić Niewyrażalne - karmelitańskie pieśni o miłości Bożej." Acta Universitatis Lodziensis. Folia Litteraria Polonica 7, no. 1 (2005): 97–113. https://doi.org/10.18778/1505-9057.07.06.

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Carmelitan poetry from XVII and XV1I1 centuries, undertook the subject of the love of the God, presents the influences of Spanish mysticism as well the erotic symbolism of The Sonn Above Song. The love, presented by anonymous authors, was compared to the fire of which the flame makes in the object of the love the qualm and faint, the gladness and suffering at once. Carmelitan authors used the metaphors of heart pierced by arrow - of the motif functioned already in antique, next taken over by church fathers (Orygenes, St. Augustin), and then by the great Christian mystics (St. Teresa of Avila a
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5

Lewis, Vek. "Poems From/de Infernal: Romantic." PORTAL Journal of Multidisciplinary International Studies 5, no. 2 (2008). http://dx.doi.org/10.5130/portal.v5i2.859.

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These poems came about when, living in a house in Xalapa, Mexico, without a stereo and no guitar or piano to speak of, I had to invent my own music. Love is infernal, not eternal. The image of the beloved that betrays you, always an image that is both iconic and sacrilegious, an internal and infernal ecstasy that the bolero gives life to. I only realised afterwards that I had written an update of this Caribbean-Mexican genre, a mi manera. So it seemed suitable that they should be in Spanish and English (the latter my first language), exorcising both los demonios de la mirada amada y los demoni
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Books on the topic "Spanish Erotic poetry"

1

Mendoza, Diego Hurtado de. Poesía erótica. Ediciones Aljibe, 1995.

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2

Estrada, Rafael Pérez. Del goce y de la dicha: Poesía erótica. Litoral, 1985.

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3

Luzmaría, Jiménez Faro, ed. Breviario del deseo: Poesía erótica escrita por mujeres. Torremozas, 1989.

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Nicaragua) Fundación Poetas en Órbita (Managua. A flor de piel: Poesía erótica : antología. Fundación Poetas en Órbita, 2021.

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5

I, Peña Arzamendi Carlos, ed. Poesías picarescas. 3rd ed. [s.n.], 1994.

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6

Fernández, Fernando Ornosa. Cancionero secreto de Asturias. Fundación Municipal de Cultura, Educación y Universidad Popular, Ayuntamiento de Gijón, 2005.

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7

1947-, Abad Isabel, ed. El monte de las delicias: Poesía erótica femenina en español. Ediciones Altera, 2004.

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8

Canal, Fredo Arias de la. Sonetos oral-traumáticos, masoquistas, tanáticos y eróticos de flores de baria poesía y otros cancioneros de los de siglos XVI y XVII. Frente de Afirmación Hispanista, 2012.

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9

R, José Guillermo Vargas. Bendito sea tu cuerpo. Ventana Andina, 2008.

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10

Escartín, Daniel Oliva. Playa virgen. Edición del Autor, 2006.

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Book chapters on the topic "Spanish Erotic poetry"

1

Caporicci, Camilla. "Still central." In The Song of Songs and Its Tradition in Renaissance Love Lyric. Oxford University PressOxford, 2024. https://doi.org/10.1093/oso/9780192848833.003.0004.

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Abstract This chapter discusses the Renaissance tradition of the Song of Songs, both textual and exegetical, and illustrates its ecclesiastical and liturgical uses as well as its role in Neoplatonic dialogues on love, underscoring aspects that would reverberate throughout sixteenth-century poetry. An exploration of the exegetical panorama reveals the growing importance of the ecclesiological perspective, which transformed the biblical book into a battlefield in the context of sixteenth-century religious controversies. After a survey of the iconographical and liturgical uses of the Song of Song
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2

Perriam, Chris, Michael Thompson, Susan Frenk, and Vanessa Knights. "Languages of Pleasure." In A New History of Spanish Writing 1939 to the 1990s. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198715160.003.0009.

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Abstract The removal by death of the dictator and subsequently of formal censorship facilitated experimentation from the second half of the 1970s with erotic and pornographic writing. Such was the compelling power of the drama of the death, and such the emphasis subsequently placed in popular speech and by a gleeful liberal and rueful conservative press on the phenomenon of destape (with the two meanings of ‘release of pressure’ and ‘going topless’), that it is all too easy to entertain the misconception of a Spain under tight moral lock and key right up until the punctual event of November 19
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3

Stein, Louise K. "Inventing Hispanic Opera: Opera as Epithalamium." In The Marqués, the Divas, and the Castrati. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197681848.003.0002.

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Abstract Two exceptional fully-sung operas on amorous Ovidian stories were produced by Gaspar de Haro y Guzmán, Marquis de Heliche, for dynastic celebrations at the royal court in Madrid. La púrpura de la rosa and Celos aun del aire matan, poetry by Pedro Calderón de la Barca and music by Juan Hidalgo de Polanco, commemorated the Peace of the Pyrenees and the marriage of the Infanta María Teresa with Louis XIV. The chapter summarizes Heliche’s rise to power and positions at court, arguing that his personal characteristics, temperament, and appreciation for and expertise with erotic art conditi
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