"Mártir del mismo martirio": Agustini y Darío
The last decades have seen a generalized reading of the poetry written by Delmira Agustini as reply to the work of Rubén Darío and in general, as an ironic overcoming of Modernist canon. The effort in highlighting Agustini’s feminist discourse has somehow concealed or even denied her equally strong...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Zama
2017
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/zama/article/view/3407 http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=3407_oai |
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I28-R145-3407_oai |
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| record_format |
dspace |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-145 |
| collection |
Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Español |
| orig_language_str_mv |
spa |
| topic |
Delmira Agustini; Rubén Darío; modernism; women authors Delmira Agustini; Rubén Darío; modernismo; autoría femenina Agustini; Rubén Darío; modernismo; autoria feminina |
| spellingShingle |
Delmira Agustini; Rubén Darío; modernism; women authors Delmira Agustini; Rubén Darío; modernismo; autoría femenina Agustini; Rubén Darío; modernismo; autoria feminina García Gutiérrez, Rosa "Mártir del mismo martirio": Agustini y Darío |
| topic_facet |
Delmira Agustini; Rubén Darío; modernism; women authors Delmira Agustini; Rubén Darío; modernismo; autoría femenina Agustini; Rubén Darío; modernismo; autoria feminina |
| description |
The last decades have seen a generalized reading of the poetry written by Delmira Agustini as reply to the work of Rubén Darío and in general, as an ironic overcoming of Modernist canon. The effort in highlighting Agustini’s feminist discourse has somehow concealed or even denied her equally strong communion with the basic principles of Modernism, while transforming in subversive reading what in fact was a complex, deep mastery shared with Darío, whom she called “mi Dios en el arte” [My God in Art]. This settled interpretation has cast into oblivion many of her central poems, while relegating Agustini to a mere erotic author despite the triad poetry-poem-poet greatly overcomes eroticism in her writings, and shows a remarkable depth. Agustini was aware of the misogynist art codification of the Modernist poets, including Darío, but she understood it as the reflection in the literary field of a hegemonic patriarchal ideology that she was already suffering in her public and private life and work. As a woman, Agustini not only had to face the conflicts and challenges aroused from that codification, but also the prejudices against women authors that modernists had, despite being totally renegades in other matters, refusing to admit her as a member of the literary circle. Agustini suffered the limitations imposed by the modernist sexist views and the social prejudices on her work capacity. However, this author never rejected the ideological and intellectual background of the literary movement and committed herself to the mission of Modernist poetry against the bourgeois, even standing alone against the role that the movement itself assigned to her. In this commitment Darío was a leading figure to the very end, a ‘martyr of the same martyrdom’, evoked in her poems as a symbolic father, brother or partner to harmonize with. Thus, this paper calls into question the alleged negative vision of Agustini on Darío’s work, providing an analysis of the hue left by this brother-master. Beyond the recurring mentions to Leda and the Swan, we aim to identify the sociological and poetical consequences of placing Agustini as a woman literary figure within Modernism. |
| format |
Artículo publishedVersion |
| author |
García Gutiérrez, Rosa |
| author_facet |
García Gutiérrez, Rosa |
| author_sort |
García Gutiérrez, Rosa |
| title |
"Mártir del mismo martirio": Agustini y Darío |
| title_short |
"Mártir del mismo martirio": Agustini y Darío |
| title_full |
"Mártir del mismo martirio": Agustini y Darío |
| title_fullStr |
"Mártir del mismo martirio": Agustini y Darío |
| title_full_unstemmed |
"Mártir del mismo martirio": Agustini y Darío |
| title_sort |
"mártir del mismo martirio": agustini y darío |
| publisher |
Zama |
| publishDate |
2017 |
| url |
http://revistascientificas.filo.uba.ar/index.php/zama/article/view/3407 http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=3407_oai |
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AT garciagutierrezrosa martirdelmismomartirioagustiniydario |
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1766023790627651584 |
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I28-R145-3407_oai2017-10-11 García Gutiérrez, Rosa 2017-04-26 The last decades have seen a generalized reading of the poetry written by Delmira Agustini as reply to the work of Rubén Darío and in general, as an ironic overcoming of Modernist canon. The effort in highlighting Agustini’s feminist discourse has somehow concealed or even denied her equally strong communion with the basic principles of Modernism, while transforming in subversive reading what in fact was a complex, deep mastery shared with Darío, whom she called “mi Dios en el arte” [My God in Art]. This settled interpretation has cast into oblivion many of her central poems, while relegating Agustini to a mere erotic author despite the triad poetry-poem-poet greatly overcomes eroticism in her writings, and shows a remarkable depth. Agustini was aware of the misogynist art codification of the Modernist poets, including Darío, but she understood it as the reflection in the literary field of a hegemonic patriarchal ideology that she was already suffering in her public and private life and work. As a woman, Agustini not only had to face the conflicts and challenges aroused from that codification, but also the prejudices against women authors that modernists had, despite being totally renegades in other matters, refusing to admit her as a member of the literary circle. Agustini suffered the limitations imposed by the modernist sexist views and the social prejudices on her work capacity. However, this author never rejected the ideological and intellectual background of the literary movement and committed herself to the mission of Modernist poetry against the bourgeois, even standing alone against the role that the movement itself assigned to her. In this commitment Darío was a leading figure to the very end, a ‘martyr of the same martyrdom’, evoked in her poems as a symbolic father, brother or partner to harmonize with. Thus, this paper calls into question the alleged negative vision of Agustini on Darío’s work, providing an analysis of the hue left by this brother-master. Beyond the recurring mentions to Leda and the Swan, we aim to identify the sociological and poetical consequences of placing Agustini as a woman literary figure within Modernism. En las últimas décadas se ha generalizado una lectura de la poesía de Delmira Agustini como impugnación contra Rubén Darío y superación irónica del canon modernista. Los esfuerzos por resaltar la militancia feminista de Agustini han acabado ocultando o negando su no menos militante comunión con los presupuestos esenciales del modernismo y transformando en contralectura lo que más bien fue un profundo, complejo y fructífero magisterio con el que llamó “mi Dios en el arte”. Sedimentar esa interpretación ha supuesto el olvido de muchos de los poemas centrales de Agustini y su fijación como una autora erótica, cuando la triada poesía-poema-poeta ocupa en sus libros un espacio no menor al erotismo y exhibe una hondura poco habitual. Agustini fue consciente de la misógina codificación artística de la poesía dariana y del modernismo pero la entendió como el reflejo en el campo literario de una hegemonía ideológica patriarcal de mayor alcance que sufrió en su obra, su vida íntima y su vida pública. Como mujer tuvo que afrontar y resolver los conflictos y las limitaciones de esa codificación y los prejuicios sobre las mujeres escritoras a los que los modernistas, tan contestatarios en otros asuntos, mantuvieron, resistiéndose a admitirla como ‘una de los nuestros’. Sufrió las limitaciones del sexista imaginario modernista y los prejuicios sociales sobre su vocación y sobre su capacidad para el ejercicio de esa vocación, pero sin renunciar al fondo ideológico e intelectual del modernismo y comprometiéndose con la misión del poeta contra el burgués, aunque fuera en soledad y contraviniendo el rol que el modernismo mismo le asignó. En ese compromiso Darío fue, hasta el final, una figura tutelar, “un mártir del mismo martirio” que en su poesía es evocado como padre, hermano o esposo simbólico al que complementar. Ponemos aquí en cuestión la naturaleza antidariana de la poesía de Agustini, analizando la huella del maestro-hermano más allá de las reiteradas inversiones de Leda y el cisne; y nos proponemos identificar las consecuencias poéticas y sociológicas de la inserción de Agustini como sujeto-literario-mujer dentro del modernismo. Nas últimas décadas tem havido uma leitura generalizada da poesia de Agustini como desafio contra Rubén Darío e irónica superação do cânone modernista. Os esforços para destacar a militância feminista de Agustini terminaram escondendo ou negando sua comunhão igualmente militante com os pressupostos essenciais do modernismo e tornando-se contraleitura do que, em vez, foi profundo, complexo e fecundo relacionamento magisterial com Darío a quem chamou de “meu Deus, em arte “. Esta interpretação tem significado a negligência de muitos dos poemas centrais Agustini e a sua fixação como uma autora erótica, quando a tríade poesia-poema-poeta em seus livros não ocupa menos espaço que o erotismo e exibe uma profundidade incomum. Agustini estava ciente da codificação artística misógina da poesia dariana e do modernismo, mas a entendida como o reflexo no campo literário da hegemonia ideológica patriarcal existente em outros campos e que sofreu em seu trabalho, sua vida pessoal e sua vida pública. Como mulher teve que enfrentar e resolver os conflitos e as limitações de tal codificação e preconceitos sobre as escritoras que os modernistas, contestatarios em outros assuntos, mantiveram, recusando-se a admiti-la como ‘um de nós’. Ela sofreu as limitações dos preconceitos do imaginário sexista modernista e os preconceitos sociais sobre a sua vocação e capacidade para exercer esta vocação, mas sem renunciar ao fundo ideológico e intelectual do modernismo e se comprometendo com a missão do poeta contra o burguês, mesmo sozinha e contrariando o papel a ela atribuído pelo próprio modernismo. Nesse compromisso, Darío foi até o final uma figura tutelar, “um mártir do mesmo martírio”, quem em sua poesia é evocado como um pai, irmão ou marido . Questionamos aqui a natureza antidariana da poesia de Agustini, analisando a pegada do mestre-irmão além do investimento repetido de Leda e o Cisne; e temos a intenção de identificar as consequências poéticas e sociológicos da inserção de Agustini como sujeito-literário-mulher dentro do modernismo. application/pdf http://revistascientificas.filo.uba.ar/index.php/zama/article/view/3407 spa Zama http://revistascientificas.filo.uba.ar/index.php/zama/article/view/3407/3132 Zama; 2016: Extraordinario: Rubén Darío; 29-48 2422-6017 1851-6866 Delmira Agustini; Rubén Darío; modernism; women authors Delmira Agustini; Rubén Darío; modernismo; autoría femenina Agustini; Rubén Darío; modernismo; autoria feminina "Mártir del mismo martirio": Agustini y Darío info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=3407_oai |