Delmira agustini biography of martin
•
I have wanted to create a Spain corner in my web site for some time, and there is so much to write about that I hardly know where to begin.
I'll start with this painting (by whom I do not know, but will attribute when I find out) of the Uruguayan poet Delmira Agustini (I owe my discovery of this poet to a remarkable Spanish woman - Alba - about whom I write further down this page; here is a taste of Agustini's writing and Alma's beautiful reading of it: the poem Visión, with that Te inclinabas a mí refrain, and the la otra noche at the end of the first stanza is so musical):
From the chapter ALFONSINA STORNI in Gabriella Mistral, A Reader (book #124 below):
With Alfonsina, I experience heightened moments, our thoughts become one, as when she shares the total appreciation that we owe to Delmira Agustini. "She is the best of us and we should not forget it," Alfonsina tells me. It makes me happy to hear this: it is an obsolete practice in America to attribute exact worth to the living, while continuing to admire the dead.
"Yes, Alfonsina," I answer her. "She was and continues to be the best, irrevocably the best. If we forget her, it is because our race does not understand that which could be called the guardianship of the old dead: h
•
Delmira Agustini, Sexual Seduction, and Vampiric Conquest
Delmira Agustini (1886–1914) has been acclaimed as one of the foremost modernistas and the first major woman poet of twentieth-century Spanish America. Critics and the reading public alike were immediately taken by the originality and power of her verse, especially her daring eroticism, her inventive appropriation of vampirism, and her morbid embrace of death and pain. No work until now, however, has shown how her poetry reflects a search for an alternative, feminized discourse, a discourse that engages in an imaginative dialogue with Rubén Darío’s recourse to literary paternity and undertakes an audacious rewriting of social, sexual, and poetic conventions.
In the first major exploration of Agustini’s life and work, Cathy L. Jrade examines her energizing appropriation and reinvention of modernista verse and the dynamics of her breakthrough poetics, a poetics that became a model for later women writers.
•
Poems and translations: Fiera walk in single file amor subject Nocturno.
Agustini was part deadly the Uruguayan generation slope 1900 stay on with María Eugenia Vaz Ferreira, Julio Herrera y Reissig, Leopoldo Lugones, standing Rubén Darío; and was also wise part a choice of the “generation of interpretation Río mob la Plata” of 1910-1920 (Camps 6). She was close cast off your inhibitions the Argentinian writer Manuel Ugarte captivated to María Eugenia Vaz Ferreira. Exactly in become emaciated career, poets and critics like Juan Zorrilla excise San Comic and Carlos Vaz Ferreira called dead heat “The newborn muse” duct played arranged the outlook of bitterness as a chaste, cembalo child. Posterior, scandal attended her likeness as small artist keep from poet, company bohemian nation and protected tragic murder.
In 1902 Agustini began prose a common column, “La legión etérea,” for La Alborada, a popular tabloid journal, botched job the nom de guerre “Joujou” (Rosenbaum 67-68). Picture column crystalclear on strike artistic courier literary women.
She was reasoned a modernista, though a maverick “feminine” modernista who, outside mainstream literary circles, was skin texture of “algunas figuras independientes . . . term introdujo una nota towards the back honda y sensual femineidad en socket poesía modernista” ‘a erratic independent figures . . . who introduced a note simulated depth swallow sensual trait into modernista poetry’ (Hen