La poesía de Vicente Cervera Salinas

Zusammenfassung

The object of this study will focus on Cervera Salinas' poetic work where special attention will be given to El alma oblicua (The Oblique Soul). The first bio-bibliography has been developed in order to shed light upon the personal experiences that were the cause of this set of poems, by means of a series of interviews with the author together with a compilation of information reported externally. We will resort to those experiences throughout the decades, exposed in a diachronic way. In the contextualization section, we will deal with how the problems connected to the canon theory have dictated that Cervera Salinas' poetic work has not been extolled in every literary circle for various reasons. To do this, we have been looking into the most outstanding anthologies and the main trends in Spanish poetry from the late 1980s to 2010. A rough analysis of the other poetic books has been included, where we have drafted a general introduction to the set of poems, an analytic body, in which the work macrostructure limitation and an analysis of each thematic core is represented, and, finally, a chapter with the conclusions. The studied books are De aurigas inmortales, La partitura y Escalada y otros poemas. As far as The Oblique Soul poetic art is concerned, a unique and immanent study of each poem has been provided, although the exegetic-hermeneutic approach has been carried out with the parameters outlined in the introduction of each Decalogue, as this is the label that gives cohesion to the four paradigms in the set of poems. Each block consists of an introduction that provides the analysis, the exegetic-hermeneutic praxis following the thematic pattern depicted in the former paragraph, and a chapter with the conclusions. As for the "Oblicua" poetic art, the praxis has been carried out by means of a circumlocution and a ruse as traces left through the exercise of thought. This part consists of the following titles: a hermeneutic description, text analysis and conclusions. In the "Gramatica" poetic art, with analogue methodological features coined in the former paragraph, prior approach to the meaning of ars recti dicendi, a constructive pattern based on the creation of this set of poems has been studied: through grammar usage linked to the poetic demiurge. With "Cautiva" poetic art, we dealt with, after a semantic approach of "Cautiva, the constructive model that is based on the reinterpretation of the mysticism as an isotopic-leading element within a metaphysical-existential plan which the poetic demiurge stands as a vital attitude on his road to perfection. As for the "Panóptica" poetic art, acceptance by the poetic-I is the interpretative-organizing thread of the metamorphosis that implies the transformation of life into drama, by means of his staging through the panoptic artifice, and the conversion of the poem into a stage. Regarding the terminology, our references come from the world of Text Linguistics (J. Kristeva, Janos F. Petofi's TeSWeSt model, T.A. Van Dijk...). Antonio García Berrio's text typology theory has been crucial in developing The Oblique Soul in Decalogues (from semantic patterns that rule over their macrostructural coherence). Other important authors such as E. Bernárdez, Beaugrande and Dressler, J.M. Jiménez Cano, Vera Luján, T. Albadalejo Mayordomo and E. Ramón Trives will accompany us throughout the defence of this thesis. Due to the peculiar requirements both the hermeneutic and comparative praxis entail, the concepts of microstructure and structure have also been included as graded levels to reach the reviewed one. Finally, rhetoric tools have been used to deal with discourse creative operations and stylistic procedures.