Stantiago la Serpiente (Spanish Edition)
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EL ENCANTADOR DE SERPIENTES SANTIAGO JOSÉ CARRALERO BENÍTEZ - neiloarisoto.ga
Sound Mix: Mono. Color: Black and White. Add the first question. Edit page. Clear your history. IMDb Everywhere. Follow IMDb on. DPReview Digital Photography. Once the cultural minister of his homeland, Cardenal spends much of his time as "a kind of international ambassador," noted Richard Elman in the Nation. Victor M. Valle, writing in the Los Angeles Times Calendar, cited Cardenal's statement, "There has been a great cultural rebirth in Nicaragua since the triumph of the revolution.
CARDENAL, Ernesto 1925-
A saving of all of our culture, that which represents our national identity, especially our folklore. Most workshops are led by government-paid instructors in cultural centers, while others convene in police stations, army barracks, and workplaces such as sugar mills, Valle reports. In these sessions, Romantic and modern poetry is considered below standard; Cardenal also denigrates socialist realism , which he said "comes from the Stalinist times that required that art be purely political propaganda.
Review contributor Isabel Fraire demonstrated that there are many similarities between Cardenal's poetry and Pound's. Like Pound, Cardenal borrows the short, epigrammatic form from the masters of Latin poetry Catullus and Martial, whose works he has translated. Cardenal also borrows the canto form invented by Pound to bring "history into poetry" in a manner that preserves the flavor of the original sources—a technique Pablo Neruda employed with success. Cardenal's use of the canto form "is much more cantabile " than Pound's Cantos, said Fraire.
Where Pound seems to spring up disconnected from his own contemporary cultural scene and to be working against it, Cardenal is born into a ready-made cultural context and shared political conscience. Cardenal's past is common to all Latin Americans. His present is likewise common to all Latin Americans.
He speaks to those who are ready and willing to hear him and are likely to agree on a great many points. Cardenal's early lyrics express feelings of love, social criticism, political passion, and the quest for a transcendent spiritual life. Following his conversion to Christianity in , Cardenal studied to become a priest in Gethsemani, Kentucky, with Thomas Merton, the scholar, poet, and Trappist monk.
While studying with Merton, Cardenal committed himself to the practice of nonviolence. He was not allowed to write secular poetry during this period, but kept notes in a journal that later became the poems in Gethsemani, Ky. Cardenal's stay in Kentucky was troubled by illness; he finished his studies in Cuernevaca, Mexico, where he was ordained in While there, he wrote El estrecho dudoso and other epic poems that discuss Central America 's history. Poems collected in With Walker in Nicaragua and Other Early Poems, look at the history of Nicaragua which touches upon the poet's ancestry.
During the s, the William Walker expedition from the United States tried to make Nicaragua subservient to the Southern Confederacy. According to legend, a defector from that expedition married into Cardenal's family line.
Incorporating details from Ephraim George Squier's chronicles of that period, Cardenal's poem "With Walker in Nicaragua" "is tender toward the invaders without being sentimental," Elman observed. The poet identifies with a survivor of the ill-fated expedition in order to express the contrast between the violent attitudes of the outsiders and the beauty of the tropical land they hoped to conquer. Later poems become increasingly explicit regarding Cardenal's political sympathies. The poem's subject is the assassination of revolutionary leader Cesar Augusto Sandino, who used guerilla tactics against the United States Marines to force them to leave Nicaragua in It makes innovative use of English and Spanglais and is therefore hard to translate, but.
Moving further back in time to reclaim a common heritage for his countrymen, Cardenal recaptures the quality of pre-Columbian life in Homage to the American Indians. These descriptions of Mayan, Incan, and Nahuatl ways of life present their attractiveness in comparison to the social organization of the present.
In these well-crafted and musical poems written at the end of the s, the poet praised "a way of life which celebrates peace above war and spiritual strength above personal wealth. One has a strong sense when reading Cardenal that he is using the American Indian as a vehicle to celebrate those values which are most important to him as a well-educated Trappist monk who has dedicated himself to a life of spiritual retreat," F.
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Whitney Jones remarked in the Southern Humanities Review. That the poems are didactic in no way impedes their effectiveness, say reviewers, who credit the power of the verses to Cardenal's mastery of poetic technique.
The use of Biblical rhetoric and prosody energizes much of Cardenal's poetry. El estrecho dudoso, like the Bible, "seeks to convince men that history contains lessons which have a transcendent significance," James J. Poems in Salmos, written in the s, translated and published as The Psalms of Struggle and Liberation, echo the forms and the content of the Old Testament psalms. Cardenal's psalms are updated to speak to the concerns of the oppressed in the twentieth century.
His anguished outcries over the rapaciousness of the greedy and the viciousness of the dictators are the work of a man who has lived through some of the atrocities of this century. As the conflict between the Nicaraguan people and the Somoza government escalated, Cardenal became convinced that without violence, the revolution would not succeed. Poems Cardenal wrote during that "very difficult time in his country"—collected in Zero Hour and Other Documentary Poems —are less successful than the earlier and later work, says Hass, since "there is a tendency in them to make of the revolution a symbol that answers all questions.
For example, Jascha Kessler, speaking on KUSC-FM radio in Los Angeles , California, in , commented, "It is clearly handy to be a trained priest, and to have available for one's poetry the voices of Amos, Isaiah, Hosea and Jeremiah, and to mix prophetic vision with the perspectives of violent revolutionary Marxist ideology.
It makes for an incendiary brew indeed. It is not nice; it is not civilized; it is not humane or sceptical or reasonable. But it is all part of the terrible heritage of Central Latin America. Furious or revolted as Cardenal is over this or that dreadful inequity, he never loses hope. His love, his faith in the disadvantaged, his great good humor, his enduring belief that communism and Christ's communion are at root the same—these extraordinary convictions resound throughout the volume.
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Rygiel cited the poem "Las tortugas" title means "The Turtles" to demonstrate that Cardenal's reference to "communism" as the order of nature might better be understood as "communalism," a social organization of harmonious interdependence founded on spiritual unity. The poet-priest's social vision stems from his understanding of "the kingdom of God," Lawrence Ferlinghetti noted in Seven Days in Nicaragua Libre.
They foresee also the withering away of the state ' [Ferlinghetti's emphasis]. Alstrum notes, however, that El estrecho dudoso "reaffirms the Judeo-Christian belief that there is an inexorable progression of historical events which point toward the ultimate consummation of the Divine Word. Cardenal himself views his poetry as merely the medium for his hopeful message of the transformation of the old order into a new and more just society in which the utopian dreams and Christian values of men. Cardenal's work of several decades reaches its zenith in two collections focusing on his primary subjects: American Indians and Christian Marxism.
This reveals "nothing less than an original mythology closely tied to a modern poetics," as Terry O.