Creationism Spanish : creacionismo was a literary movement initiated by Chilean poet Vicente Huidobro around Creationism is based on the idea of a poem as a truly new thing, created by the author for the sake of itself—that is, not to praise another thing, not to please the reader, not even to be understood by its own author. Huidobro himself defined it as "a general aesthetic theory" rather than a school of art. He proposed that poetry should not be a commentary, something written about something else. In his own words:. The poet also claims that creationist poetry is by its own nature universal and universally translatable , "since the new facts remain identical in all tongues", while the other elements that prevail in non-creationist poetry, such as the rhyme and music of the words, vary among languages and cannot be easily translated, thus causing the poem to lose part of its essence.
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PBJ is a supporter of Se debe escribir en una lengua que no sea maternal. Huidobro, Preface to Altazor …all translation is only a somewhat provisional way of coming to terms with the foreignness of languages. In the Chilean poet Vicente Huidobro published his first collection of poetry in French. Three Poems by Huidobro Huidobro rejects models of poetry that would reduce it to a descriptive role. He invents. You cannot translate the music of words, the rhythms of the verses which vary from one language to another… However, Huidobro is quick to point out that, because his model of poetry shifts the focus from these aesthetic elements—that is, these sensual effects of the language, its music, rhythm, etc.
For Huidobro, translation has little to do with the imitation of aesthetic effects. Apart from the grammatical meanings of language, there is another magical meaning, which is the only one of interest to us.
The former is an objective language, which is used to name the things of the world without taking them out of their rank in the inventory; the latter breaks this conventional norm and in it words lose their strict representation to take on other more profound meanings as if surrounded by a luminous aura which should elevate the reader from the everyday plane and wrap him in an enchanted atmosphere.
Esa es la palabra que debe descubrir el poeta. Furthermore, Huidobro maintains that the quality of poetic language can be measured in direct relation to its distance from spoken, everyday language.
The individual words of each poem correspond only to each other, eschewing their everyday referential usage. Translation thus ultimately serves the purpose of expressing the central reciprocal relationship between languages. It cannot possibly reveal or establish this hidden relationship itself; but it can represent it by realizing it in embryonic or intensive form… As for the posited central kinship of languages, it is marked by a distinctive convergence.
Languages are not strangers to one another, but are, a priori and apart from all historical relationships, interrelated in what they want to express. Benjamin shifts the focus of translation from the inevitably faulty relationship between copy and original to the question of intention and the process of linguistic supplementation.
Paradoxically it is within these moments of disjunction—where language unhinges from itself, where the semantics and the rhetoric at work within a language diverge and break—that the kinship of languages is felt mostly keenly. In moving his poems from Spanish to French, Huidobro modifies grammar and syntax, alters imagistic detail, eliminates punctuations, and changes typography, ultimately opening up various disjunctive rifts between the Spanish and French versions.
Huidobro flips the order of the sentence of the first line, placing the prepositional phrase first in the French. So, while I have followed the more overt revisions Huidobro made in the content and the visual presentation in moving from Spanish to French, I have also tried to work the disjunctions opened up by the relationships of the Spanish and French versions into my translations.
Here is a deliberate undermining of the syntax and grammar of both the French and the Spanish. It is reminiscent of the order of the Spanish syntax and its grammatical positioning of the voices and the act of crying, but avoids the inversion of subject and verb.
The continuous present opens an important disjunction between the Romance languages on the one hand, and English, on the other, for while this tense is possible in both French and Spanish, it is less common. It suggests the peculiarly split sense of the time of the present in the English language—a present that is marked by the generalization of the simple tense and the particularization of the continuous.
The voices may be crying currently or may always be crying as though signifying an ongoing condition. The simple attempt to move the poem into English exposes this ambiguity and opens up another important convergence-disjunction among these three languages.
Works Cited Benjamin, Walter. Hannah Arendt. New York: Schocken Books, Minneapolis: University of Minnesota Press, Huidobro, Vicente. Manifestos Manifest. Gilbert Alter-Gilbert. Los Angeles: Green Integer, Obras Completas.
Santiago: Andres Bello, Hoks is currently an editor and letterpress printer for Convulsive Editions, a micro-press that publishes chapbooks and broadsides. He lives in Chicago with his family.
It was founded about in Paris by the Chilean poet Vicente Huidobro. That year Huidobro also began a friendship with the French poet Pierre Reverdy , who influenced the movement. For followers of Creacionismo, the function of the poet was to create a highly personal, imaginary world rather than to describe the world of nature. Creationist poets boldly juxtaposed images and metaphors and often used an original vocabulary, frequently combining words idiosyncratically or irrationally. The movement strongly influenced the generation of avant-garde poets in France, Spain, and Latin America during the period immediately after World War I. Info Print Cite. Submit Feedback.
In , he returned to Chile to become a newspaper editor, during which time he also ran unsuccessfully for the presidency of Chile. Throughout this time, he continued to write works of prose and poetry, building upon his ideas of creacionsimo. In , he published Altazor , which most consider to be his definitive poetic work. In , he died in Cartagena, Chile at the age of This complex movement attempted to step away from the literary and aesthetic norms of the past and to chart new horizons of expression for the artist.
He promoted the avant-garde literary movement in Chile and was the creator and greatest exponent of the literary movement called Creacionismo "Creationism". Huidobro was born into a wealthy family from Santiago, Chile. He spent his first years in Europe, and was educated by French and English governesses. Once his family was back in Chile, Vicente was enrolled at the Colegio San Ignacio, a Jesuit secondary school in Santiago, where he was expelled for wearing a ring that he claimed was a wedding ring. She used to host "tertulias" or salons in the family home, where sometimes up to 60 people came to talk and to listen to her talk about literature, with guests including members of the family, servants, maids and a dwarf. In he published Ecos del alma Echoes of the Soul , a work with modernist tones. The following year he married Manuela Portales Bello.