Lagar II, de Gabriela Mistral: historia de sus manuscritos y versiones del poema "Convite a la danza"
Fecha
2018-08-30
Autores
Ariz Castillo, Yenny Karen
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Universidad EAFIT
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Descripción
La primera parte del presente artículo expone los resultados de una investigación sobre los manuscritos del poemario póstumo Lagar II (1991) de Gabriela Mistral. La segunda parte se hace cargo de la recepción del texto por parte de los académicos chilenos. Por último, la tercera parte se centra en el estudio del poema que abre Lagar II, “Convite a la danza”, y sus versiones, demostrando la utilización de estrofas desechadas de versiones preliminares del poema en ediciones póstumas, en las que estos fragmentos figuran como poemas inéditos. El análisis se realiza de acuerdo con los postulados de la “crítica genética”, en especial, se utiliza el concepto “dossier de génesis”.
The first section of this paper reports the results of a research study on the manuscripts included in the posthumous poetry collection Lagar II (1991) by Gabriela Mistral. The second section addresses the reception of the text by Chilean scholars. Finally, the third section focuses on the study of both the first poem of Lagar II collection –‘Convite a la danza’– and of its various versions, demonstrating the use of stanzas discarded from preliminary versions of the poem in posthumous editions, in which these fragments appear as unpublished works. The analysis follows the theoretical principles of the so-called ‘genetic criticism’, particularly, the concept of ‘genetic dossier’.
The first section of this paper reports the results of a research study on the manuscripts included in the posthumous poetry collection Lagar II (1991) by Gabriela Mistral. The second section addresses the reception of the text by Chilean scholars. Finally, the third section focuses on the study of both the first poem of Lagar II collection –‘Convite a la danza’– and of its various versions, demonstrating the use of stanzas discarded from preliminary versions of the poem in posthumous editions, in which these fragments appear as unpublished works. The analysis follows the theoretical principles of the so-called ‘genetic criticism’, particularly, the concept of ‘genetic dossier’.