At first I want to thank Romina for the opportunity she has given me to participate in Plebella ; thank you for this call here; and celebrate the company of these couples, as grateful on paper as live and live. I must confess that I lost the first notes I made about my reading of this book, along with the first book I had, in a taxi. By the way, that was before Romina suggested to us the axis of this talk, the subject "poetry and criticism". With which, I made a new account: I got the book a second time; and I reread it, now with a new look or aim. The result, however, would not be so different.
Because Plebella , look at it from where you look at it or point at what you point out - it is ex profeso the use of the first person of the singular, intrigued and intrigued me enough what you are going to say here - has always aroused in me the same impressions or reflections; and probably all have to do, albeit indirectly, the poetry / critic relationship: with that "junction" that in this magazine is a crossroads as there is no choice; and it is one and the other of the terms assembled. In fact, let us exercise the word "criticism" by which the gender of one of its most conventional viaducts, the word "essay", is used; and let us read some of the myriad occasions in which "poetry" and "essay" seek to amalgamate. To put a case, what Romina says in the November 2005 editorial: "... to propose a poem as an essay [...]"; and here, in the "Editor's Note" to this volume: "... that collector of the essay that joins with poetry and the two intervene mutually."
Conoce un poco más sobre mi ciudad natal Aguadilla...áreas recreativaspoblaciónplayasuniversidadlocalidad
This call to the body - which feels in different ways, even in the body of the magazine, and which is the cause of more than one misunderstanding around Plebella, of more than one prejudice in its contra-, this call to the body, then, implies giving channel to the drive. And by this expression I mean, of course, to give it a course, to "channel it", because saying plebello does not leave out reason - we have not been here to talk about the relationship poetry / criticism? do not we carry on, more than one, a library diverse and leafy? but, above all, giving it a channel is to give voice to that drive, while the emphasis is placed on desire as the motor, protection and justification of any act of writing. It would seem, then, that the pages of the magazine - those that were blank but also these - urged us to shake ourselves, to get rid of ourselves, to get rid of the mandate of what is already logically thought out and planned, even if it comes as a burden to us. "To see what happens to what we like," Romina writes in a 2009 editorial. And this exhortation, unless we are fundamentalists of erudition, irreducible brains, professional citationists, lambs of the meek herd of the intelligentsia < / i>, invites us to stand in front of our most absolute singularity.
Put the body, then, carrying with itself the imprints of the least standardized; and to avoid or forget belonging, the limit imposed by an age band or a tendency: both impulses can never shake hands with one-sidedness. And they inevitably place us in a situation of passage, of border, in the junction that is that of uncertainty. There where the arts all feed each other; where they are inspired, forked or converged; where the poem becomes critical and criticism is written as a poem.
I could add many more things about Plebella , but it is certainly his inclination to assume - and here I quote a few lines from Susy Shock- " / to postmodernity, / to normality. / Oblique, / vizca, / wild, / artisanal "which makes many of us in this pot. Except those who are not ready to shake.
NIR-Chemometrics: January 2012
To know the exact position Also of their intensity gives to us clues about the type of oil. We can see in the figure the spectra of "fishmeal" (up) and "fish oil" (bottom).
Viderat intact nuper Venus soul Neaeram, et puero "Cessant quid tu spicula?" ("Cessant quid tu spicula?") ait. Et tamen hic etiam vaesana incendia durant: me miserum, cinerem hoc, non facere est lapidem!
Arturo Pérez Reverte by Miguel Angel Bossio Flowers on Prezi
The appearance on stage of Adela Otero, beautiful woman and skillful swordsman, will be the final thrust to his way of life. Awards - Goya Award for Best Adapted Screenplay Literature Literature Award Date of birth: November 25, 1951 in Cartagena.