WorldCat Identities

Téllez, Jorge 1980-

Overview
Works: 5 works in 10 publications in 2 languages and 75 library holdings
Genres: Criticism, interpretation, etc  Academic theses 
Roles: Author, Creator
Classifications: PQ7082.P7,
Publication Timeline
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Most widely held works by Jorge Téllez
Poéticas del nuevo mundo : articulación del pensamiento poético en América colonial : siglos XVI, XVII y XVIII by Jorge Téllez( Book )

4 editions published in 2012 in Spanish and held by 39 WorldCat member libraries worldwide

Colonial assemblages : objects, territories, and racialized subjects in pre-independence Latin America (1492-1810) by Raquel Albarrán( )

2 editions published in 2016 in English and held by 32 WorldCat member libraries worldwide

This dissertation examines the centrality of objects and material culture in the invention of the New World. Paying heed to understudied connections between historically contingent texts and their transatlantic contexts, it excavates the role of colonial objects in shaping colonial discourse during the first three centuries of Spain's rule in Mexico, Peru, and the Hispanic Caribbean (1492-1810). In order to uncover the "makedness" of colonial racializing schemas, "Colonial Assemblages" traces the emergence of a material discourse invested in the Indian as a trope and a figure that masks the multiple tensions operating simultaneously in colonial representations since at least the 1500s, but that reached new heights during the Hispanic Enlightenment. Chapter 1 studies the emergence of a dialectic, multistable concept and material entity, the New World object, in Christopher Columbus's Diario del primer viaje (c. 1493). The second chapter analyzes representations of colonial gold as a fetish of early modern imperialism and as a foundational materiality of colonial Latin American discourse in texts by Columbus, Hernán Cortés, Bartolomé de Las Casas, and engravings by Theodor De Bry. Chapter 3 argues that the cartographic grid and the space of the traza foreground a discourse of abstraction enacted by colonial objects and commodities that serve to exclude the "ugly Indian" in Bernardo de Balbuena's Grandeza mexicana (1604). The fourth chapter demonstrates how certain objects were linked to Andean and transatlantic notions of space and territoriality, and to the definition of indio and mestizo identities, in the works of Guaman Poma de Ayala and Inca Garcilaso de la Vega respectively. Finally, chapter 5 studies the racial portraits of New Spain as well as historical accounts and treatises by Carlos Sigüenza y Góngora and Antonio de León y Gama to illustrate how material culture becomes a contested site of representation for criollismo. This new focus on the textual and social life of objects charts an alternative path to present critiques of coloniality presuming the homogeneous expansion of lettered culture by further underscoring the conceptual value of material culture as a powerful agent in the dynamic assemblage of colonialism in the New World
Poniendo en juego la iberia medieval: Alfonso X, el libro de buen amor y la poesia de cancionero by Juan Manuel Escourido Muriel( Book )

2 editions published in 2016 in English and held by 2 WorldCat member libraries worldwide

En este trabajo me ocupo de tres fenómenos que se explican a partir de sendos ensamblajes lúdicos: la producción del sujeto moderno, el significado del Libro de buen amor y la poesía de cancionero. En el primer capítulo considero las Partidas, las Cantigas de Santa María, el Libro de los Juegos y el Ordenamiento de las Tafurerías, además de varias obras de literatura sapiencial, notablemente los Castigos de Sancho IV, los Bocados de Oro, las Flores de Filosofía, y el Libro de los cien capítulos. Argumento que la producción del sujeto moderno tiene lugar a través de convenciones lúdicas del siglo XIII. En el segundo capítulo argumento que el Libro de buen amor no significa literariamente, sino lúdicamente. Critico la noción de ambigüedad del signo lingüístico que ha actuado como eje de las interpretaciones hegemónicas de la obra, mostrando su inadecuación y por qué se ha producido esa noción y no otra. Teniendo en cuenta los vínculos sociales, etimológicos y hermenéuticos que establece el Libro con el juego, las estrofas autorreferenciales donde Juan Ruiz indica cómo ha de entenderse su texto y la significación de la eutrapelia y el juego en el período, propongo entender el Libro no como una producción ambigüa sino ergódica, una producción que no pretende producir un lector sino un hacker. En el tercer capítulo me ocupo de los elementos lúdicos de la poesía de cancionero de los siglos XV y XVI. Mi análisis revisa y expande los acercamientos lúdicos que habían realizado Vcitoria Burrus, John Gornall, e Ian McPherson. Propongo la virtualidad entendida desde los estudios de juego (game studies) y los estudios de nuevos medios (new media studies) como categoría para entender la relación entre esta poesía y la vida cotidiana en la corte. Argumento que se trata de una categoría más adecuada que la de círculo mágico o que, en general, las categorías que emanan de un entendimiento de la relación entre el juego y la poesía cancioneril basado en las teorías de Johan Huizinga y Roger Caillois. Muestro también qué nuevas vías de investigación sobre este inmenso corpus poético abren los estudios de juego (game studies) y los estudios de nuevos medios (new media studies)
La voz partida : prácticas de escritura plural y colaborativa en la alta modernidad hispánica (1536-1695) by Victor Sierra Matute( )

1 edition published in 2019 in Spanish and held by 1 WorldCat member library worldwide

We have a distorted view of premodern and early modern poetry. The most common approach to the early modern poem has been made from postromantic conceptions of subjectivity. In other words, most of the studies project modern, anachronistic models of the subject onto premodern texts. Moreover, these studies assume that early modern poetry is tied to the personal expression of a defined individual, autonomous author. However, I argue that behind the lyric "I" that appears in early modern poetry there is a fluid, plural, and shared subjectivity. This fact is not visible when we read the poems out of context, but becomes clear when we consider the specific poetic practices involved in producing the texts. This dissertation studies social literary practices in early modern Spain and its American colonies. Specifically, it analyzes the relationship between subjectivity and lyric poetry in different social and literary contexts. My analysis of the early modern text combines two different but complementary approaches. On the one hand, I employ an archival, documentary approach based on book history, material culture, and the sociology of reading and writing practices. On the other hand, I take into account new currents of literary theory. Specifically, I base my readings on theories that relate aesthetics, politics, and subjectivity, and new theories of lyric poetry, such as the so-called New Lyric Studies, that reread poems using parameters other than the romantic lyric subject. Through this approach, I propose an alternative reading of the early modern lyric poem based on the interaction between specific poetic practices and the texts themselves
Teoría lírica latino americana 1492-2000 by David Barreto( Book )

1 edition published in 2015 in Spanish and held by 1 WorldCat member library worldwide

My dissertation explores the notions lyric, poetry, modernity, and America. I argue that the idea of America after 1492 is inextricably tied to the emergence of modern lyric poetry. I challenge the tacit understanding that the value of Latin American poetry and poetics rests on the historiographical Hegelian universal spirit of poetry that places its beginnings in Latin America at the end of the 19th century only after it had emerged first in Europe and then in the United States. I analyze the image of America in relation to the heterogeneous constitution of modernity and modern subjectivity, exemplified in Descartes' dictum "I think, therefore I am." The certainty of the methodological Cartesian "I" is what modern lyric poetry seeks to undermine through the uncertainty of the lyric subject "I." I illustrate how the modern dualism of mind and body, subject and object, history and poetry, self and other, would be meaningless without the parallel conceptualization and conquest of America. My claim is that modern poetry, which is exclusively thought of as the subversive and unmediated expression of a decentered, irrational, and spontaneous lyric subject "I," evolves in opposition to the certainty that reason allegedly gives to the modern subject "I," conceivable only within the context of the violent history of the Atlantic. Chapter One, "Teoria lirica latino americana," exposes the invention of lyric poetry within the larger context of the creation of poetry within the Atlantic Circuit. Chapter Two, "Politica lirica," studies the modern creation of san Juan de la Cruz and shows how and why his image has been taken as the ideal spirit of modern poetry. Chapter Three, "Excepcion lirica," explains the relationship between modern lyric poetry and political theology in the case of Octavio Paz and Jose Angel Valente. The fourth chapter, "Borges, el habito de lo ordinario," deals with Jorge Luis Borges' poetry and poetics in the tradition of modernity. Finally, "Chantal Maillard y las formas prosaicas de habitar lo cotidiano" signals the transformation of lyric practices in what I call lyric exhaustion which can be recognized in the work of the Spaniard-Belgian poet Chantal Maillard, among others
 
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Audience level: 0.57 (from 0.37 for Colonial a ... to 0.79 for Poniendo e ...)

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