Abstract
This work deals with the reading of a poem by Manuel Alvarez Torneiro taking into account the power of the image and the physical and psychic consequences that can come to awaken in the recipients of the work of art. In the analysis of the poem, we keep in mind both the resources: resources used in the verses and the situation that can be imagined that the ‘poetic self’ is going to go through, because this is still an example of an artistic admirer who allows himself to be moved by the image he sees, in the same way that the reader of the poem could be too. In this sense, it is the artistic representation in general that moves the viewer, the creation of life that is made thanks to the shock he suffers and the consequences that come from that shock; always, all these aspects, taking as reference the example of the poem object of study, “Tardes de Ingrid Bergman”, an excuse used to treat these subjects that can be applied to any possible artistic commotion.
Highlights
This work deals with the reading of a poem by Manuel Álvarez Torneiro taking into account the power of the image and the physical and psychic consequences that can come to awaken in the recipients of the work of art
Madrygal 21 (2018): 323-332 be imagined that the ‘poetic self’ is going to go through, because this is still an example of an artistic admirer who allows himself to be moved by the image he sees, in the same way that the reader of the poem could be too. It is the artistic representation in general that moves the viewer, the creation of life that is made thanks to the shock he suffers and the consequences that come from that shock; always, all these aspects, taking as reference the example of the poem object of study, “Tardes de Ingrid Bergman”, an excuse used to treat these subjects that can be applied to any possible artistic commotion
Este fenómeno de conexión entre a realidade –isto é, o feito verídico ou verosímil de que o “eu poético” agarda todas as tardes para ver a Ingrid Bergman a través dunha fiestra– e a ficción –que Ingrid Bergman sexa unha representación e non unha persoa real que poida recibir os bicos do admirador e como tal se a denomine (“cara ó grande retrato de Ingrid Bergman”)– será tratado no seguinte apartado (§ 2.2), onde se vai estabelecer unha comparación entre a imaxe e a poesía
Summary
Neste traballo estudarase o fenómeno da recepción da arte desde o punto de vista da literatura. Tomarase como punto de referencia un poema de Manuel Álvarez Torneiro cuxa base temática e enfoque reflexivo permanecen centrados na perspectiva visual do “eu poético”, que está observando un retrato da actriz Ingrid Bergman. Voaba o meu paxaro de papel cara ó grande retrato de Ingrid Bergman na outra banda dos patios enfermos de decembro. Aquel paxaro húmido de bicos que nunca alá chegaba. Voaba aquel paxaro pola tristeza anfibia do inverno: unha viaxe ó azul co que se fan os soños, transmigración de labios imposibles a bicar o sorriso: Ingrid de branco, abismal e única, epiderme de amor, illa de adolescencia. E o paxaro partía cara ó rostro de Ingrid, cara ó charol da noite, contra a noite negándome o retrato, clausurando o feitizo: o cataclismo aquel do que ninguén sabía.
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