The political aspects of the work by Pablo Neruda and Faiz Ahmed Faiz have long dominated the love poetry of the two writers. The paper has tried to shift the critical focus back to the issue of suffering as it is evidenced in their chosen love poems. By means of close reading and comparative analysis, the paper analyzes the way in which both poets express personal anguish, loss, and longing as the general poetic issues as opposed to being the byproducts of their revolutionary identities. In this respect the following poems by Neruda are considered: Tonight I Can Write the Saddest Lines, A Song of Despair, and Don't Go Far Off, and poems by Faiz, in this case: If My Suffering Found a Voice, The Death of the Fires of Love, and Don't Ask Me Now, Beloved. The results indicate that the two poets are connected with one another through the common subject of suffering, but they are radically different in their reaction to suffering - Neruda becomes desperate and existential and Faiz uses suffering as an identity source and survival. The paper concludes that the love poetry of both Neruda and Faiz should be read in its own right without concern to the political paradigms in which they have been traditionally read.

Mahmoud Darwish’s “State of Siege” presents life under occupation through images of war, loss, and everyday survival. This article studies how the poem places violence and hospitality side by side. Hospitality appears as a quiet but powerful act of resistance. It affirms dignity in a space marked by siege and exile. Darwish records the pain and collective voice of the Palestinian people. He presents their experience as lived reality, not as political abstraction. The poem blends personal memory with collective history. It expresses the struggle for identity, cultural survival, and the longing for a homeland. Ordinary acts such as baking bread and brewing coffee appear beside fear, curfew, and death. These moments protect Palestinian identity from being reduced to news reports or statistics. Darwish avoids heroic narratives of resistance. He remains faithful of daily life and emotional truth. This approach reflects T. S. Eliot’s idea that poetry is about to feel first before it is understood. “State of Siege” was written during the Israeli siege of Ramallah in 2002, during the Second Intifada and Operation Defensive Shield. The poem carries both political trauma and personal suffering. Darwish writes from direct experience of confinement and loss. This study places “State of Siege” within Darwish’s wider poetry of exile and resistance. It draws on postcolonial theory and trauma studies. Edward Said’s concept of the “permission to narrate” helps explain how the poem asserts Palestinian agency. Trauma theory explains the fragmented form of the poem. From the point of comparative references, Pablo Neruda’s views on political lyricism highlight the fusion of resistance and aesthetics in the poems of Darwish. The poem ultimately presents hospitality as an ethical response to violence. It affirms survival, memory, and human dignity in exile.

The article offers a close reading of Pablo Neruda’s poem “The Heights of Macchu Picchu” (“Alturas de Macchu Picchu”), in which the poet’s understanding of the concept of Americanness is clearly expressed. Despite a large number of studies dedicated to the literary analysis of the poem, the ontological and axiological foundations of Americanness remain insufficiently explored. In the research, the poem’s lyrical subject, form and structure, major images and motifs are examined in the frames of ontology. It is concluded that the image of the ruins of Macchu Picchu becomes a symbol of the Latin American cultural and civilisational borderlands, where the archaic meets the modern and the sacred intersects with the profane. Regarding Neruda’s image of human, it is represented as both specific and universal. It is embodied in the figure of Juan, at once a Latin American and a human being: in his personal story, one can trace the features of the world history. Moreover, the man in the poem is in search of his national identity and sees his roots in the long-gone indigenous civilisation, in the “collective individual” with whom he seeks to unite. According to Neruda, only a demiurge poet, a prophetic poet is capable, through creation, of merging the opposites – the individual and the collective, the real and the desired, the finite and the infinite.

Pablo Neruda’s love poetry derives much of its poetic force from the deliberate use of repetition and parallelism, both of which constitute the poems’ emotional resonance and meaning. This essay examines the aesthetic, rhetorical, and affective valences of repetition and parallelism in the love poetry of Pablo Neruda, with particular attention to The Captain’s Verses. In this collection, Neruda’s iterative phrasing, syntax, and imageries act as the means through which desire, longing, and absence are intensified. These recurring patterns generate a rhythmic and musical cadence of repetition that is distinct. Guided by Roman Jakobson’s concept of poetic function, generative approaches of classical rhetoric, and stylistics based in contemporary scholarship, repetition and parallelism are analyzed as processes that assist interpretation and solicit interactivity as a reader. The strategies Neruda deploys mediate the porous boundary between private desire and communal emotion. This essay contends, through the close reading of Neruda’s emblematic poems and the integration of critical theory, that these poetic devices operate in synergistic concert as instruments of structural innovation, emotional amplification, and stylistic distinction.

ABSTRACT This article investigates the mediation of Latin American poetry in DEFA documentary cinema in the 1970s, and especially in Uwe Belz's film Pablo Neruda (1973) and Karlheinz Mund's film Erinnerungen an Otto René Castillo (1979). DEFA documentaries about the developing world in general, and Latin American writers in particular, played a key role in the revival of Romantic ideas in the GDR. Both films draw on the tropes and metaphors that had defined the image of the Americas during the Romantic period as a utopian, exotic space against which European identities could be negotiated. Comparing the two documentaries’ deployment of such Romantic tropes reveals a discernible shift in the way questions about the current state (and future) of East German socialism were projected onto the historical and cultural landscape of Latin America. In Pablo Neruda , narratives of revolutionary struggle and socialist nation building are reaffirmed as progressive concepts that re‐rehearse Romantic notions of ‘Volkskultur’ and ‘Volkspoesie’ which had underpinned the GDR's founding discourse. Erinnerungen an Otto René Castillo , by contrast, mobilises the disruptive potential of Romantic tropes of longing and alienation to critically probe teleological ideas of progress and the development of socialism in the GDR and globally.

This research paper investigates the convergence of love, liberation, and political eroticism in 20th-century Latin American poetry, focusing on how poets employed thelyric form to intertwine personal desire with socio-political resistance. Through anin-depth analysis of works by Pablo Neruda, Gabriela Mistral, Octavio Paz, and Alejandra Pizarnik, the study reveals how erotic imagery served as a metaphor for liberation from oppressive structures such as colonialism, authoritarianism, and patriarchal norms. Situated within their historical and cultural contexts, these poetic expressions highlight the lyric’s capacity to challenge power dynamics and reimagine identity. The paper explores the historical backdrop, the role of eroticism as a political tool, the contributions of major poets, gender dynamics, and the lasting legacy of this tradition. By examining the interplay of the intimate and the political, this study underscores the lyric’s enduring power as a vehicle for resistance and transformation in Latin American literary discourse.

Pablo Neruda first conceived his Canto general as an epic of Chile and then of America. This continental scope later turned into an internationalist one as Neruda committed to communist struggles. The article examines how these different scales overlap in Neruda's work and how the reception of Canto general evolved, putting more or less emphasis on certain aspects and selecting different parts of the poem as emblematic of the whole.

Jorge Wagensberg, físico y complexólogo español, decía que el arte es la comunicabilidad de complejidades ininteligibles, o sea, una herramienta (o medio) que puede reproducir determinada complejidad, aunque no de forma totalmente inteligible. La primera Residencia en la tierra (1933), según Amado Alonso, es reconocida porque sus poemas suspenden los nexos causales entre los fenómenos, solapan los diferentes estados de la materia, y eliminan los límites entre sujeto y objeto. Tales rasgos reflejan postulados centrales de la física cuántica, que se particularizan aquí a través del pensamiento del físico austríaco Erwin Schrödinger. De acuerdo con ello, el principal propósito de este artículo es dilucidar esos vínculos con el apoyo de la literatura comparada. Otro de nuestros objetivos es analizar los recursos de que se valió el poeta para trasladar y expresar la complejidad de su visión. Esta hibridación entre ambos campos, poesía y física cuántica, enriquece de alguna manera el debate filosófico sobre qué es la realidad y cómo nos relacionamos con ella.

La falta de motivación escolar representa un desafío significativo en el ámbito educativo, especialmente en contextos vulnerables donde las circunstancias socioeconómicas y emocionales impactan negativamente en el desarrollo académico y personal de los estudiantes. Este artículo tiene como propósito analizar el impacto de una estrategia didáctica que combina inteligencia emocional y aprendizaje experiencial para mejorar la motivación de niños y niñas de entre 9 y 11 años. La investigación se llevó a cabo en la Institución Educativa Departamental Pablo Neruda, ubicada en Sibaté, Cundinamarca, empleando un enfoque cualitativo con metodología de investigación-acción. Los resultados muestran un incremento significativo en la participación, el desarrollo de habilidades socioemocionales y la reducción de conductas disruptivas, evidenciando el potencial transformador de estas estrategias pedagógicas.

Twentieth century Spanish American poetry, while deeply rooted in its own cultural and historical contexts, reflects and adapts European avant-garde movements. During this period, major European literary experiments, including modernism, surrealism, and existentialism, significantly influenced the trajectory of Latin American poetic expression. Spanish American poets engaged with these European movements by incorporating new techniques such as free verse, and unconventional imagery, and rejecting traditional forms. Key figures like Vicente Huidobro, Jorge Luis Borges, Gabriela Mistral, Pablo Neruda, and Octavio Paz played pivotal roles in this shift, pushing the boundaries of language and representation. For example, Huidobro's creation of "the poet as a god" in Creationism mirrored the surrealist focus on imagination and the unconscious. Likewise, Neruda's Residence on Earth blended surrealist techniques with social and political commentary, reflecting European influences. Poets such as Octavio Paz, influenced by European existentialism and surrealism, crafted works that defined a unique Latin American identity and engaged with broader intellectual currents. While absorbing European innovations, these poets reinterpreted them in ways that reflected their national and regional realities, blending global movements with indigenous and local cultural elements. Thus, 20th-century Spanish American poetry represents both an echo and a creative transformation of European literary experimentation.

The creative possibilities and constraints of artificial intelligence in poetry generation are examined in this study, with an emphasis on how AI questions conventional ideas of authorship, creativity, and emotional expression. Three different poems, as well as an original thematic poem, were produced using ChatGPT-4 using thoughtfully crafted prompts that drew inspiration from the writings of Pablo Neruda and E.E. Cummings. Each poem was subjected to a thorough self-analysis that looked at thematic depth, literary devices, stylistic choices, and the degree to which AI can replicate human voice and emotion. While recognizing important limitations like the lack of lived experience, cultural context, and emotional authenticity in AI-generated content, the study also discusses graphological aspects and the point of view used in the poems. By providing insights into how machine -generated literature is changing our perception of literary authorship, the findings add to the continuing discussion about artificial intelligence and the creative arts. This study concludes that although AI cannot fully replace human creativity, it does offer significant chances for artistic expression and teamwork.

Spanish American literature vividly depicts various cowboy archetypes, each illustrating distinct cultural identities and regional traits. This article explores the portrayals of cowboys—gauchos in Argentina, llaneros in Colombia and Venezuela, vaqueros and charros in Mexico, huasos in Chile, and morochucos in Peru—across notable literary works. The gaucho, illustrated in José Hernández’s Martin Fierro and Ricardo Güiraldes’s Don Segundo Sombra, transitions from a figure of hardship to a celebrated symbol of Argentine identity. Colombian and Venezuelan literature, as seen in José Eustasio Rivera’s The Vortex and Rómulo Gallegos’s Doña Bárbara, contrasts the traditional llanero lifestyle with the encroaching forces of modernization and exploitation. Mexican texts, including Juan Rulfo’s Pedro Páramo and various charro narratives, showcase the integration of cowboy culture into Mexican national identity and resistance. In Chilean literature, huasos embody rural life and national character as depicted in Pablo Neruda’s Canto General. Peruvian morochucos, featured in José María Arguedas’s Deep Rivers, reflect Andean heritage. These literary portrayals underscore the significant impact of indigenous and mestizo cultures on regional identities, portraying cowboy figures as symbols of resistance, cultural pride, and regional uniqueness amidst colonial and post-colonial shifts.

“I have put all I possess at the disposal of the peoples’ struggle," Pablo Neruda: collector, translator, and poet (Austin, 2008, p. 1). During his lifetime, Pablo Neruda experienced a range of emotional highs and lows which he vividly reflected in his poetry. Through separate themes, Neruda endeavored to seek out and describe the essence of life clearly depicted in his own life’s highs and lows. In order to capture the array of poems that depict Neruda’s pursuit to convey his internal struggle with love, nature, and politics, I have chosen to analyze several poems through different poetic eras of Neruda’s career. These poems, as illustrated in Twenty Love Poems and a Song of Despair, Residence on Earth, Canto General, and From Memorial de Isla Negra, developed four directions of his poetry. In his times of solitude, Neruda explored his calling and sought to convey it to his readers. Combining nature, love, and politics, Pablo Neruda was able to capture the intrinsic value of objects and emotions with simplicity.

This review article critically analyzes the function of semiotics and symbolism in modern poetry in terms of the way signs and symbols are deployed to build meaning, disrupt conventional language usage, and respond to cultural and historical contexts. In this context, the research work draws from such seminal theories in semiotics as Saussure's structuralism, Peirce's triadic model, and Barthes' myth analysis, as the study deconstructs how modern poetry grapples with disjointed identities and changing cultural milieus. Case studies involve poets like T.S. Eliot, Sylvia Plath, and Pablo Neruda illustrate here the varied usage of semiotic structures in poetic expression. The article also takes up critical debates regarding meaning-making, cultural specificity, and postmodern deconstruction, regarding their importance for the fluidity of symbols in modern discourse. Despite crucial trends highlighted, there is identification of gaps, from interdisciplinary approaches to cross-cultural analyses and digital explorations of semiotics. After all, the concern of modern poetry with semiotics and symbolism underscores its capability to reflect and reconstruct cultural consciousness within an ever-changing literary environment.

This study aims to explore the concept of ‘home’ and its multifaceted nature by examining the works of Mahmoud Darwish and Pablo Neruda, two poets who, despite their isolation, offer unique perspectives on exile. The primary research question seeks to unravel the complex definition of ‘home’ and its potential associations with land, language, and historical context. By adopting a sociological critical approach, the researcher analyzes the physical and psychological dimensions of exile, questioning the nature of mental exile and its categorization. The study delves into the two poets’ social, economic, and political relationships, providing a comprehensive understanding of their respective exiles. The findings suggest that ‘home’ transcends the physical boundaries of birth or residence, extending to familial connections and personal identity. The choice of Darwish and Neruda as comparative subjects is strategic, given their diverse perspectives on exile and its causes. This research contributes to a broader understanding of the concept of ‘home’ and its multifaceted nature, highlighting the importance of exploring various exile contexts to draw more comprehensive conclusions. Through such comparative analyses that a deeper comprehension of the complex relationship between individuals and their sense of ‘home’ can be achieved. Further exploration of exile contexts and their impact on the notion of ‘home’ is encouraged, as it has the potential to provide valuable insights into human identity, belonging, and the complex dynamics of displacement.

The article reviews two episodes from the Chilean literary circuit of the early twentieth century: the 1921 publication of the book of poems Fragments by the Afghan poet Karez-i-Roshan and the accusation against Pablo Neruda of plagiarism in 1934. Both events describe an unusual situation: twice and in different ways, a Chilean poet was transfigured into an Asian poet. The proposed analysis of these events allows us to assess two levels at which the cultural and literary exchanges between Chile and Asia were hindered by European mediation: first, in the understanding of a system of production and dissemination of works, and second, in local writers’ sense of belonging to a Western tradition.

This video essay explores some ways in which sensorial experiences can enhance affective and cognitive engagement with language and literature in learning situations. It takes into consideration the fact that multilingualism is currently regarded as a resource for language learning and identity development at school. It also attends to the fact that encounters with a diversity of texts and modes is considered an important way to promote literary literacy while developing language skills. The video proposes that material that puts forward the interplay between verbal and visual text and between multiple languages has the potential to invite exploration, foster affective engagement and inspire multimodal and multilingual creative responses. Without directing towards specific uses of these materials, the video explores some characteristics of selected spreads from the picturebooks Storysongs/Chantefables (2014); Are You an Echo? The Lost Poetry of Misuzu Kaneko (2016); Pablo Neruda Poet of the People/Poeta del Pueblo (2011) and Book of Questions/Libro de Las Preguntas (2022) and presents them as aesthetic pathways to integrate multilingualism in the classroom. At the same time, I hope to show how video essays themselves can work as aesthetic, multimodal and multilingual responses to literature that may encourage learners to showcase their creativity and linguistic repertoire, and as an inspiring form of research dissemination in the humanities.

ABSTRACT Despite scholarly interest in how emotional and instrumental place attachments motivate entrepreneurship, the influences on embeddedness remain underexplored. Building on the notion that entrepreneurship becomes embedded in a locality, we argue that this process is packed with place-based interpretations of the material and imagined reality. Engaging with the empirical setting of Chile, the world’s largest copper producer, we embark on a study examining the interactions between the place attachment, embeddedness and natural resource-based entrepreneurship. We uncover these interactions through analysing several works of poetry by Nobel laureate Pablo Neruda, which focus on the diverging place attachment styles between local and multinational agents. Through reflecting on the poems, we show how historical changes within the Chilean mining industry and broader societal changes are visible in Neruda’s imagery of place attachments, emotions and concerns for local conditions. We problematize embeddedness and entrepreneurship through illuminating the place attachments shaping local actors’ entrepreneurial imagination, thus contributing to knowledge about being embedded in natural resource-based entrepreneurship contexts. We provide new insights into how place attachment can evolve alongside different forms of embedded entrepreneurship.

Reseña del libro Ilian, I. y Šabec, M. (2024). Pablo Neruda en el espejo del socialismo. Bruselas: Peter Lang Verlag, 432 pp, ISBN: 9783034349055

William Rowe’s work as a poet in his own right led to the publication of Working the Signs in 1992—and then nothing until a flurry of six books, 2009 – 2016. The article proposes death, both personal and large-scale political, as a constant concern, but that the strategy changed between 1992 and 2009 from leftist witness of Latin American devastations to radical interventionist in search of protective measures against neoliberalism globally triumphant. The first four sections deal with the later books’ devisings of aesthetic strategies to ward off despair in the clear-eyed face of police violence, an everyday environment captured and neutralized for political spectacle and informal sacrifice, and sedimentings of gender enmities. Focus then shifts to Working the Signs, a product of Rowe’s fieldwork in Mexico and Peru, and its concern with the (non)-disappearance of the dead; brief accounts are included of precursor texts by Pablo Neruda and D.H. Lawrence. Finally, attention turns to the last book of his own poems Rowe has (so far) published, Death Purge, via a search for models of visionary poetic mimesis in César Vallejo, Raúl Zurita, and Rob Halpern. Rowe’s overall apotropaic strategy is given as comprising a) an insistence on articulating political realities his readers risk taking for granted; b) a constant readiness to turn to exploratory advantage possible Badiouian “events” (e.g. the multi-city riots in Britain, 2011); and c) the occasional shameless reaching for moments of delicate aesthetic delight.