José Pazó Espinosa’s Japan

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DC Field	Value
dc.identifier	ECF_article_856
dc.title	José Pazó Espinosa’s Japan
dc.contributor.author	Marino Giuseppe
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.type	Research Article
dc.language.iso	it
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/riviste/rassegna-iberistica/2014/101/il-giappone-di-jose-pazo-espinosa/
dc.description.abstract	José Pazo Espinosa’s El libro de la rana is a free, poetic, mystical and melancholic remake of a Basho’s haiku. The poem connects two universes, one from the spiritual, meditative, essential and absolute Japanese tradition, with a chaotic and popular reality, that sometimes can be American or Spanish. The first impression manifests a rotation of two parallel worlds, which turn on themselves, coinciding in the completeness of poetic expression. The poet intercalates introspective evocations that hides behind new contrasting elements and, at the same time, introduce gradually all of them in the initial composition made of pond, jump, dip and frog.
dc.relation.ispartof	Rassegna iberistica
dc.relation.ispartof	Vol. 37 \| Issue 101 \| June 2014
dc.issued	2014-06-09
dc.identifier.issn
dc.identifier.eissn	2037-6588
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.14277/2037-6588/10p
dc.peer-review	yes

Research Article
open access peer reviewed

Giuseppe Marino Universidad Autónoma de Madrid, España

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abstract

José Pazo Espinosa’s El libro de la rana is a free, poetic, mystical and melancholic remake of a Basho’s haiku. The poem connects two universes, one from the spiritual, meditative, essential and absolute Japanese tradition, with a chaotic and popular reality, that sometimes can be American or Spanish. The first impression manifests a rotation of two parallel worlds, which turn on themselves, coinciding in the completeness of poetic expression. The poet intercalates introspective evocations that hides behind new contrasting elements and, at the same time, introduce gradually all of them in the initial composition made of pond, jump, dip and frog.

Published

June 9, 2014

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permalink http://doi.org/10.14277/2037-6588/10p

Copyright: © 2014 Giuseppe Marino. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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