How To Write Invitation Letter For Lohri Festival

Cordoba Cerete PARRA: POETRY TO SMELL, TASTE, Palpa, watch and listen

II. smell

vanilla, lavender, the scum, the cinnamon.
Sometimes a thin scent of water,
as the clouds or rain, sometimes a violent
perfume reminiscent of a gazelle skin,
the sweat and blood of an animal in heat .
But always, the final, vanilla, lavender ...

STATEMENT OF INTENT

miserable I talk about love and lavish,

of your soul that is the fire but it is also frost

of sudden moods and gestures tender

of the crowd, whispering, of glory and fear.

Let me tell you his name softly.

(From the book Bower water)

I. touch

Come slowly to my domain;
your fingers so much space
blind, the darkness that surrounds
my body to build a road and come
to me through the thick veil
and taciturn of the shadows.
Save me with the light in your fingers
if I touch, conjures the negligence, or tease
abrásame in touch
splendid and clear of your hands.

As the butterflies of the night,
to flame you'll summon,
'd rather burn to be in the dark.

(From the book Bower water)

IV. taste

There

salt on the lips. On the tongue,

a wreck and sirens,

perhaps algae, and taste of funds

sparkling green ocean.

Sex always know winter sea,

to gales in the middle of the night.

(From the book BEDROOM WATER)

Is It Safe To Use Veet Waxing Strips On Breasts?

Province reported on the status of culture in Burgos

Tangent Space Assembly, adding to the many artists, groups, associations and individuals in the cultural and social world, supports the statement on the state of culture in Burgos. In addition, we encourage you to achieve your maximum dissemination.

STATEMENT ON THE STATUS OF CULTURE IN BURGOS

In recent years we have observed that in the name of culture is establishing a real speculative process. This arbitrary use of public money not only affects the cultural field but to all citizens.
witnessing a proliferation of foundations, contemporary art centers, cultural centers run by private companies, festivals and other events for which funding and justification is completely opaque and does not count with the participation of those directly involved. In this context
of cultural exuberance is the other side of the "currency", where you can find artists, associations and groups in an extremely precarious situation, often due to lack of institutional support for culture is not considered as consumption or propaganda .
In the case of Burgos, perfectly extrapolated to the rest of the community of Castilla and León, this situation is reaching alarming levels. In the framework of a European candidate to the culture capital in 2016 (which was also chosen, among others, Segovia) numerous associations, groups and artists are affected by delays in entering the agreements or the resolution of aid projects they are expected to develop during the year. Given that we are in October, the situation is hardly sustainable, being impossible to carry out the planned activities.
understand that this attitude of contempt for the institutions, to what we might call the basic culture and not mere entertainment, it is within the scandalous if we look around and watch the weather as "buoyant" institutional culture.
is earmarked for large lots of money to hire consultings to study the strategies of a European cultural capital that seems too complicated, or pay in advance shows that they spend a couple hours in the budget that some groups receive in a year or more, or in the case of Castilla y León, creates a Century Foundation which spends hundreds of millions of euros to the culture if no political control, among many other examples.
To avoid all these violations would require a greater management control by institutions of public money, with real mechanisms for citizen participation and advice from those cultural agents who have long demonstrated their capacity to manage. We call
revive and enhance the proposals and initiatives on social consensus, such as the Cultural Advisory Council, to encourage participation with the right to review of decision Commissions for Culture of local actors more competent and involved, taking up and the voice of organizations, associations, social groups and the general public that is active in cultural and social life of our city.
support the local culture would go through a regulation of contractual relationships between artists and groups with the institutions, which set deadlines for grant aid, the signing of the agreements, the payment of contracts, etc. and does not adhere exclusively to how to justify the cost be in the administration, all currently regulated by law. We urge
Finally, and call the social and cultural forces so that we coordinate a joint effort in this direction and develop a creative, fresh, open and claiming that motivate, encourage and create the illusion of a city and an environment where we recover our voices.

Baby Arrival Text Message Example

Open Assembly on the status of culture in Burgos


tangent space. Thursday 25 September. 20:15

All groups, associations and individuals involved in the world of culture:

I call for a Urgent Open Assembly on the status of culture in this land, taking as a starting point the following statement, later agree on a set and present it publicly. TANGENT SPACE

communique

Tangent Space has continued its activities in 2008, despite the precarious situation we are facing, probably the most serious since that is open to the public in 2001.
We are now in September and we have not yet signed the agreement this year with the Municipal Institute of Culture of the Municipality of Burgos, have not been approved grants for cultural projects of artistic, theatrical, etc. .. convened in February and a few months after the end of the year is unlikely to be resolved.
This situation is not unique tangent space as the other associations, groups, artists, professionals, individuals who have submitted projects to the different administrations, especially the City, are waiting to get the crumbs that often subsidize Burgos culture. This situation is not foreign to the NGOs and social collective. Meanwhile
City Council insists the European Cultural Capital 2016 and Burgos mouth were filled with the hackneyed and utterly devalued Citizen Participation. You do not hurt apparel, and yes there is money to pay many thousands of dollars to various consulting firms, as contracted by the City Council to draft the rules for citizen participation and strategies to achieve the Cultural Capital, which does not contribute anything new or new in these areas.
Well, we have to say that in this situation ARE SICK!. We do not understand what he understands the City Council for citizen participation. Will reduce it to call a vote every four years and then do what they want and say amen to all the decisions.
As we refuse to this dictatorship, to Burgos culture unofficial and not condescending to power, the belittling, marginalizing ... seven years
We demonstrate our ability to manage quality activities and justifying scrupulously, and to euro penny of the money we receive from the government, and is even complimented by the Technical Management Institute City of Culture for the harshness of our justification.
It's time to write this promised ordinance governing municipal subsidies to associations such as Tangent space with activities to the public, we can develop annual programs.
In recent years, agreements were signed in mid-year and entered on the same days, which obviously makes it impossible for planned activities and the maintenance costs of space and infrastructure necessary for them to be carried out funded and properly managed.
Would it not have been more logical for this year would improve this situation instead of worse?
Is not is one of the objectives of the European Capital support for local culture?
All this to say nothing of the grants from the Diputación de Burgos, handing paltry amounts without any criteria and charged to the year ahead.
And what about the Junta de Castilla y León wasting huge amounts of money are not very well known. Managing culture through a ghost Foundation, the Century Foundation, which lacks any political control, arbitrarily deciding that Burgos is a city of dance, film Soria young, etc ... calling
grants in summer and having to justify one month after its resolution. Will know in advance who they are going to give?.
You see a lot of talk, debate and share.

Diapers As Punishment

"Song of the Flies" and preaching about the hidden violence

"THE SONG OF THE FLIES" AND THE PREACHING VIOLENCE HID Beatriz Vanegas Athias

[1]



Summary Question that comes from taking the semiotic analysis of poems The Song of the Flies (version of events) of the Colombian poet María Mercedes Carranza is - how to build representations of hidden violence, from a semiotic analysis of the poems in question? A first scenario analysis considers that the significant object that concerns us serves as a collective cultural memory. This conception of text is framed in the interests of current semiotic analysis, ie understanding and description of the operations organization of meaning and cultural axiologies to define a way of life. In this paper we propose a approach to the analysis of the poem "Mapiripán."

Keywords: Semiotics. Poetry. Lifestyle: Metaphor.



1. On "Song of the Flies

doing a thorough literature review of the topics addressed by poets representing the six most recent milestones or poetic generations of Colombia, that is, from 1950 to the nineties, we find that poetic movements as The New, Stone and Sky Nadaism, The Song and Myth Cuadernícolas or evade a direct reference to issues on the endemic violence in Colombia. Only will be called "Poetry of the Seventies" or the National Front generation, as the critic and writer called Isaiah Peña Gutiérrez, who takes an ethical and aesthetic, it is this generation you belong to María Mercedes Carranza. Our analytical work consists of a semiotic approach to the poetry of tragedy and violence hidden amassed a full Colombia avatars and forgetfulness.

All text, says Yuri Lotman, serves as the collective cultural memory. The poems under consideration is composed of twenty-four songs in which the relationship between text and title, and actually writing, singing and event we have to postulate the hypothesis that the song flies (version of events) is the first volume of poetry of lyrical contemporary milestones in twentieth-century Colombia dedicated to setting the right roots wide violence, which occurred in our country the eighties, and to build a landmark in memory of Colombian culture. The poetic text as a manifestation of poetry establishes a relationship not with certain realities, "but in all reality that is reflected in the consciousness of individual and collective" [2] . In such a way that, as noted by Jan Mukarovsky, "a Sometimes the poem presented through the image, and only as an image, a whole narrative. " [3] In this direction, what matters for our semiotic research is to find ways how the text sets the scene for the actors in situations of space and time and how that metaphor is a poetic staging mode life or life forms of culture involved. It is, in short, the study of how the provision of figurative elements in the text organizes the significance, ie the "form of content" with respect to the sociocultural situation of production and circulation of the object semiotic.

2. Preaching on the violence hidden

Each poem creates meaning, builds a story about the transformation of state observer for someone who preaches from this experience, that is, the text organizes a meaning that, in our case, is connected with the preaching of hidden violence in Colombia (for many reasons, including the exercise of power and neglect). In this book that concerns us, graphic elements such as titles, captions and autographs, meet, for example, a postulate proposed by Gerard Genette: serve as a link between the text and the world. The designation of each poem as a song texts associated with narrative poetry such as Dante or Alonso de Ercilla, which are universal to our literary culture, but also with other older forms, such as parts of the epic poems of ancient Greece. It added that each poem short of our corpus is part of a "version", that is, a "way" of telling a series of events. Assume

poems of the poet Maria Mercedes Carranza makes us agree with Paul Ricoeur when he states that: "The text can never be an end point, because it echoes the world and the world points through the reader's imagination" [4] . The same author states communicating vessels between the reader and the text, when elucidated on metaphor:

metaphor, unlike metonymy, preaches to be. So the metaphor is more incisive, attributes directly. Doubly says one thing because it gives the name of another. The metaphor creates a world, not replaced as traditionally postulated rhetoric, why is a puzzle set, all creation metaphorically. She claims rather a strain theory, that of the replacement. [5]


Therefore, the metaphor abounds in the poems to reveal isotopies that form of violence hidden in the poems of Maria Mercedes Carranza. Mapiripán In the poem, for example, the population is a "date" due to the effect created by the metaphorical tension, mediated by the verb be (is) is already Mapiripán / a date [6] . The world was this town located on the eastern plains of Colombia is transformed into a world-date. Here there is no substitution, metaphor creates a new state of affairs. Another example is the Canto 14, subtitled Confines. In it, the metaphor, with its transforming power formed by a noun becomes an adjective connotation, establishing the new world which becomes Confines. Desolation is the new order there. The metaphor "rain and silence" it presupposes. It is as if the use of the noun "rain and silence" found another dimension in the population, perhaps set a world ravaged by the metaphor that closes the short poem: Desolation wilderness. Confines is "something" but is no longer.

3. Haiku and epic song

critic and translator Michael Sisson said on the subject at hand sense "is a poetry of social protest endowed with great subtlety and beauty, a deserted landscape, or rather village but dead, built with images taken from nature, like the Japanese haiku " [7] This concept leads us to consider other interpretive hypothesis, if we take into account the nature and formal structure and content inherent in haiku. Luis Corrales claims
Basque
[8] that as the level of expression, a haiku (or Hakai) is a short poem, about 17 syllables that are usually organized in three verses (5-7 -5). The haiku has no title or rhyme in Japanese, their simplicity is such that we can dispense with punctuation and capitals, in some ways resembles what we are talking about. In nouns abound haiku is a poetic form predominantly nominal, simple and concise expression. María Mercedes Carranza offers texts akin to haiku. This idea is reinforced when we determine that the content level "A haiku is just what is happening here, right now" as claimed by Japanese poets of the seventeenth century, quoted in turn by the Basque Corrales.

formal haiku Another feature that is also evident in the texts we have assumed as an object of semiotic analysis is the strength of the last verse. It seems that the first verses are preliminary as a development that would usually be configured from a metaphor or an image. Understand the concept imaging provided by the poet and essayist Octavio Paz, who conceptualized:

Images are imaginary products. Denote the image all verbal word, phrase or set of phrases that the poet says, and that together compose a poem. These utterances have been classified by the rhetoric and called comparisons, similes, puns, metaphors, paranomasias symbols, allegories, myths, fables. Whatever the differences that separate them, they all have in common preserve the plurality of meanings of the word without violating the syntactic unit of the sentence or set of phrases. " [9]


look at the final verse of Canto 19, Lee, and compare it to the top of the haiku of Kaga no Chiyo. In Canto 19 Lee: As clouds / death today in Sotavento. / Deceased whiteness /. The haiku reads: In the mountains / and in the plain, quiet: / day / snow. Both poems range from three to four lines of minor art. Both in Canto 19 of María Mercedes Carranza, as in the haiku of Kaga no Chiyo prevails syntactic category name. In Canto 19 we find the noun "cloud" "Death", "Lee", "deceased." In the haiku: "mountain", "plain", "quiet", "day", "snow." The nominal predominantly syntactic nature of the two texts is the foundation of the metaphorical construction. In such a way that the final verse of the two poems set the metaphor: "Deceased whiteness" (Lee) and "snow days" (haiku).

Although we find similarities, both in terms of the expression as in the content between haiku and the texts of the song of the Flies (version of events) is clear that the poems of the latter, as in most of the haiku written in the West [10] not adhere to the 5-7-5 syllable pattern, but create a formal atmosphere of Japanese haiku or other forms as the tanka. [11] To understand this phenomenon of adaptation and adjustment of the translation process of poetic form and content from one culture to another, keep in mind that for the

Lotman texts tend to symbolization and become integral symbols. Symbols take on a great range of cultural context and function not only in synchronic of culture, but also in the vertical diachronic it. In this case, the separate symbol acts as a single text that moves freely in the chronological field of culture and increasingly complex relationships in a way synchronous with the cuts it. [12]


Therefore, the current understanding of the text, it ceases to be a passive carrier of meaning and acts as a dynamic, internally contradictory and that is one of the fundamental challenges and analytical of semiotics today. Our object of analysis does not escape this condition, whereas, according the initial hypothesis we have raised, poetically set a great story and the horror of oblivion.

The song of the Flies (version of events) presents us with narrative poems because the "song" (which is more contextual typology with which the poet refers to each poem in the book) is defined in general terms as a subgenus poetic song refers to the Greek epic and this, in turn, a poetic narrative of a certain remarkable and heroic event of interest to a people or nation. It has also been called "epic fragmented" due to the limited developments.

In such a way that, according to Lotman, the text is naturally immersed in the dynamics of translation and Recreation semiosphere: every text you get your "input" to the cultural sphere through contact with other texts and adapting to the expressive needs of a particular situation of production of messages. This happens with the singing of the flies, as this is a literary manifestation related haiku and the Greek epic poem as substrates of the form in which it expresses the story of a collective tragedy really occurred.

Thus, the minimum operating textual generator is not an isolated text, but a text in a production situation cultural, material in interaction with other texts in a state of immersion semiotic relevance to the sensitivity of a community. What is, in the words of Joel Sermet, the lyricism in which converges in a double bill: it puts together the self and other, narcissism and drive community ownership and share code singularized of the word. [13]

4. Violence in Colombian poetry

They are vast critical studies and other approaches to the narrative of violence in Colombia. In our investigations we noticed that privilege bibliographic theses, monographs and essays on narrative of violence in our country. Not so with poetry. However, in this first approach the state of the art, have been useful two studies on novel Colombian violence. The same preference exists between the creators of poetry, preaching about the different forms of violence in the twentieth century in Colombia has been studied extensively by the story, the chronicle, the novel and even pictorial arts. In the speech is not so lyrical. The poet Juan Manuel Roca wrote an extensive essay about which analyzes the low tradition of poems that make up the topic of violence, namely: Recruit dead, the modernist José Asunción Silva On April 9 in Colombia, the so-called poet of Negritude, Jorge Artel, the Bábega poem is an evocation of the travails of the field man, written by the poet of the Generation of Myth, Eduardo Cote Lamus the poem Plain Fernando Charry Lara Tulua, which is a kind of chronicle in verse about the nearness of death and love, the poem also has come to Cali death, Emilia Ayarza. Regarding the latter, Juan Manuel Roca said: "Is there a memory of blood and dust, when the outbreak of a truck of dynamite during the regime of General Gustavo Rojas Pinilla shook the capital of Valle de Cauca." [14]

Other poems loose collect our daily violence and the Colombian has been entrenched lyrical canon are: Question estadístic to de Piedad Bonnett, died twice, Samuel Jaramillo, many texts of the poetry of José Manuel Arango, published in his books Mountains, this place at night and Cantiga, poems that make up the violent death in the city. It is pertinent to mention also the work in progress Castaño Yirama Guiza, with the poem The Dream of the other and the book Puerto Calcinado Andrea Cote.

But he assumes as an ethical and aesthetic project to preach on paramilitary violence, in a volume of poetry with thematic unity, is the poet Maria Mercedes Carranza through semiotic research object. Already been established that the significant object that is subject of study for this research is the collection of poems The Song of the Flies (version of events, written by María Mercedes Carranza, Colombian poet born in 1945 and died in July 2003 choice.

The author has published five books of poetry: Cases and Other Poems (1972), I have fear (1982); Hello, loneliness (1986), Ways of indifference (1992) and The Song of the Flies (version of events [15] ) (1996). This was first published CL in the number of the poetry journal Stroke of dice, devoted entirely to the work of the poet. The magazine celebrated 25 years of existence and its director, poet, Mario Rivero, presented to the writer as "the most accomplished poet today, deep in Colombia." At that time they were written only 18 of the 24 songs that eventually structured the poems. Did not appear in this first edition of Cantos 3, 6, 7, 8, 13 and 22. Ie Tamboral, Barrancabermeja, Tierralta, El Doncello, Uribia and Miraflores. Since its first edition of the poems was dedicated to Luis Carlos Galan, Colombian politician assassinated in 1989 in Soacha, Cundinamarca. He was a personal friend and was head of the poet, when she officiated as a journalist for the now defunct New Frontier Magazine. The shortest song is 12, Pajaro (three verses) and the largest are the songs 11 and 24, ie, Vistahermosa and Socha. About our object of analysis we dare to state a hypothesis that points to the origin of their symbols or isotopes.

5. Approaches to semantic recurrences in the Song of the flies ...

María Mercedes Carranza in 1982 published his second book of poems entitled I have fear. There appears a text presented below:


No more dawn prayer and customs,
no more light, no more offices, no more moments. Only
land, land in the eyes,
between the mouth and ears on the ground
breasts squeezed;
dry land from the womb;
tight at the back ground;
along the legs ajar, land
land left in his hands there.
Earth and oblivion. [16]


The poem Prayer is the intertext announcing the land as living space, but also for death. The first two verses of Prayer negate life and structured anaphora indicated by the adverb of negation. Life is born (Dawn, light), life is racking time (seconds), life is a ritual (customs offices). But it is all change requests denied and death. Death set to the metaphor Earth and oblivion in the symbolism of the song of the flies. There is the intertext that announces the topic of land as living space, but also for death and oblivion.

From the title (Prayer) announces a request for death in the anaphora of lines 5, 6 and 7. Land is an isotopy in The Song of the flies. The isotopy of the earth as the scene of death. So in the song 5, above, the earth is the scene of terror on the edge 7, Tierralta the earth is a tomb for love in song 10, Amaime, land is to bury dreams in song 13, Uribia, land is total cancellation space, in song 17, Pore space land is paid by death in the song 18, Paujil, the earth is the seed of death and song 21, Taraira, is perhaps the redevelopment of the intertext Prayer, because there, the final verse is recurrent, confirming the semantic field of the earth germination as a space station life and as death. Beristain

states that while the discourse is constructed develops a line of meaning that is the purpose of it, which is set by the repetition the relevant semantic features or semes (minimal units of meaning) that in the course of the text they are associated. This partnership builds a network of relationship anaphoric phrase and these, by linking a sentence with another, within the isotopic field, ensuring their thematic coherence. [17] Greimas took the term isotopy of physical chemistry and went to the semantic field. Thanks to this concept, one can see that the full texts are homogeneous semantic levels. Greimas talks isotopy of corpus and individual variations. [18] However, the isotopes were present in the level of expression as in the content, and they can occur at any level of the text. In the phonological level is assonance, alliteration and rhyme, in the syntax, matching redundancy of features or functions, in the semantic level equivalence definition, tripling narrative. Hence the possibility of a style of isotopies. [19]
's make a partial approach to the isotopies of our corpus.

Identity: This isotopy is defined by the top title and titles. The top title of each poem refer to the Greek epic poem recounts an event of interest to a group. Thematic headings villages and towns named a specific country: Colombia, where there were hopes, joys and beauty. Thus, Miraflores is the metaphor "Graveyard of Dreams", Ituango is the metaphor "The body of laughter", Amaime is the image of "dreams cover / land /".

between oblivion and memory : This isotopy is determined by the dedication to the dead friend, places the reader in the context of oblivion which is the need for last:
is a date, in the sense that became on an element which establishes the absence, but opens the dive into a new order (Mapiripán); someone dreams is an indefinite pronoun, so it is not, but the denial implies the existence of a being who dreamed (Tamboral), someone falls is the neglect shown by the death (the girl) and its streets air is not, is transparency in the song Humadea.

Silence. We venture to conclude that the great isotopy of silence is almost white page for the brevity of each poem. The secrecy and the tightness of the result language poems that do not pass seven verses and most of which have only four.
poems or epitaphs tombstones without saying that because "the text can never be an end point, he echoes the world" [20] and moderation of these states in the structure of sepulchral inscription set a silence that speaks of tragedy that took place.

Nature complaint death. A black bird is the only survivor of Soacha, a land and neglect are under the imminence Taraira mortuary, / The wind laughs the irony of being that is no longer in Ituango, Deceased whiteness is peaceful death in the clouds only witnesses at Sotavento. In the corolla / (...) the mouth / of the dead is the life cycle is completed in Paujil. Death: / flesh of the earth would be the metaphor of death in Pore. It also completes the cycle expression red rivers, carrying unarmed Humadea death. Rain and silence: the sad and silent rain, she always sings in Confines.

This initial approach (not exhaustive and that requires better explanations and demonstrations) to our corpus present it to justify the selection of it to be converted into an object of semiotic analysis. In this approach we can raise some hypotheses: the culture of violence in Colombia can be characterized as a specific lifestyle, which are traits of the semiotic analysis of each poetic text of The Song of the Flies (version of events), in which value systems can be identified more or less consistent with characterizations of a lyric subject in relation to us (otherness). This becomes even more evident when considering the hypothesis of each song of the poems as a micro story that is part of the big story of the hidden violence underlying purpose of our study.

6.
Mapiripán
In song 2, Mapiripán represenativa have a sample of the organization and demonstration of examples of all the poems of Carranza. This short poem is composed four verses of minor art, 4, 3, 7 and 4 syllables: Stay


wind,
time.

Mapiripán is already a date.


There is a rhythmic assonance in the first two lines because they end in the vowel "o". This same assonance is repeated in the last two verses, since both end in the vowel a. Like many of the songs of the poems, has a nominal predominantly poetic form: there are many nouns (wind, weather, Mapiripán, date). Also appears that the adjective Stay begins the poem. It has only one state or copulative verb, the verb is (be).

The first verse begins with the word Stay substantive charge on the wind and weather. In Mapiripán the wind and weather do not have or do not move, are quietly without disturbance or alteration. This leads us to assume that before the present state (quiet) there was a preceding movement (a "before" the poem of course.) The third verse is structured syntactically a name: Mapiripán (subject), a copula or verb of state is (being) and the adverb of time as it is situated in a present time, establishing a relationship with the past: it is already . Here we wonder if today Mapiripán is a date, then yesterday, what was it? The copula is the link that establishes the metaphor of death Mapiripán yesterday was life today is death, that is, a date. Nevertheless become a date supposed to be a fact that birth involves death. We then, going into the plane of content Mapiripán, while population is a subject that for a transformation process enters a state of disjunction with the movement (life) and a state of conjunction with reference data on the finiteness of a cycle or life. Something happens or happened to the subject Mapiripán. We believe that the emphasis is more on time (s) that has been raised or induced by a horrific change that is not mentioned.

Before stagnate, the wind that is the "breath of life", according to the preaching Judeo-Christian: "And the Lord God formed from the dust of the ground and breathed into his nostrils the breath of life, and man became a living being" [21] running free, without threat. If, under this conception the wind movement, energy, breath, life, and Mapiripán the wind is still, then longer life and what is (or remains of this population) is only a date, that is, a data death, so that the poem appears in this light, as the inscription on a tombstone: Mapiripán is an epitaph that witnesses the tragedy.

In a semiotic square, the system values \u200b\u200bcorresponding to this poem would be associated with the idea of \u200b\u200bMartin Heidegger, time: "There is only because of the events taking place in it." [22] In Mapiripán something happened that stopped him and turned to the people of Colombia at a time. If the wind is passing of facts and here is still, for then the opposite happens: nothing (not to be, totally lacking), we can state:



Life (Mapiripán before)
Movement (occur in time)

Stillness
(death, arrest of becoming)



Death
(Mapiripán now) Activation


(motion)



Interruption (motion)



The time is also, according to Heidegger, a development whose stages are between the ratio before and after. In an underlying Mapiripán before and after: Mapiripán became a date. What now?, Heidegger asks: Is now available? Am I now? Does anyone else now? If me and another person is the "now", I am time, and if he stood still, others and I have died. Time is also memory. Carranza's poem is a milestone marking against forgetting: if there is stillness, the less there is an epitaph to the oblivion that characterizes the way of being Colombian. Mapiripán emerge, as well as an unveiling, a ritual and poetic brand of violence that makes life disappear and the culture of a cultural organization. The poem preaches violence hidden.

In our opinion the song of the Flies (version of events), consisting of twenty-four very short poems, in which each song is named after a Colombian population victim of a slaughter, is a setback poetic oblivion and collective amnesia ; to the complicity of politicians and gentrified city dwellers, to the complicity of a press colorblind, but above all, to the inability of Colombian society to prevent the progress of decay. It is at this historic moment in our country, when the poetry of Maria Mercedes Carranza assumed from an ethical aesthetics that constitute our object of semiotic analysis.



Bibliography


Beristain, Helena. Dictionary of poetic rhetoric. Mexico: Porrua, 1985.

Carranza, María Mercedes. Complete Poetry and five unpublished poems. Bogotá: Alfaguara, 2004.

Carranza, María Mercedes. The song of the Flies (version of events). Barcelona: New paperback, 2001.

CORRALES, Basque Luis. http://www.elrincondelhaiku.org/sec1php .

Greim, AJ et al. Semiotics poetic essays. Barcelona: Planeta, 1976.

Heidegger, Martin. The concept of time. Madrid: Trotta, 1999. Iuri M. Lotman

I semiosphere Semiotics of culture and text. Madrid: phronesis & Chair, 2000.

Mukafovsky, Jan, Jarmila Jandiva and Emil Volek. Sign, function and value, aesthetics and semiotics art. Bogotá: Universidad Nacional de Colombia, Plaza & Janes, Colombia, 2000.

PAZ, Octavio. The Bow and the Lyre. Bogotá: Fondo de Cultura Economica, 1998.

RABAT, Dominique. Considerations on the lyrical subject. Paris: PUF. Paris, 1996.

Ricoeur, Paul. Metaphor alive. Madrid: Ediciones Christianity., 2001.

Ricoeur, Paul. Time and Narrative. Volume I. Madrid: Ediciones Christianity, 1987.

Ricoeur, Paul. Time and Narrative. Volume II. Madrid, Christianity, 1987.

ROCA, Juan Manuel. "Poetry and Violence in Colombia", Revista Casa Silva, No. 15: Elevations in souls. Bogotá, 2002.

SISSON, Michael. María Mercedes Carranza in English. Perspective of a translator. Ohio University, 2008.



[1] Master student in semiotics, Universidad Industrial de Santander.
[2] Mukafovsky Jan, Jarmila Jandiva and Emil Volek. Sign, function and value, aesthetics and semiotics of art. Bogotá: Universidad Nacional de Colombia, Plaza & Janes, Colombia, 2000.
[3] Ibid.
[4] Ricoeur, Paul. Time and Narrative. Volume I. Madrid: Ediciones Christianity, 1987.
[5] Ricoeur, Paul. Metaphor alive. Madrid: Ediciones Christianity., 2001.
[6] Carranza, María Mercedes. The song of the Flies (version of events). Barcelona: New paperback, 2001, Canto 2.
[7] SISSON, Michael. María Mercedes Carranza in English. Perspective of a translator. Ohio University, 2008
[8] CORRALES, Basque Luis. http://www.elrincondelhaiku.org/sec1php
[9] PAZ, Octavio. The Bow and the Lyre, Fondo de Cultura Económica, Bogotá, 1998.
[10] production View poets like Jorge Luis Borges, Octavio Paz, José Juan Tablada, among others.
[11] The tanka is a type of traditional Japanese poetry consists of five lines of 5-7-5-7-7 syllables. Over 1400 years recorded the first tanka. According to some authors, their main use was to transmit secret messages between lovers, a small morning summary of what a stormy night of sex was represented for the author, as if this return to the ways and words of courtship, something like a note of thanks to the provider so carnal pleasures. Letters were sent in a fan, or tied to a flower in bud, and were delivered in person by a messenger.

[12] Iuri M. Lotman I semiosphere Semiotics of culture and text. Madrid: phronesis & Chair, 2000.
[13] OF SERMETO Joel. "To whom is the poem?", Rabat, Dominique. Considerations on the lyrical subject. Paris: PUF. Paris, 1996.


[14] ROCA, Juan Manuel. "Poetry and Violence in Colombia", Revista Casa Silva, No. 15: Insurgent souls. Bogotá, 2002.
[15] It contains twenty-four short poems they preach and set the tale of forgetfulness and the horror that occurred in Necoclí (Antioquia), Mapiripán (Meta), Tamboral (Cauca), Dabeiba (Antioquia), above (Caldas), Barrancabermeja (Santander), Tierra Alta (Córdoba), El Doncello (Caquetá), Segovia (Antioquia), Amaime (Valle), Vista Hermosa (Meta), Bird and Uribia (Guajira), Confines (Santander) Caldono (Cauca), Humadea (Meta), Pore (Casanare), Paujil (Caquetá), Sotavento (Córdoba), Ituango (Antioquia), Taraira (Vaupés), Miraflores (Gauviare) Cumbal (Nariño) and Soacha (Cundinamarca).

[16] Carranza, María Mercedes, "Metal head", in: Complete Poetry and five unpublished poems. Bogotá: Alfaguara, 2004, p. 70.
[17] Beristain, Helena. Dictionary of poetic rhetoric. Mexico: Porrua, 1985
[18] Greim, AJ Essays on Semiotics poetic. Barcelona: Planeta, 1976.
[19] Rasti, François. "Systematics of isotopies" in: Greimas, AJ et al. Semiotics poetic essays. Barcelona: Planeta, 1976, p. 110.
[20] Ricoeur, Paul. Time and Narrative. Volume II. Madrid, Christianity, 1987
[21] Genesis 2: 7
Heidegger, Martin. The concept of time. Madrid: Trotta, 1999.

Sample Greeting Speech

The Map of the Lands of Burgos

The Map of the Lands of Burgos continues. Advancing daily with input from more people. And go about 600 people and already has full color map. Yet there are another 600 people to collect, so we encourage you to consult the list of people and stay involved.

The list is available at http://www.espaciotangente.net/BurgosListapueblos.html

The list of contributors http://www.espaciotangente.net/Puebloscolaboradores.html

If someone is there a bug in the list or any names missing comment or send us an email to espaciotangente@mac.com.

Connect Ipod Shareaza

Exquisite dinner proceeds support

Faced with the poor economic situation being experienced by Tangent space, and also affect the other associations and local communities with assistance and institutional arrangements for 2008, some approved and all unresolved organized a support dinner to raise funds for the proper functioning of tangent space.
The dinner will be held in Tangent Space July 24, Thursday, at 22.00 hours and the menu is run by Restaurant GAIA designed especially for the occasion.

The price per meal is 20 € and enjoy a tasting of the most careful, dinner will be held at the best of environments and with the best of company.
reservations can be made until Monday, July 21 at:
TANGENT SPACE: C / Valentín Jalón, 10 under and
Restaurant GAIA: C / Fernan Gonzalez, 37.
Reservations are limited.
Punctuality.
have more information on 947 216 127.

MENU: Starters

:
Assorted Maki Sushi Japanese
babaganoush
Zucchini Salad Wakame seaweed and Skortalia


First Vietnamese Fresh Roll

Timbal Lentil Cranberry Vinaigrette
Curry Sauce Thai Jasmine Rice accompanied

Second

Pastry Eggplant Stuffed Piquillo Peppers
Boletus Flor de Pasta Brick Mix Mushrooms stuffed
Caramelized Leek Grating

Dessert: Ball
chocolate mousse with passion fruit peaches.

96 Zrt 600 Triple Top Speed

Tangent Space Seventh Anniversary Party Tangent space

Friday July 11, Tangent Space turns 7 years.
I invite all to celebrate with us this journey of hope and work to keep the project alive, equally, we invite you to participate.

From 20.00 hours

* Open discussion on the state of the local:
In an open and participatory invites anyone interested to discuss the current state of cultural landscape the city. Tangent space sees a need for public review of all their wants, needs and responsibilities.

* Live music by of IO & Mantxin i ( Colectivo Espiral Sonora )
IO:
His sessions are a balm for the senses by playing with the limits of the experimental with the most beautiful melodies, all spiced glichtes clicks and a chiaroscuro that is involved. Current Style: IDM, glitch, EXPERIMENTAL MODERN CLASSICAL, ELECTRO ...
More info:
http://www.myspace.com/ionurmer
MANTXINI: Researcher
restless, his sessions are always eclectic and surprising stylistic borders diluting planning and splashing sensitivity and dark to the core equally. Current Style: Breaks, IDM, glitch, DUBSTEP, ABSTRACT ...
More info:
http://www.myspace.com/mantxini
Sonora Spiral More info:
http://www.espiralsonora.com

* THE participatory installation Wailing Wall
* Projections
* Tastings
* Attendees will be drawn for a magnificent Watercraft.
* The grand spectacle of a constantly running fan .
* Hazard Happening : Auction
artist and original work.
abundant both as an artist's original work across disciplines will be subject to open puga unlimited.

Appology Letter To Boss For Late Coming

We present a photo shoot Tangent Space since 2001

Chest Sitting Weretling

Tangent Space Photo Shoot New campaign members and partners

Tangent Space shortly publish a statement in which we highlight the serious situation where we are and it affects all groups and associations related to the sociocultural Burgos. Meanwhile, I encourage you to members and partners of tangent space, with the aim of creating a widening network to provide us with one hand to count on your support to make this project more and more collaborative, participatory and other maintain an autonomy that allows us to not depend on the few institutions to support the creators intended Burgos Burgos and culture in general and in the case of this year, exacerbated by the lack of prospect of the agreements and grants of 2008 to take effect.
With a minimum contribution of 30 € a year lend your support to keep this project alive:

Being a member or partner has several advantages:

• Discount workshops, publications and events
  
• Sending C3 annual magazine
• Emailing of our programming and calls
  
• Using facilities such as the Printmaking Workshop, the library, the drawing pad ...
  
• Participation in Tangent Space managing Assembly, which meets two Wednesdays a month

Below we indicate the membership form and payment, we would prefer it to be by direct bank for the following years is more convenient to collect the fee, (notified one month before the next payment of annual fee). Copy and paste the file in a text file or in the body of an email and you send a espaciotangente@mac.com:

TANGENT SPACE SHEET SOCIO
Name:
Surname:
Address:
Population:
Province:
CP:
Phone:
Email:
ID:
Payment: Fee € 30 min
annual debit (preferred notified one month before the annual pass). N º Cta. (20 digits):
Income account: 2018 0000 66 3020022944

We want to hear the concerns and expectations with you and tangent space. Projects you have in mind, the way that ET may participate in them, preferences and other suggestions.
PREFERENCES:
Artistic Activity:
Creative Workshops:
Collective Project Organization: Management
Tangent Space Activities:
Works Exhibition: Interest
social :
Other:

About Tangent Space still do not know, you indicate the link on our page:
http://espaciotangente.net/portada.html

Rent A Chamberlain For Quince

The Map of the Lands of Burgos

The map of the lands of Burgos has already begun to be developed. Is the brainchild of writer and scholar of the province Elias Rubio. At the moment we have about 300 villages and their corresponding land placed on the map, "only" we are 800. We encourage you to participate in its elaboration, as a result we listed below brief instructions. Curiously, the first people to place their land has been Viergol in Valle de Mena, collected by the ministry in the area.

INSTRUCTIONS
It invites all who wish to participate to bring a dry soil sample (one or two handfuls) of its people or peoples of the province to visit. Once in Tangent Space, a collection portion of the land is placed in a small container (vial) to be pasted in place of the map.
The surplus soil will be deposited in a large bucket and she planted an oak tree, The Tree of the Province, somewhere as yet undetermined.
To avoid repeated samples of soil, each half will update the list with the people delivered, which will be exposed to the sight of all on the same tangent space and its web and its future blog.
Also, for greater assurance that the soil sample corresponds to the desired people and not to another boundary, it is recommended to collect as close as possible to the village, but always taking care of virgin land is not contaminated with materials construction.
Once the map, there will be a list of all the people involved in its preparation.
More information at: http://www.espaciotangente.net/MapaTierras08.html



The list of the peoples of the earth and we can consult on the web:
http://www.espaciotangente.net/BurgosListapueblos.html

Alessio Wheel Centre Caps

ALL I WANT IS A OWN BALCONY

A balcony
own
With wood blinds and curtains fragrant
to see beautiful women walk their sadness

makeup and ugly women

Comply with his walk and bitter with salt.
A balcony with wooden shutters
For men tired
With the weight of unspoken love.

A private balcony to see the swing to swing on the moon
and hold the tile networks
And the murderer walks with pockets Full of money
pain.
All I want is a private balcony

To draw back the rain and air
jail and cherish the straw that is rigged
In
almond leaf and remote support
The struggle of man with the anchor;
And smile to procrastination
From just waiting night and bite. One afternoon
without haste
Take your sweet little hand
Playing as blind your eyes sharp

reliable Taste your smile and draw at night
The colors of the scandal.
Taken from the book
COMMON PLACES

Scholl Shoes Malaysia Store Locator

Brian Saunders And Andrew Sutton Coventry

POETRY READING WITH CHILDREN AND YOUTH IN UNCERTAIN TIMES Female eye

POETRY READING WITH CHILDREN AND YOUTH IN UNCERTAIN TIMES

By: BEATRIZ VANEGAS ATHIES
Literacy Workshop SARA
MALACCA

Uruguayan writer Eduardo Account Galeano, who as a child his grandmother told him the fable of the blind men and the elephant: "They were the three blind to the elephant. One of them touched his tail and said: "It's a string
. Another blind
touched a leg of the elephant and said: "It's a column
. The third blind
put his hand on the elephant's body and guessed:
"It's a wall.
And the story ends with a reflection-Galeano moral: "So we, us blind, blind the world. From birth, we are trained to see nothing but bits. The dominant culture, culture of disassociated, breaks past history and present reality breaks and prohibits assembling the puzzle. "

What puzzle? The life beyond appearances. Poetry is the voice of the people, but also the language of the chosen, helps all of a puzzle. Because it fit all kinds of beings and speeches, that is revolutionary in nature. Write, but more importantly, read poetry, is a method of inner liberation.
In these sad times, hectic here in the classroom, where boys and girls you care about everything and give a damn, it is urgent to occur encounter with the poem, not to grow up convinced that life is so thin like a rope, or as thick as a column or so grid like a wall.
Poetry then, can offer the pieces to a puzzle of our being as irreverent and playful, as in this poem by the Mexican writer RICARDO CASTILLO, entitled buttocks: The woman also has the rear split into two
But it is clear the buttocks of a woman / are incomparably better than those of / a man, / have more life, more joy, is pure imagination / are more important than the sun and God together, / are a staple that does not affect / inflation / a birthday cake on your birthday, / a blessing of nature / origin of poetry and scandal. / "
Poetry helps us put the puzzle together, when the poem becomes a spiral in which echo the world music, world music is love, as in this beautiful text creator Jattin Colombian Raul Gomez: Not able to speak / You spoke of the sea / And the sea answered me / the echo of your name / Your name was the name / my pain had /.
Poetry, dear friends, can give us the serenity and the pause that makes us numb to the pain of many Colombians. And this serenity give us poems like Japanese haiku poem or short extension, but as the profound intention of the Japanese SOIN: If you sing / butterfly / might have to suffer / in a cage /, or this hard lesson through which the poet FERNANDO ARBELAEZ invites us to value life, now worthless. Lesson: A fish does not know / what was the water / to ask / wiser fish / she said / if you want to know / what is the water / salt / her.
But poetry is also a game, it's satire, playfulness, wit, like life. And there are the epigrams and greguerías, those surprising and playful definition of some aspect of reality, whose main architect was English poet Ramon Gomez de la Serna. What better poetry to show us what we see because we do not or because they have taught us to see:
The child tries to draw the ideas of the nose.
The rainbow is the film that puts nature after washing the face
The giraffe is a horse stretched out of curiosity.
· What if ants and Martians were set on Earth?
• The chickens are tired of reporting to the police station to steal the eggs.
Rush is leading us to death.


Here is the poem to show that another version of reality that the Internet or television shows made up. There is the chronic poem tells stories of the terror visited by beings. Beings that pass before our eyes like characters in a movie Stallone, Bruce Willis or Arnold Schwarzenegger, but in fact are part of the cemetery of oblivion in which Colombia has become thanks to the language of violence that tells the poet Polish Wislawa Szymborska in his poetic chronicle "A terrorist, he notes" The bomb will explode in the bar at thirteen veinte. / Now just are thirteen and sixteen. / Some still have time to go. / Other entry . / The terrorist has been located across the street. / This distance protects him from harm / and it looks like in the movies: / A woman with a yellow jacket, she walks. / A man with dark glasses: it goes. / Some boys in jeans: they're talking about. / Thirteen seventeen and forty seconds. / A girl: she is walking with a green ribbon in her hair. / only bus that suddenly the lid. / Thirteen eighteen. / It is not the girl. /
must have been so stupid to enter or not, / So we'll see when they are extracting. / Thirteen nineteen. / And now as that does not fit anyone. / Instead of There still get a fat bald sale. / But it seems you are looking for something in their pockets and / at thirteen twenty minus ten seconds / returns to get their miserable gloves. / They are the thirteen twenty. / How slow over time. / Looks that already. / still not. / Yes, now. / A bomb: the bomb explodes. "


says the Cuban poet José Martí that freedom is the right of every man to be honest and to think and speak without hypocrisy. " This morning, we will exercise freedom, reading Antipoems, falling in love with poems of love, serenity with these bits of time called haiku exercise scathing criticism and the right to laugh greguerías, artifacts and epigrams and feelings with poetic stories.


The antipoetry: a more human life

antipoet For poetry is "a front need. " For an anti-poet, "The poet is a man like all / A mason who builds his wall: A manufacturer of doors and windows." The anti-poet-and the operator told Chilean Nicanor PARA-talk "In everyday language" and are there for the tree does not grow crooked, so the Nadaísta EDUARDO ESCOBAR wrote the following Antipoems against political corruption: Shipping: my child to be / sensible / smart / and honest / So / never / be / minister /.

The antipoet denounce "The poet Bookworm." They ask, with all respect that all these men are prosecuted and tried by construir castillos en el aire. “Por malgastar el espacio y el tiempo/ Redactando sonetos a la luna/…” Los antipoetas afirman con hechos y poemas que “El pensamiento no nace en la boca/ Nace en el corazón del corazón”. La antipoesía, para decirlo con palabras de Roberto Montes Mathieu, es “la poesía libre de ornamentos inútiles, menos estéril, más comunicativa y útil, interesada en el hombre y su realidad”

El amor que se describe en los antipoemas es cotidiano y real, leamos este antipoema del autor colombiano JOSÉ LUIS GARCÉS GONZÁLEZ, Poema de la ingenuidad: “Desde el silencio del hotel/ oigo a una mujer bella/ bathing in the room next door., / I hear the water sliding / by her naked body, / and I can not see. / I hear talking to a man / and calls him 'daddy'. / cayendo7 for water continues his naked body, / and I guess white / fleshy, / with three mosquito bites on the buttocks / freckles and two breasts ray. / Ask for the shampoo / and the man says from the bed. / Then there is silence / and I let my eyes paralyzed. / What will happen?, I wonder / as love fool. / then / toilet water sounds / and I remember / beautiful women / also have droppings /.

The antipoet shows situations that are inconsistent with the moral and morality. He writes about love, demystifying it and it uses humor, sarcasm to the point that the possibilities of the sublime feeling is not limited to traditional relationships. There is Raúl Gómez Jattin, reminding us that the first love of many men in the Colombian Caribbean coast is the popular "Mary casquitos" in the now famous Antipoems I love donkey: Because you do not talk / or you complain / ask or silver / or cry / and you take away a spot in the hammock or you soften / or sigh when I come / or you gathers / or hold me / I want you there alone / like me / without pretending to be me / sharing your erica / with my friends / free me be wrong with them / and asking a kiss /.

There is also the great Mexican poet Jaime Sabines, with its real hard but it reflects the fatigue Antipoems partner when the relationship has lost the charm of being in love: "There is a way ...: There is a way for me do quite happy, / dear, die.. "

antipoetry is a more human life because it found its space the beggar, the workman, the recycler and the displaced. With antipoetry can feel the identity of the man and woman described it, their miseries, their joys, their lies, their dreams, their problems and also its particular way of loving and being loved. Antipoetry is a social text that brings us to human pain:
The bug: Yesterday I saw a bug / patio at the dump / foraging for food among the debris. / When I found something / not examine or smelled: / swallow greedily. / The bug was not a dog / cat was not, / not a mouse. / The bug, my God, was a man. / ".

antipoetry therefore requires readers free of taboos, which did not blush. The satire and realism employed by the antipoet need a reader who has the desire to know who is directed criticism. A sincere reader who is willing to laugh and be convinced that humor is possible in poetry and she is not limited to romantic poems, tears, or the verses bit understandable. I share with you the following Antipoems or artifacts created by the Chilean poet Nicanor Parra:
"USA / where freedom is a / statue."
Here are bought and sold / country: Washington.

These artifacts have the critical tone of the address of the cartoon. Used, like the cartoon, a colloquial, everyday language and their weapons or resources are essential irony, sarcasm and humor. As Aleida, the irreverent and feminist establishment Vladdo Colombian cartoonist, who bitterly questioned the relationships of this century that has just begun:
Nothing heavier than a type "Light."
De boyfriends are supersonic, married are Supercines.
In the blink of an eye, the man of dreams can turn into the kind of nightmares.
Why is it that guys are so smart to get the gross?
The dog is man's best friend (obviously)


The vast version of the life that is the short poem

Now is the time of the Messenger message super shortcuts. How we love to talk, but by phone. Soon we use in extensive consultations. Today is the time: look at the title copy, cut and paste. We see without seeing. Walk full of facts, but full of emptiness. I think poetry are also briefly in droves on the Internet, can be a key to detoxify our atrophied senses. The short poem called haiku, created by the Orientals can help us see in this the poet Yossa Busson: A shower / cling to the / herbs / sparrows "or this one, also Busson: I stayed / I saw lights and snow / Row Houses / ".

These haikus or "pieces of time", contain beauty, struggle, joy and serenity. Above all serenity, that behavior that is now endangered. And with serenity and images olfactory, visual, gustatory, tactile and auditory, the Japanese have made things speak for themselves.

loneliness to name this poet Issa : My house in ruins / only for ceiling / vine. To tell the men and women fighting it from the Mexican Olga Arias: Counter target / my dreams / What bird so powerful!. To show the absence beautiful is the haiku of the Argentine poet Carlos Spinedi: The sea flooded / the hole your foot / left on the beach /. To invite us to see human suffering, but also the courage, the poet Ritsurin Issekiro: While short / I see that the tree is / serenity. Poetry

brief to laugh, especially when it comes to greguerías, which in the words of its creator, the English poet Ramón Gómez de la Serna are "something that makes us sad, big head, sorrowful or moody because He writes the author plays, throws his head high, and then picks them up. Here is a mini anthology of the maestro greguerías Gómez de la Serna:
Teachers are like cheap bubble gum: chewing difficult.
The hat is the top of the ideas.
The toad is known so ugly that only comes out at night.
prefer typewriters used because they have experience and spelling. Death is
hereditary.
offers medicine to cure a hundred years who are dying now, "


In short, poetry, short as a finding at least one deep thought, a subtle emotion expressed in a concise form, as the joke can not nor should it be explained that it loses its charm. Short poems whose auctions are unexpected and surprising as a slap:
Days like needles Juan Manuel Roca: I'm so lonely, love, that my room / only rises, rung by rung / the old staircase trachea / -
The night is not the same / since the change a star / by the light of a neon. / Since then there faces, / only masks / "Beatriz Zuluaga. Poems

whose end is a blow to the chin for a few words tell us much:

Cuban Song Oh, Joseph, and can not!
Oh, Joseph, and do not know!
Oh, Joseph, and no!
AY, Joseph as well!
Ay, Jose!
Ay! The Cuban Guillermo Cabrera Infante. Or as the epigram of the Nicaraguan poet Ernesto Cardenal: The person next to me / you, to yet / I do not see for so long / but in my dreams. Enjoy this little anthology of short poems that deal with the injustice of war and the sweet poison of love: Let's be logical

If so strongly stated that in a war
the final battle is the best, I will not explain why the hell
deleted
not others. Or there is no logic or logic.
Luis Vidales (Colombia)

Counteroffensive

If you give a shot in the dark


the only effective response is to


seer sticks. Mario Benedetti (Uruguay)

Love Poem 14: I know that love does not exist / and I know / that I love you /. Dario Jaramillo Agudelo.


The
tasty
love poetry and have come to love poetry, the most acclaimed and best known. Love, heartbreak and loneliness that go together and those who endlessly poets have written. Love, the union of two solitudes are respected, in the words of Rilke, that feeling that sets us apart from the beasts or sometimes we like them. Love causes insomnia Your name Jaime Sabines:
try to write your name in the dark.
try to write that I love you. The dark trying to say this.
not want anyone to know, that nobody would look at three o'clock
walking from one place to another in the
stay crazy, full of yourself, love. Illuminated,
blind, full of yourself, derramándote.
say your name all the silence of the night, my heart cries
gagged. I repeat your name, I repeat, what I say
tirelessly, and I'm sure will
dawn.

This is the pride of the Moluccas swallow, sometimes desperate love is also playful and daring as in the poem Nadaísta us love the Elmo Valencia: We love each

Summer is here!
Let us love!
In the winter, we have many possibilities.
The Magdalena, drag your breasts. Cauca,
my navel.
El Orinoco, tus deseos. El Amazonas, mi lengua.
Podemos amarnos frente a un espejo que el espejo no dirá
nada.
O frente a un televisor encendido con TV. Cable
y la Pantera Rosa en la Pantalla.
La Pantera tampoco dirá nada.
Si un gato nos mira, amémonos. Y si no nos mira,
qué vamos a hacer, también amémonos.
El absurdo nos da pie para que nos amemos.
Recuerda: el mundo está loco. Y si no lo está, con mayor
razón amémonos.
Amémonos al pie de un verso surrealista.
Al pie de un volcán sacando chispas.
Al pie de un ejército de pájaros.
Al pie de tus zapatos viejos.
Al pie del cañón.
At the foot of the lyrics of a song by the Beatles.
the bottom of an alarm clock because dust
love is a deep sleep. Let us love
near the airport watching planes pass

not know if you are coming or going because we

nude with burning bodies.
Finally, let us
Thursday morning because Monday is impossible.

But this love is crazy and outrageous also touched by nostalgia and distance, when sadness is committed to building his home within us because the loved one decides not to be, it then gives her beautiful poetry sad love version as a Romance city and Colombian rain Patricia Iriarte:
is now one twenty in the afternoon and rain to win,
like almost never rains in Bogotá. I would like to be with you,
here or in front of any window, watching this blind
water that slips over the city. I would look
hugging you, to ward off the nostalgia and the cold that comes
always rainy afternoons. It rains

win, and while the city was left wanting
by water, I'm dying to love you and cover you with kisses
wet. Thousands and thousands of kisses on you
falling as rain.

And love is unforgettable sung by the greatest poet of love that is Colombia that is, without doubt, Dario Jaramillo Agudelo , whose book Poems of love, wrote the following poem which accounts for the inability to forget that love that has marked our being .
Poem of Love 2
may very well delete you from my life.
not answer phone calls, do not open the door of the house,
not think you do not wish you,
not get you anywhere and not common to see you,
travel on streets where I know no raisins, remove from my memory
every moment we shared,
every memory of your memories,
forget your face until you can not recognize you
evasive answer when you ask me
and act as if you had not ever existed.
But I love you.

That's right: love it or love it. Love when you can not forget or become united, point of support, assistance, friendship, becomes a tactic and strategy :
My tactic is / look at you / learn how sos / love you as you are / my tactic is / talk and listening / build with words / an indestructible bridge / my tactic is to / stay in your memory / I do not know how or know / what pretext / but stay in you / my tactic is to / be honest / and know that you are honest / and We do not sell / drills / that between the two / no curtain / or depths / my strategy is / however / deeper and more / simple / my strategy is / that one day / I do not know how or know / what pretext / finally need me. Wait
the other or the other we need is the dream, the utopia of love. Because love is "alone, alone, alone," and who better than Jaime Sabines to tell us who the love. : Lovers: The silent love. / Love is the finest silent, / the one that trembles, the more unbearable. / The lovers are looking for / The lovers are those who leave, / the ones who change, who forget. / Her heart told they will never have to find / not find, seek /. Yes, everyone at some point in our lives we've been loving in the sense that the poet describes Sabines. Life is made up of loving beings who daily forget those whom we love, or seek or exchange it for another or one that we will love you better.


The charm of the narrative poetry

What came first the song, ie, poetry, or story, ie the narrative?. I think neither one nor the other came first, born at the time. So the song was first told. The original heroic narrative poetry were written in verse. Homer was the glories and miseries of his people Greek in the Iliad and Odyssey. Our Indians sang their way of life through poetic myth. At first there was no difference between being a poet and a philosopher. The world is told in poetry, fables, poems that told what was happening in every village, valley, stay. So the aedas and minstrels. Poetry was the chronicle of the people. The radio had a charm of good and bad news.

therefore not surprise us fables. So sometimes there is more poetry in a story in a text written in verse. So many poets, in every century of history have written lyric poems, but also heroic and narrative. Poems that chronicle or radiography of the society they lived through. Today I want to close this meeting with you, dear students, telling poems that tell stories about simple things, but thanks to the magic of the poetic word, they become universal, transcendent. I will share

for example, the narrative poem by José Manuel Arango, in which the poet lays bare the cynicism of the executioners who now have to Colombia turned into a cemetery of graves:

There are people who come stomping hard

There are people who come stomping hard

screaming and ordered that in this world feel at home

People believe everything their
that break and tear
not even acknowledge the air

And it hurts a bone
no doubt will feel no fear and even erect
with death tutean

frankly I do not know how they do not understand how


Those same people who exercise the office of the war, the company's most insipid of man through history. The executioners makers absences and pain for generations as a beautifully told Colombian poet William Ospina in the poem THE CHILDREN OF SOLDIERS

My father was a teacher. I was seven.
And one day she received, as all the letter.
had been accepted into the party
(though he never would have asked income).
They sent the shield with a swastika.
few months later marched towards Russia.
My mother was ill that winter, the three children
should do everything in casa.Y letters sometimes came from the eastern front.
War was an absence, a silence, a fear grew.
After the letters are gone, and ended the war.
And the men returned, but he was on the front.
How long was the child, how sad this Germany in memory.
The three rode together every Saturday
to expect that train.
Not to mention what we expected.
And my mother thought we were playing in the fields neighbors.
Year after year, without fail, every Saturday, without telling anyone
,
that season saw us grow silent.
When night fell, we returned. WILLIAM


OSPINA


But not only the collective and family dramas produced by war and violence are concerned about the poet. These seemingly trivial matters, those familiar pains we all go. The helplessness of watching fraternity will be surrounded by a little timely care and pain that ensues, but worth the poet's verses: Carmen Gómez-my distant cousin, died almost a / child / family farmer living near City / and Sunday my mother and I went to visit / In the belly grew a malignant tumor / that was draining his body to death / Carmen was spiritual and beautiful / and received our gifts-a bunch of grapes / blouse organdy-crying / When I met her I was sick and doctors had given up / Desperate parents went to a sorcerer, a healer, he displayed his magic / with painful and humiliating ceremonies / The witch was cure the incurable: / the whipped eucalyptus branches / her riding naked-he sat in the belly-/ Y Carmen stoically endured such abuse / hoping to save the sinking / A in April we took the cemetery to bury / and my tears were the first poured a dead / / (Raúl Gómez Jattin).

And poetry, the poem when he tells also of tenderness dresses. And he tells stories with taste so naive that occur on the first two loves of many children: soccer and the girl of dreams: Yesterday afternoon: Yesterday afternoon, / as I promised, / I played the best match football of my life. / On the first time / I made a goal after fifteen minutes. / A thirty-seven did another. / In the second half, / in the seventh minute, / José Villegas, / which he sings says / that butterflies are born in the mind, / our archer shot a pop on the left corner. / At nineteen minutes and fifteen seconds, / David, who wants to be an aviator, / tied the game / goal with a nice head. / A forty-four minutes / Castañitas style, / I made the prettiest goal of the world. / My team won by the score of two to three, / but I felt I had lost because you did not come. / I defeated the goals that your absence made me . (Jairo Aníbal Niño).

The poet and scribe, as a chronicler of life as a painter that draws the colors of human misery. The poet who narrates and describes the word as a brush, in its inability to draw, we provides narrative poems as if they were paintings that tear the soul of the reader.
the banks of the Rio Grande : I go when the sun / is still a reality absent. / Shore Road / women swept the parapets / and sharpen the language / day for slander. / Already breathe din port: / fishermen and traders / officiate jugglers / on the edge of the canoes. / smells like hot oil / and mountain pies / collapse before the urgency of hunger. / Catfish supports the cruelty of the knife / to expire so that others breathe: / life is stirred by death. / sweaty hands and bloody / merge in a swap / money, maids / and agouti-flavored burps. / A dog raises paw / and satisfied urine / on a bucket full of bocachicos: / receive as a reward / entrance with a knife in the gut. / When the sun torture / children lice / hobble back with a fish / left hand / and broken soul on the right. ( Beatriz Vanegas Athias).

Yes, in these times, the poet lives with broken soul, but that fact does not rule out the singer's life. Although talk of pain, death, and disappointed love, the poet and poetry, are evidence that humans will not become a beast. Therefore, my dear friends, poetry, irreverent, humorous bold, calm, gentle and loving, narrative, should, now more than ever to occupy a privileged place in the classroom and in the lives of all of you. Thank you very much.



Bucaramanga, August 2007, Third Congress Youth Readers and Writers Association Presentation: "Eyes that do not read correctly ... they do not understand"