September 2008

"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.

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