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artículo
César Moro es un caso único en el campo de las letras y del arte del siglo XX por su trayectoria de vida. Primero por la manera de transformarse en una nueva persona por medio de una serie de renuncias conscientes y voluntarias a las características que determinan la condición habitual del ser humano: su nombre, su lugar de nacimiento, su lengua materna. Así, fueron el resultado de una elección propia la adopción de un nuevo nombre, su partida a Europa, su expresión poética en francés. A eso se sumó el descubrimiento del arte y de su homosexualidad para darle un perfil totalmente fuera de lo común. Pero estos rasgos se convirtieron en elementos de construcción de su nuevo ser cuando se encontró en París con el grupo surrealista y conoció los ideales del comunismo. Surrealismo y comunismo le dieron los conceptos que esperaba, el primero sobre la liberación de la persona a...
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artículo
Publicado 2017
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While outlining some of the personality of the poet profiles, an approach to the most important milestones of this poetry from the first moments until the final texts is suggested. In the midst of all this, the role played by different translators who undertake the work of Cesar Moro is crucial. The characteristics of the two major aditions of his complete poetry made one by Unesco and the other by the Academia Peruana de la Lengua (Peruvian Academy of the language- as reference in English) is also discussed.
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artículo
Publicado 2017
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Euphony, that pleasing sonority that results from the correct combination of the acoustic elements of the words, is a decisive component of Moro's poetry and key in the choice of French as his language of writing. Thus, the paper will address three aspects of the problem of the use of language in César Moro's work. First, his definition as a bilingual writer of French-expression; Secondly, its adoption of French as part of a surrealist transnationalism; And, last, the characteristics of his Francophone intercultural hybridism that led him to build his own poetic and cultural diglossia.
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He studies a cartography of three themes that underlie César Moro’s poetry, specifically the Equestrian Turtle (1957) and Letters to Antonio (1938-1939). In the first, the “metaphor of Love” is analyzed in which the gestation of love is established, and the loving lyrical speech of a loved one, Erómenos, towards a lover, erastés. In the second, the concept of the “Discourse of the Master”, which shows a hierarchy and subordination of power between the actuators, the master and the Slave, which generates various implications inserted as a axis of poetic functioning; From this, it is mentioned the idea of a great literary letter that wanted to make the author of Amour à mort, as can be collected and inferred in texts written during the Mexican period (1938-1948). Finally, it analyzes the Letters to Antonio, on topics such as the camouflage with the reality, the mythical thoug...
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What is love for Moro? What is desire? What causes them? What effects do they have in subjectivity? I intend to study the dynamics of love and desire in the poetry of Cesar Moro using three types of images: as events leading to a process of truth, as forces suspending traditional moral and as signs of something that goes beyond to the subjectivity and depart from any rational logic.
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artículo
Publicado 2021
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This essay explores how the poetry book The Equestrian Turtle by César Moro, written between 1938 and 1939, and the short film An Andalusian Dog by Luis Buñuel, released in 1929, two emblematic works of the surrealist avant-garde, addressed the iconic representation of the body. On the one had, this phenomenonis analyzedfrom the perspective of the chiasm found in the work of the philosopher Maurice Merleau-Ponty; on the other, from generative (Algirdas Julien Greimas and Joseph Courtés) and tensive (Jacques Fontanille and Claude Zilberberg) semiotics. The conclusion reached is that these works confirm that the surrealist discourse in poetry and cinema takes an awareness of chiasm through iconicity, by focusing the body and the world as a single entity, in an integral and unitary way.
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artículo
Publicado 2021
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This essay explores how the poetry book The Equestrian Turtle by César Moro, written between 1938 and 1939, and the short film An Andalusian Dog by Luis Buñuel, released in 1929, two emblematic works of the surrealist avant-garde, addressed the iconic representation of the body. On the one had, this phenomenonis analyzedfrom the perspective of the chiasm found in the work of the philosopher Maurice Merleau-Ponty; on the other, from generative (Algirdas Julien Greimas and Joseph Courtés) and tensive (Jacques Fontanille and Claude Zilberberg) semiotics. The conclusion reached is that these works confirm that the surrealist discourse in poetry and cinema takes an awareness of chiasm through iconicity, by focusing the body and the world as a single entity, in an integral and unitary way.
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artículo
Publicado 2017
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This paper aims to study the artistic references of Cesar Moro and the importance of his work in the development of Peruvian art. We know that Moro met the Symbolism proposal bequeathed by Jose Maria Eguren, in addition to be familiarized with the psychoanalysis in Lima before his trip to Paris, where he would meet the surrealist group. It would be in the twenties when he displayed a proposal linked to the abstraction and Cubist geometry. Another important point of this article is to explore the identity of Moro through his art and his own representation: portraits and photographs. In both, there is a connection of how he assumes to be represented as in how he performed his works. He was born with the name of Alfredo Quispez Asin and he changed to Cesar Moro. The adoption of a new name implies the option to recognize himself as an artist forging a new identity whose creative vision is mu...
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artículo
Publicado 2015
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César Moro’s work represents the main achievement of surrealism in Latin American Literature. His poetic strategy is best defined in La tortuga ecuestre, where he reaches the maximum width of his artistic attainment. His style is characterized by a variant of automatism, which is supported by plenty of nominal phrases, repetitions, anaphors, etc., from where the poem’s rhythm is derived. Moro’s surrealist discourse proposes the destruction of previous orders of perception and experience. The lover’s discourse is established through the tension between the persistence of desire, and the presence and absence of the beloved. It is constantly broken down, thus recreating the world, its Nature and its sense.
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artículo
Publicado 2015
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La obra de César Moro representa la mejor práctica del surrealismo dentro de la literatura hispanoamericana. En La tortuga ecuestre se define su estrategia poética en plena madurez expresiva. En su estilo domina el manejo del automatismo, que, a su vez, se apoya en la profusión de frases nominales, repeticiones, anáfora, etc., de donde se deriva el ritmo del poema. El discurso surrealista de Moro plantea la destrucción de los órdenes previos de percepción y experiencia. Con tensión entre la constancia del deseo y la presencia y la ausencia del amado, se establece un discurso amoroso que se desglosa interminablemente, recreando el mundo, su naturaleza y su sentido.
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artículo
Publicado 2015
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César Moro’s work represents the main achievement of surrealism in Latin American Literature. His poetic strategy is best defined in La tortuga ecuestre, where he reaches the maximum width of his artistic attainment. His style is characterized by a variant of automatism, which is supported by plenty of nominal phrases, repetitions, anaphors, etc., from where the poem’s rhythm is derived. Moro’s surrealist discourse proposes the destruction of previous orders of perception and experience. The lover’s discourse is established through the tension between the persistence of desire, and the presence and absence of the beloved. It is constantly broken down, thus recreating the world, its Nature and its sense.
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artículo
Publicado 2017
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This article aims to connect Moro to the Mexican cultural sphere, placing special emphasis on his link with different aesthetic and political groups during his so-called "Mexican period" (1938-1948). It mainly covers his connection with the exiles in Mexico, before and after the breakdown with the surrealist movement. At the same time, it presents a poem analysis which receives little attention, "Sueño de un dependiente de barbería a las tres de la tarde". ('Dream of a barber shop’s dependent at three in the afternoon'). This poem is considered to belong to this period, and not to the previous years before Mexico. This paper also analyses the meaning of the Toltec culture in cultural terms of the epoch, i.e., for the Mexican intelligentsia of the 1940s. It proposes the importance of reading Moro under these perspective.
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No description
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artículo
Toda elección de una lengua (sea esta aborigen o europea) implica una decisión ideológica y la incorporación de ciertos códigos culturales y formas de percibir el mundo. Las lenguas condicionan nuestra visión del mundo, nos hacen partícipes de un colectivo sociocultural e insertan, a sus usuarios, en una determinada tradición. Escribir poesía en francés significa insertarse en la tradición de la lengua de Baudelaire y Rimbaud. En esta época donde se habla de la globalización, del multiculturalismo y de la interculturalidad como fenómenos de carácter internacional, conviene preguntarse por qué algunos escritores vanguardistas hispanoamericanos eligieron el francés como lengua internacional en la segunda y tercera décadas del siglo XX.
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artículo
Publicado 2017
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There is no cultural identity, there are always cultural identities that belonged to decentered subjects talking from different discursive positions. The space in-between is a category supported by Silviano Santiago to consider that a subject does not speak from a specific locus, but from different places. Cesar Moro Hispanized French as to Jose Maria Arguedas Quechuasized Spanish. However, both are a critique of the Spanish invasion, questioning what is happening from different perspectives. In order to do this, "Biografía peruana (muralla de seda)" ("Peruvian biography - the wall of silk") by Moro and some passages of "Los ríos profundos" ('Deep rivers') by Arguedas will be analyzed in order to consider the role assumed by the Latin American writer in a postcolonial society such as she Peruvian.
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artículo
Publicado 2025
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The article rescues the aesthetic appreciations and preferences of the poet César Moro on various monuments in Lima and Mexico, based on the buried debate between him and the architect Paul Linder in Las Moradas, in the answers to two questionnaires, in Los anteojos de azufre (1957) and in his correspondence. From this comparison, the reasons for his rejection of modern architecture, his condemnation of crimes against culture, arboricides and noise are exposed. With these premises, his faith in the evocation of the forms of the past in the face of the new and the consideration of the architecture of Mexico (Puebla) as an example of the present time that the “traditional pre-Hispanic and colonial forces” have, in addition to their belief in political integrity within a community
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artículo
Publicado 2006
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El surrealismo ha ejercido una gran influencia en la literatura peruana de vanguardia. Hay algunas manifestaciones de la recepción del surrealismo en el Perú. Xavier Abril, José Carlos Mariátegui y César Vallejo han sometido a crítica los principios fundamentales del movimiento surrealista. Además, César Moro, en "Lettre d'amour", revela la poética de los cuatro elementos, la vigilia como fenómeno de interferencia y la simbología crómatica para llegar al nombre sagrado que produce un sentimiento de profunda religiosidad en el yo poético.
