Rafael Alberti's Sobre los ángeles has been read as the expression of the poet's personal and religious crisis and as a manifestation of the crisis of modernism and the social and political upheavals affecting Europe and Spain in the early decades of the twentieth century. While taking into consideration these valid approaches, this paper approaches Alberti's book by establishing an analogy with chaos theory, not simply as another discourse or vocabulary but because the properties found in the physics theory of complexity are also found in Sobre los ángeles. Like others in his generation, Alberti articulates his crisis in images from physical, material reality. Radical changes were taking place in physics, and relativity, electromagnetism and thermodynamics were being discussed widely at the time of this book's composition. Prigogine's theory of creative chaos serves as framework for Alberti and his creation out of the ashes of youthful romantic constructions.
ResumenSobre los ángeles de Rafael Alberti se ha leído como expresión de la crisis personal y religiosa del poeta, reflejo de la crisis del modernismo y de los trastornos sociopolíticos en Europa y España a comienzos del XX. Sin descartar estas lecturas, este ensayo se aproxima al libro de Alberti mediante una analogía con la teoría del caos, no como otro discurso sino porque las propiedades en dicha teoría física de la complejidad se encuentran también en Sobre los ángeles. Como otros miembros de su generación, Alberti articula su crisis mediante imágenes de la realidad física. Cambios radicales estaban teniendo lugar en la ciencia física de entonces, y la relatividad, el electromagnetismo, y la termodinámica se discutían ampliamente. Prigogine y su teoría del caos como fuente de creación sirve de marco para analizar la obra de Alberti a partir de las cenizas de sus juveniles construcciones románticas.
This essay explores the role of language in Tirso's El burlador de Sevilla as the major system of social mediation. Placing its validity on the level of the divine, the play's social order centers on the non-arbitrary value of words. Don Juan's language of direct reference to life and nature contrasts with the societal discourse of those representing officialdom, as it shows total disregard for the social agreement about the binding power of words. Both sides, however, maintain an interchange, which defines them, not as opposite poles of the life-society spectrum, but as mirror images vis-à-vis societal rules and conventions. Don Juan and his society model each other's desires and, in the process, they each exhibit the lack in their core.
This essay explores notable coincidences in Juan Larrea’s poetics with some cen-tral points in quantum physics, such as, the correlation between the search in his inner self and the investigations on the atom taking place during the first decades of the twentieth-century, between leaving aside the monolithic subjectivity in favor of a universal and collective Spirit and the «entangled» observer in the cosmic web, object of his/her obser-vation, in modern physics, and, particularly, the role of the French language in dealing with the conflict with Western dualisms and their possible resolution in Bohr’s principle of complementarity, a parallel of Basarab Nicolescu’s theory of the hidden third.
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