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Altazor o el viaje en paracaídas, or simply Altazor, is the magnum opus of Chilean poet Vicente Huidobro, published in Madrid in 1931. This poem in the shape of a book can be classified as an example of the Avant-garde literature movement developed during the first half of the twentieth century. It can also be thought of as part of the Creacionismo (Creationism literary movement) along with Pablo Neruda's "Residencia en la Tierra", César Vallejo's "Trilce", and Pablo de Rokha's "Los gemidos". A fragment of Altazor

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  • Altazor (en)
  • Altazor (es)
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  • Altazor o el viaje en paracaídas, or simply Altazor, is the magnum opus of Chilean poet Vicente Huidobro, published in Madrid in 1931. This poem in the shape of a book can be classified as an example of the Avant-garde literature movement developed during the first half of the twentieth century. It can also be thought of as part of the Creacionismo (Creationism literary movement) along with Pablo Neruda's "Residencia en la Tierra", César Vallejo's "Trilce", and Pablo de Rokha's "Los gemidos". A fragment of Altazor (en)
  • Altazor o el viaje en paracaídas, o simplemente Altazor, es la obra cumbre del poeta chileno Vicente Huidobro, publicada en Madrid en 1931. En esta obra Huidobro expone un lenguaje que rompe los esquemas clásicos, lo que se inserta dentro del movimiento vanguardista llamado creacionismo, que se desarrolló en el primer tercio del siglo XX,​ el cual fue iniciado por el mismo Huidobro. (es)
foaf:name
  • Altazor (en)
  • Altazor o el viaje en paracaídas (en)
name
  • Altazor (en)
foaf:depiction
  • http://commons.wikimedia.org/wiki/Special:FilePath/Altazor_-_Poema.jpg
  • http://commons.wikimedia.org/wiki/Special:FilePath/Huidobro,_Vicente_indicacion_camino.jpg
dc:publisher
  • Compañía Iberoamericana de Publicaciones
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  • Altazor or the parachute trip (en)
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  • #EFEFEF (en)
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  • Altazor or the parachute trip (en)
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  • toc (en)
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  • Chile (en)
genre
  • Poetry (en)
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  • Altazor (en)
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  • Spanish (en)
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  • Print (en)
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  • es (en)
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  • Madrid (en)
publisher
  • Compañía Iberoamericana de Publicaciones (en)
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  • Altazor o el viaje en paracaídas (en)
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  • Altazor o el viaje en paracaídas, or simply Altazor, is the magnum opus of Chilean poet Vicente Huidobro, published in Madrid in 1931. This poem in the shape of a book can be classified as an example of the Avant-garde literature movement developed during the first half of the twentieth century. It can also be thought of as part of the Creacionismo (Creationism literary movement) along with Pablo Neruda's "Residencia en la Tierra", César Vallejo's "Trilce", and Pablo de Rokha's "Los gemidos". The name "altazor" is a combination of the noun "altura" ("altitude") and the adjective "azorado" ("bewildered" or "taken aback"). "Azorado" has more than one meaning in Spanish and can be interpreted in different ways. The poem is divided in seven "cantos", ("songs"), preceded by a preface. These cantos were written over an extensive period of time, from 1919 to 1931, and for that reason the topics seem unrelated. The first canto is the longest with almost seven hundred verses, and its content feels metaphysical. In this first canto, the poet introduces himself as "Altazor". The second canto, by contrast, is an ode to women, while in cantos III to VII the author plays with and dismantles the language and its expressive limits. A fragment of Altazor (en)
  • Altazor o el viaje en paracaídas, o simplemente Altazor, es la obra cumbre del poeta chileno Vicente Huidobro, publicada en Madrid en 1931. En esta obra Huidobro expone un lenguaje que rompe los esquemas clásicos, lo que se inserta dentro del movimiento vanguardista llamado creacionismo, que se desarrolló en el primer tercio del siglo XX,​ el cual fue iniciado por el mismo Huidobro. El poema está dividido en siete "Cantos" antecedidos por un prefacio, que fueron reescritos en numerosas ocasiones durante años. El Canto I es el más largo, con casi setecientos versos, y también el más estructurado. Su contenido es de corte metafísico, y en él el poeta se representa como «Altazor». El Canto II, en cambio, es una oda a la mujer. Los Cantos III al VII, finalmente, buscan jugar con la progresiva desarticulación del lenguaje y sus límites expresivos.​ (es)
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