By J. M. Caballero Bonald
Desaprendizajes es un poemario que interroga al lector con implacable recurrencia y otorga a su autor una personalidad poética, consistente y singular, inconfundible. El acento paródico, los angeles subordinación sarcástica, l. a. crítica de los angeles cultura y de la sociedad, una ironía perceptible inclusoen l. a. sintaxis, potencian los angeles capacidad expresiva de una poesía que disecciona paisajes y figuras de los angeles actualidad civil, pretendiendo de ese modo desaprender lo consabido para interpretar los angeles realidad con un nuevo lenguaje o para corregir —como afirma el propio poeta— las erratas de la historia.
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Without it, v. 3 would also have a balanced length in both halves. 31. Michael V. Fox, Proverbs 1–9: A New Translation with Introduction and Commentary (AB 18a; New York: Doubleday, 2000) 97. Review of Recent Literature and Methodology 17 Verses 12–13 seem to be genuine exceptions to the norm. In v. 12 the second half of the line is four consonants longer than the first, and there does not seem to be any discernible reason within the verse itself for this. 13, the balance is tipped in the other direction, with the first half-line being longer than the second by five consonants.
A. Strawn, “Parallelism,” DOTWPW, 502–15. ), Sacred Conjectures, vii–viii, 1–154. A spirited defense of the value of Lowth’s contribution is Rudolf Smend’s “Der Entdecker des Parallelismus: Robert Lowth (1710–1787),” in Prophetie und Psalmen: Festschrift für Klaus Seybold zum 65. Geburtstag (ed. Beat Huwyler, Hans-Peter Mathys, and Beat Weber; AOAT 280; Münster: Ugarit-Verlag, 2001) 185–99. Roland Meynet, Rhetorical Analysis: An Introduction to Biblical Rhetoric ( JSOTSup 256; Sheffield: Sheffield Academic Press, 1998); J.
Michael V. Fox, Proverbs 1–9: A New Translation with Introduction and Commentary (AB 18a; New York: Doubleday, 2000) 97. Review of Recent Literature and Methodology 17 Verses 12–13 seem to be genuine exceptions to the norm. In v. 12 the second half of the line is four consonants longer than the first, and there does not seem to be any discernible reason within the verse itself for this. 13, the balance is tipped in the other direction, with the first half-line being longer than the second by five consonants.