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Con este estudio, tenemos la intención de ofrecer un inventario de todas las colaboraciones de poetas españoles e hispanoamericanos que publicaron en la revista Quaderns de poesia, a la vez que se analiza la historia interna de dicha publicación y los vínculos de sus redactores con los poetas que aparecen en sus páginas. A través de un cotejo minucioso, trataremos de demostrar que los textos poéticos de Salinas, García Lorca, Juan Ramón, Gabriela Mistral, Altolaguirre y Moreno Villa aparecieron como originales y publicados por primera vez en la revista barcelonesa.

Spires discusses Gomez de la Serna's \"El novelista\" and Pedro Salinas's \"Vispera del gozo.\" Rather than failed novelistic and social projects, Serna's and Salinas's texts serve as testament to the power of discourse, and to the long and painful process required to change it.

This article contrasts the writings of some of the most representative poets of 'La Generación del 27' in order to show their work as critics of contemporary Spanish poetry and to emphasize the relevance in their works of the model advocated by T. S. Eliot. Pedro Salina's, Max Aub's and Luis Cernuda's literary essays are regarded as parts of a process of construction, from the exile, of a history of modern lyrics. In this process, these authors showed their coincident and divergent views on aspects such as tradition, canon, Literary Criticism's mission, and fundamentally the suitability of their models for literary analysis. The particular way in which the three authors used these concepts in such significant essays requires a specific approach. This article aims also to attract attention in the development of a sort of 'collective poetry manual' that took place long after the cultural effervescence in which these authors gathered as a group.

Este artículo pretende mostrar una serie de temas presentes en la trilogía central de Pedro Salinas (1891-1951), mayormente en La voz a ti debida (1933), de arraigo en la tradición clásica castellana (medieval y renacentista), pero también en sus Cartas a Katherine Whitmore (1932-1947). Se incide en la importancia de la tradición literaria española para Salinas y su resonancia en la moralidad universal, de acuerdo con Juan Marichal en su ensayo ?Pedro Salinas y los valores humanos de la literatura hispánica?.

One of the most important and recurrent concepts in the poetry of Pedro Salinas is summarized in the following lines from La voz a ti debida: Fatalmente, te mudas sin dejar de ser tú, en tu propia mudanza, con la fidelidad constante del cambiar. (125) This old Petrarchan conceit about perpetual change, in addition to being a key thematic comment on the nature of the amada, can well be taken as an adroit piece of self-criticism by Pedro Salinas with respect to his poetic concepts and practices. The conceit, which prizes the elusive changeability of the amada, was as useful and pertinent for Salinas as it had been for Garcilaso, who gave it similar succinct expression, and Bécquer, who let it echo more indefinitely through his Rimas. But the point of changeability is not restricted solely to the amada. In all three poets, and never more so than in Salinas' La voz a ti debida, the amada appears as an enlarged reality; ubiquitous, multiple, physical and metaphysical, she is both the sum of exterior reality and the embodiment of the poet's sensitivity: everything: 'abolición/ triunfal, total, de todo/ lo que no es ella' (136). She incorporates even his poetry: as Bécquer's 'Poesía ... eres tú' is already implied in the title of Salinas' major volume. Fundamentally, her prime function is to help conceptualize the poet's thought, and thus her changeability, as many other of her features, reflects a value in the poet: Salinas, as I will attempt to show, is nothing if not changeable, even inconsistent, in his attitude towards both exterior reality and, more significantly, towards words. To some large extent, his poetics, as such, may be said to focus upon this question. The present paper considers changeability in two ways: firstly, in the exterior sense of Salinas' attitudes through the years, and secondly, in more detail, as a dynamic concept determining both theme and the expression of theme in words.

Crispin reviews \"Woman and the Infinite. Epiphanic Moments in Pedra Salinas's Art\" by Vialla Hartfield-Mendez.

The correspondence that Pedro Salinas maintained for 29 years with his friend Jorge Guillen is discussed. Friendship and absence are two conditions that have been associated with epistolary communication through the centuries.