Abstract

This article is a revision of Teodor Llorente’s literary work in Catalan, in prose and in poetry, which turns out to be an exceptional production for his time, in accordance with his role as a leader and an ideologist of the Valencian Renaixença, and places him as the poet who contributes most, both in quantity and quality, to this literary movement. The first part of the article, focused on his lyric poetry, revises the six editions of his verses which were published between 1885 and 1983, and brings back to life ‘unknown’ poems -unpublished or dispersed- which have never been included in any edition. The second part lists and catalogues his prose writings in Catalan and dismantles the belief that he only used Catalan to write poetry.

Abstract

Abstract: This paper studies a unique and amazing work on the Valencian poetry scene of the 1970s: Carmelina Sánchez-Cutillas’s Els jeroglífics i la pedra de Rosetta (1976). This unusual example of poetic prose represents a radical change from the realism that characterized her early poems towards the most extreme and cryptic formalism, which defies the ancestral and hieroglyphic silence imposed by the hostility of the environment. In the poem, a space where the author’s own words are combined with those borrowed from other texts, Bakhtin’s dialogism, heteroglossia and polyphony, and Kristeva’s intertextuality can be found. Thus, an extraordinary background of mythological, religious, scientific and historical references, which remind us of Salvador Espriu’s influence, construct the gloomy labyrinth of the poem, an alchemy that transforms the foundations of traditional culture into an expression of rebellion, of anger that underlies the written text, as in a palimpsest.Key words: Carmelina Sánchez-Cutillas, Valencian poetry, dialogism, heteroglossia, polyphony, intertextuality.