Del Amor y la Sexualidad En Poemas Selectos De Octavio Paz

423 Pages·2017·1.81 MB·Spanish

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Doctoral Dissertations Graduate School
12-2007
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María Cristina Campos Fuentes
University of Tennessee - Knoxville
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Campos Fuentes, María Cristina, "Pasión y Deseo: Del Amor y la Sexualidad En Poemas Selectos De
Octavio Paz y Rosario Castellanos. " PhD diss., University of Tennessee, 2007.
https://trace.tennessee.edu/utk_graddiss/131
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To the Graduate Council:
I am submitting herewith a dissertation written by María Cristina Campos Fuentes entitled
"Pasión y Deseo: Del Amor y la Sexualidad En Poemas Selectos De Octavio Paz y Rosario
Castellanos." I have examined the final electronic copy of this dissertation for form and content
and recommend that it be accepted in partial fulfillment of the requirements for the degree of
Doctor of Philosophy, with a major in Modern Foreign Languages.
Óscar Rivera-Rodas, Major Professor
We have read this dissertation and recommend its acceptance:
Nuria Cruz-Cámara, Euridice Silva-Filho, Jon Shefner
Accepted for the Council:
Carolyn R. Hodges
Vice Provost and Dean of the Graduate School
(Original signatures are on file with official student records.)
To the Graduate Council:

I am submitting herewith a dissertation written by María Cristina Campos Fuentes
entitled “Pasión y deseo: del amor y la sexualidad en poemas selectos de Octavio Paz y
Rosario Castellanos.” I have examined the final electronic copy of this dissertation for
form and content and recommend that it be accepted in partial fulfillment of the
requirements for the degree of Doctor of Philosophy, with a major in Modern Foreign
Languages.

Óscar Rivera-Rodas, Major Professor

We have read this dissertation
and recommend its acceptance:

Nuria Cruz-Cámara

Euridice Silva-Filho

Jon Shefner

Acceptance for the Council:

Carolyn R. Hodges
Vice Provost and Dean of
Graduate School

(Original signatures are on file with official student records.)
Pasión y deseo: del amor y la sexualidad
en poemas selectos de
Octavio Paz y Rosario Castellanos

A Dissertation
Presented for the
Doctor of Philosophy
Degree
The University of Tennessee, Knoxville

María Cristina Campos Fuentes
December 2007
Copyright © 2007 by María Cristina Campos Fuentes
All rights reserved.

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A mi amado esposo,
Stéphane

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Agradecimientos

Agradezco a mi director de tesis, Dr. Óscar Rivera-Rodas, por su apoyo, sus
comentarios y sugerencias para la realización de esta tesis.

Agradezco también a los miembros de mi comité, los profesores Nuria Cruz-
Cámara, Euridice Silva-Filhio y Jon Shefner por su interés y tiempo.

Merece una mención especial mi madre, María de la Luz, por su invaluable sostén
moral en todas mis experiencias académicas y, sobre todo, por su gran amor que es
totalmente correspondido.

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Abstract

This dissertation studies selected poems written between 1950 and 1975 by
Octavio Paz and Rosario Castellanos, two major Mexican writers of the twentieth
century. Paz is considered one of the leading figures of Mexican literature, while
Castellanos gained prominence in her homeland as a feminist figure. Using close reading
as the predominant approach, this study investigates the complex issues of love and
sexuality from the perspective of the poetical voice. It also emphasizes the manner in
which the boundaries produced by love and sexuality underscore certain ambiguities.
Indeed, these two poets search for identity and happiness in various ways, while
questioning sincerity and investigating true love, a love concerned with heart and parity.
In a very personal way, both authors use recurrent metaphors and comparisons about love
and sexuality that combine traditional images of the Occident with images from Mexico.
In their attempts to offer definitions of love and sexuality, Paz and Castellanos inevitably
incorporate diverse influences into traditional stereotypes, and in doing so, place Mexican
poetry within a broader context.
At the same time, this dissertation addresses the differences between these two
poets. On the one hand, Paz exalts love and sexuality as a constructive characteristic of
the human being in an almost sacred quest, thereby demonstrating his awareness of
literary tradition and humanistic belief in poetry. Concurrently, on the other hand,
Castellanos is relentless in her search for love and acceptance by men, thus subjecting
herself to the manipulation of a patriarchal society, which sought to reaffirm the
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immobility of the woman by demanding that she conforms to a male-dominated literary
canon. Castellanos’s voice is that of a proud yet pleading, lamenting, rejected lover,
although the register of her poetic voice transcends gender barriers, incorporates the
canon, and speaks as a fully self-validating subject. Paz sees the pleasures in, while
Castellanos measures the risks and dangers at stake with the encounter of the other.

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Índice

Índice................................................................................................................................vii

Lista de tablas....................................................................................................................x

Abreviaturas.....................................................................................................................xi

Capítulo I. Introducción...................................................................................................1
1. Selección del corpus...................................................................................................2
A. Poemas de Octavio Paz..........................................................................................3
B. Poemas de Rosario Castellanos..............................................................................5
2. El tema erótico-amoroso.............................................................................................6
3. Amor en Occidente.....................................................................................................7
A. La Antigüedad: entre idealismo y religión...........................................................10
B. La Edad Media y su “amor cortés”......................................................................16
C. El Renacimiento y su fuego pasional...................................................................19
D. La modernidad: de la libertad espiritual a la libertad corporal............................23
a. El cuerpo y el alma............................................................................................25
b. ¿La liberación sexual?.......................................................................................33

Capítulo II. Agua y fuego: dos poetas mexicanos........................................................41
1. Una frontera difícil: las generaciones literarias........................................................41
2. El género hace al monje............................................................................................56
3. Entre conservadurismo y feminismo........................................................................57
A. Octavio Paz, un conservadurismo velado............................................................58
B. Rosario Castellanos, un feminismo polémico......................................................64
4. Vidas paralelas..........................................................................................................67

Capítulo III. Octavio Paz y la sexualidad omnipresente...........................................110
1. La sexualidad omnipresente....................................................................................111
2. Las etapas poéticas..................................................................................................120
3. Voz poética y sexualidad........................................................................................121
4. El “yo” explícitamente masculino..........................................................................124
A. La mujer idealizada: “Una mujer de movimientos de río”.................................124
B. La iniciación sexual: “Ida y vuelta”...................................................................130
5. El “yo” indefinido...................................................................................................137
A. El “yo” que se reconoce masculino....................................................................137
a. Sexualidad explícita: “Agua y viento”............................................................138
b. Sexualidad sugerida y “yo” masculino...........................................................143
i. “Garabato”.................................................................................................143
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