Michael Field’s "Long ago" (1889) as a paradigm of intertextual theory: from strangeness to metaxology

• Autores: Mayron Estefan Cantillo Lucuara
• Localización: Cuadernos de investigación filológica, ISSN 0211-0547, Tomo 44, 2018, págs. 185-210
• Idioma: inglés
• DOI: 10.18172/cif.3442
• Títulos paralelos:
  • "Long ago" (1889) de Michael Field como paradigma de la teoría intertextual: de la extrañeza a la metaxología
• Enlaces
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• Dialnet Métricas: 2 Citas
• Resumen
  • español

    En el presente artículo, pretendemos abordar la pregunta de cómo Katherine Bradley y Edith Cooper articulan su íntimo diálogo con la poesía de Safo en su primer poemario, Long Ago (1889), publicado bajo el pseudónimo de Michael Field. La respuesta que proponemos para este interrogante se desarrolla en una profunda reflexión que interpreta Long Ago como un texto denso y audaz donde se revisa y se reubica la ontología del arte literario en posiciones ambivalentes. La conclusión primordial a que llegamos es que el poemario en sí representa todo un paradigma de teoría intertextual aplicada que propicia encuentros complejos, inestables y fértiles ente el inglés y el griego, lo traducible y lo sublime, lo dependiente y lo emancipado, lo mimético y lo original, lo empático y lo distante, lo reparativo y lo fragmentario, lo presente y lo ausente, el ante-tipo y el tipo, lo inmanente y lo transtextual.

  • English

    In this essay, I seek to tackle the question of how Katherine Bradley and Edith Cooper articulate their intimate dialogue with Sappho’s poetry in their first volume of poetry, Long Ago (1889), published under the pseudonym of Michael Field. My response to this question translates into a thoroughgoing reflection that interprets Long Ago as a dense and audacious text in which the very ontology of art is revised and recast into ambivalent and open relations. The primary conclusion I reach is that the volume constitutes a paradigm of intertextual theory in use that opens up complex, unstable and fertile encounters between the English self and the Greek other, the translatable and the sublime, the mimetic and the original, the empathetic and the distant, the reparative and the fragmentary, the anti-type and the type, or the immanent and the transtextual.

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