Josefina Plà, naufraga aggrappata a un paesaggio

In Josefina Plá’s poetry very few verses refer to the subtropical landscape of Paraguay, where she arrived after her marriage to the Paraguayan ceramist Andrés Campos Cervera in 1927. The European rose dominates her early poems as a symbol of passion at first and then of frustrated maternity, in con...

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Main Author: Francesca Di Meglio
Format: Article
Language:English
Published: Firenze University Press 2017-12-01
Series:Lea
Subjects:
Online Access:https://oajournals.fupress.net/index.php/bsfm-lea/article/view/7767
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author Francesca Di Meglio
author_facet Francesca Di Meglio
author_sort Francesca Di Meglio
collection DOAJ
description In Josefina Plá’s poetry very few verses refer to the subtropical landscape of Paraguay, where she arrived after her marriage to the Paraguayan ceramist Andrés Campos Cervera in 1927. The European rose dominates her early poems as a symbol of passion at first and then of frustrated maternity, in contrast to the fertile and dehiscent nature of this South American country. After her husband’s untimely death, allusions to her native Canarian seascape – on which she might have modelled her impressions and perceptions – become more and more frequent, and her own anatomy is often replaced by the topography of the tiny, rocky and desert islands where she spent her childhood, absorbing from the sea not only her thirst for new horizons but also a salty, painful destiny. Landscape, considered as a fragment of nature or as a picture, becomes a metaphor of life itself, which the poetess regards as a definite, framed manifestation of absolute Time and Space.
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spelling doaj.art-11becd54aa664a83bf341ec1aab9b3ce2022-12-22T02:47:54ZengFirenze University PressLea1824-484X2017-12-01610.13128/LEA-1824-484x-2234418530Josefina Plà, naufraga aggrappata a un paesaggioFrancesca Di MeglioIn Josefina Plá’s poetry very few verses refer to the subtropical landscape of Paraguay, where she arrived after her marriage to the Paraguayan ceramist Andrés Campos Cervera in 1927. The European rose dominates her early poems as a symbol of passion at first and then of frustrated maternity, in contrast to the fertile and dehiscent nature of this South American country. After her husband’s untimely death, allusions to her native Canarian seascape – on which she might have modelled her impressions and perceptions – become more and more frequent, and her own anatomy is often replaced by the topography of the tiny, rocky and desert islands where she spent her childhood, absorbing from the sea not only her thirst for new horizons but also a salty, painful destiny. Landscape, considered as a fragment of nature or as a picture, becomes a metaphor of life itself, which the poetess regards as a definite, framed manifestation of absolute Time and Space.https://oajournals.fupress.net/index.php/bsfm-lea/article/view/7767Canarian seascapesfrustrated maternitylandscape as a metaphor of life
spellingShingle Francesca Di Meglio
Josefina Plà, naufraga aggrappata a un paesaggio
Lea
Canarian seascapes
frustrated maternity
landscape as a metaphor of life
title Josefina Plà, naufraga aggrappata a un paesaggio
title_full Josefina Plà, naufraga aggrappata a un paesaggio
title_fullStr Josefina Plà, naufraga aggrappata a un paesaggio
title_full_unstemmed Josefina Plà, naufraga aggrappata a un paesaggio
title_short Josefina Plà, naufraga aggrappata a un paesaggio
title_sort josefina pla naufraga aggrappata a un paesaggio
topic Canarian seascapes
frustrated maternity
landscape as a metaphor of life
url https://oajournals.fupress.net/index.php/bsfm-lea/article/view/7767
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