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string(2570) "Expresar emociones por medio de palabras: he ahí el imperativo del arte literario. Se trata de cavar túneles comunicantes entre los hechos, las cosas y la manera de nombrarlos; formas que provocan en el alma humana desasosiego, turbulencia, pero también confianza y ventura. La literatura establece una relación entre el núcleo de la voz del escritor y el sistema nervioso del lector gracias a la capacidad sonora del lenguaje: el ritmo, su potencia vital.
La primera relación que tenemos con el lenguaje es inconsciente. Al inicio de la vida nos deleita la música verbal, el germen lingüístico que después se desarrollará en significados. El lenguaje entonces constituye un hecho sensorial que se recibe con el oído. Los sonidos abren la puerta al lenguaje, pues somos poseedores de una gran inteligencia verbal, una capacidad sonora que permite a la literatura producir sonidos seductores vueltos sensaciones, para luego conquistar el sentido. Dámaso Alonso hablaba de la magia de la imagen fonética.
Toda la música, afirma Adorno, consiste en meros sonidos. En el proceso que nos lleva a comprender las palabras se produce una sucesión de actividades cerebrales relacionadas primordialmente con su música. Los sonidos protagonizan la carga emocional de cada vocablo y lo moldean hacia lo que sugieren. El sonido envuelve las palabras, matiza y condiciona los significados, influyendo así en el concepto de fondo.
En este número, Luvina ofrece a los lectores poesía, narrativa y ensayo que acercan el acto de la lectura a la textura verbal, en la médula de los objetos literarios. Mundos que, gracias a estratagemas formales, logran salirse de sus límites para adentrarse en lo inarticulado: tejiendo las palabras al silencio, vuelven palpable lo que era intuido o evocado. La técnica que permite construir un puente que va de la emoción de los sonidos y la experiencia personal del escritor a la obra de arte.
Técnica, mas no artificio, pues cuando el artificio se desapega de la matriz preverbal que lo hizo nacer, cuando se vuelve pura forma sin el latir vital deja de ser literatura para convertirse en ruido. No hay voz, hay impostura.
Por otra parte, Luvina 90 contiene un dossier de textos acerca del séptimo arte, sobre el cine catalán (país invitado del FICG) y dos guiones cinematográficos, los cuales ponen en evidencia que detrás de la belleza de una obra fílmica están las sutilezas de los sonidos y el poder intransferible de las palabras.
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string(1162) "La música de Adhisthana *
Salvo una pequeña diferencia
Notas inauditas
El trino de los muertos
Cinco tempos más allá de la muerte [fragmento]
El fin del ruido
Maria Grazia Calandrone
El acorde secreto
La música, la desaparición, el fondo
Ruidohead
La lengua de los pájaros: sonido y formación del sujeto en la poética de Marosa di Giorgio
Falsa memoria
El silencio en la Luna
A la sombra de la catedral
Mix: la radio, Kid Koala y yo
y me y te (una cuestión metapoética, de amor y demás)
Sounds of Silence
Diario de Liverpool
2 VII Concurso Literario Luvina Joven / Lullaby
La máquina del mundo*
Poemas / Ana Blandiana
La vida no vale nada
Otra vez el Canto v de la Comedia
Estuario
Adrián Curiel Rivera
Just as Every Cop is a Criminal and All the Sinners Saints, as Heads is Tails, Just Call Me… The R
Súplica
Mal partido
La oración más amarga
Caballos desbocados
Gabriela d’Arbel
Páramo
Cine
Arte
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Salvo una pequeña diferencia
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Cinco tempos más allá de la muerte [fragmento]
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