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The History from the Poetic Image

 

Author: Rina Desireé Colina Matos

Universidad Nacional Experimental “Rafael María Baralt”, UNERMB

desicolina1203@gmail.com

Trujillo, Venezuela

 

Abstract

This essay seeks to explore the links between Literature and History discourse; whithin this context, it seeks to raise from the poetic image reflected in the texts: General Song from Pablo Neruda (1950) and Santiago de León de Caracas from Ramón Palomares (1967), a multi-vision reading that turns out to be an option to get closer to history in a different way than the presented in educational programs. Starting from the idea that Literature is a revealing of senses, it discovers the presence of the Other. In synthesis, it raises the analysis of the texts previously proposed with the object of demonstrating the alternative speech of History presented by these poets, where a dialogical relationship between Literature and History is established. Finally, it is intented that these reflections may be a contribution to the training process of the students of the Venezuelan School.

 

Keywords: literature; history; poetry; speeches.

 

 

 

La Historia desde la Imagen Poética

 

Resumen

El presente ensayo procura explorar los vínculos existentes entre el discurso de la Literatura y el de la Historia; dentro de este contexto, se busca plantear a partir de la imagen poética reflejada en los textos: Canto General de Pablo Neruda (1950) y Santiago de León de Caracas de Ramón Palomares (1967), una lectura plurivisionaria que resulta ser una opción para acercarnos a la historia de una forma distinta a la presentada en los programas educativos. Partiendo de la idea que la Literatura es reveladora de sentidos, descubre la presencia del Otro. En síntesis, se plantea el análisis de los textos propuestos anteriormente con el objeto de demostrar el discurso alternativo de la Historia que presentan estos poetas, donde se establece una relación dialógica entre la Literatura y la Historia. Finalmente, se pretende que estas reflexiones puedan ser un aporte para el proceso de formación de los estudiantes de la Escuela Venezolana.

 

Palabras clave: literatura; historia; poesía; discurso.

 

 

 

1.    Introduction

Always the exploits of man, in his long or short journey through life, are objects of interest for many minds; specialists devote their work to the rigorous study of these facts. In this process of reconstruction of relevant events or not of the human being, are involved a number of aspects that mixed and worked from memory pour a great responsibility on the history that is taught in educational institutions: this reason that directly influences the cultural education of the student. The letters, the words and the speeches acquire great importance and protection when enjoying the credibility offered by the elites that agree to it.

 

Literature as a concept that designates a peculiar act of human communication and could be defined as the art of writing, writing, alphabet, grammar, set of literary works, which are artistic creations expressed in words, even if they have not been written, spread mouth to mouth; allows to express or orally transmit and express the living and autochthonous culture, aspects that are also studied and made known by History in general and that lie forged and inert in Univocal History, generally programmed in the study plans that teachers have insisted in teaching or teaching. These facts of man's past are sometimes interpreted by teachers considering that the information they have is complete, totally correct; without evidencing that these can be retained or be erroneous, fragmentary or practically unintelligible after a great time interval that has caused great cultural or linguistic changes. Therefore, the teacher must critically judge the testimonies he or she handles and therefore require careful treatment.

 

As a cultural being, each individual has a great need to evoke and scrutinize his past, and to know in a broader sense his History, as that totality of human events that occurred in a specific temporal geographical space; These can be known through whatever documentary sources the historian certainly uses, thereby putting History and Literature in contact, which is why they intersect in order to give an anecdotal and symbolic picture of the individual and the collective. it operates in a time, in a time that passes and manages to immortalize itself by its convincing and revealing character.

 

In the education of the individual, both sides of the coin can be seen: the raw or strong reality and the historical ornamented school disguised as truths, far removed from the realistic context of the events. The interpreter of each one of these visions is responsible for what from a moment in the future will be brought to the public light and will complement the life of individuals who fight for a dignified and reliable education; in other words, it is the teacher who has in his hands the propagation of the epidemic or the delivery of an antidote for the poison of falsification, which has been spreading over the years, a situation that has been shared and protected by the Venezuelan school.

 

In this sense, the reflections that are carried out are intended to propose an alternative reading of history, which overcomes the centralized univocity of the facts that are currently shown as a paradigm in the Venezuelan School. For this reason, the fundamental purpose of this essay is born from the partial disconnection, initially proposed between the proposed concepts. In this case, poetry is presented as an area that encourages the production of other discourses.

 

The aim is to analyze both manifestations of language in order to establish the connection between them and take them as a strategy for the cognitive and experiential foundation of the student as an individual. This analysis includes two texts by two Latin American writers. The first is a Chilean writer, Pablo Neruda with his book Canto General (1950a) and the second Venezuelan, Ramón Palomares with his book Santiago de León de Caracas (1967), who make reference to History through their revealing poetics.

 

2.    Language, Reading and Writing

All experience enables access to knowledge; for this reason in the formation of an individual, a series of aspects or foundations, notable for their human and cognitive development, participate; These are broad factors that are directly involved in the evolutionary process of man as a transcendent being. In general, man's experiences record his memory from language, reading and writing; aspects that help in their intellectual and therefore cultural development. Motives that awaken our concern, encouraging us to study these aspects, asking ourselves if they truly elevate the consciousness of our students, constituting their essence as a human being, especially targeting those involved in our school.

 

Valverde (2014a), considers regarding reading and writing:

… One can not lose sight of the fact that, through the fascinating world of reading, one can know worlds, unimagined, perhaps unreal, little existent, notwithstanding the representation of them in writing, their tearing, that bloodshed of feelings, thoughts those vigils that release the fatigue, the disgust, the unsettling that flow from within lead to reflect thinking and interpreting the world. Hence, reading becomes the written elaboration of different texts, framed in infinite contexts as a point of departure and arrival at the same time. Unquestionably the world around us needs to be read, to be reconstructed from the writing (p.73).

 

    Reading plays a very important role in the evolutionary process of man because it allows him to "see beyond" what is within his sight, forming it at a cognitive level, elevating his spirit, humanizing his senses. As a continuous act in the process of formation, reading leads man to encounter multiple realities, bringing him closer to enjoyment, touching his senses to expand them in any situation. The act of reading implies a determining experience within the learning process, it allows the individual to interact with their language, making man a being that plays, creates or destroys with his imagination, having contact with texts; significant physical contact that brings him closer to the world, considering the text as a reading of it or simply separating it from his reality to take it to other dimensions.

 

In this sense, Valverde (2014b) considers that:

… reading becomes a range of alienations, as an echo of concerns, sensations endless intimacies that in one way or another lead to the difficult task of writing, like a dropper that little by little finally ends up being structured in material for be read and consumed by society (pp. 73-74).

     

          Word and silence constitute reading as a sublime act that elevates the sense of those who vivify it, accepting the voices of those who have real opportunities, that is, those who are liberated from the sense of the imagination. Opening up to the diversity of cultures that border the center of our attraction, facilitating the displacement through them, everything will depend on our interpretation. Reading is knowing the world, and the world is that great book that opens before our eyes to be shown as a man or woman, as a subject or object, as north or as south; everything is a possibility that opens or closes, according to its interpreter. Thus, "reading is a way back and forth; from the text to reality and from this to the text". Valverde (2014c, p.75). Through reading, man acquires awareness of himself, of his human development, of the context that surrounds him and of the components that sustain that context; In this process of formation, man establishes a contact with language, with words that create speeches, discourses that touch his sensitivity, reflecting them sublime according to his intrinsic state.

 

      The language also registers the memory of each person, is an aspect that contributes to their intellectual and cultural development as stated in previous lines, language is "a social need for communication between individuals" Valverde (2014d, p.75). Then, poetry records the memories of each individual, is a form of language that allows man to travel and move to look at his own essence either to complement or to question it, that is, an approach to himself and the world in general It also implies a special way of discovering the enigma of things and enjoying the magic and power of words; it is revealing of reason, subversive in the hope of the sensible, Paz (1956a, p.13), "Poetry is knowledge, salvation, power, abandonment. Operation capable of changing the world, poetic activity is revolutionary by nature; spiritual exercise, it is a method of inner liberation; poetry reveals this world, creates another".

 

      Poetry admits establishing a revolt of senses, in which the person manifests his essence, revealing himself against reason, declaring his true identity, transferring his thought to deep dimensions, thought that threatens the canons of society: breaking the laws or norms established by the same, stimulating the changes and the creativity of the individual, which most of the times has been restricted, especially in the school where the child wishes to express his inner world, but this has been limited by the pedagogy and curricular programs educational.

 

3.    History and Poetry, a long and complex relationship.

          The history that is taught in schools (also Literature), is governed by rules that tend to make the teaching of this one limiting for the education of the student, as Acevedo, Arista, Carretero, Lima, Miralles, Prats and Santacana (2011: 18), "history as a school subject, should not be conceived as a body of finished knowledge, but as an approach to knowledge in construction". The school history only reveals to the student a part of the events that occurred in the past, while poetry, given the nature of its discourse, can access the past in a freer way, an issue that allows us to think that its relationship with the The past can be a much more attractive and aesthetically significant experience in the school context.

 

          History, as a scientific discipline, seeks to control the subjective conditions of the writer; While Literature betrays the intentions of being without hesitation, thus producing a rupture between the poetic conception and the historical conception, an approach that Siwka (1982a) makes, the author establishes the almost hostile separation of the respective fields of the writer and the historian, produced by the establishment or consolidation of history as a science, to be transformed, interpreted and inserted into society (school) as a theoretical discourse that seeks to benefit from other sciences.

 

          Relating the literary discourse with the historical discourse, the production of a discourse that speaks from several perspectives, that covers the needs and expectations of the subject in formation, and that in turn highlights the events that took place in a geographical-temporal space that determines the human being in the constitution of his culture, Siwka (1982b):

Undoubtedly Literature and History, are more impressive, more striking, more read and their social and political effects are of greater relevance when they evoke the social episodes of the people and when they expose to the light, the eternal human (p.23).

 

          There is a dialogic relationship that aims to be established between the universe of Literature and the universe of History (through their speeches), these have been far below the eyes of scholars, since, both one and the other has tried to cover Trivially and separately. Literary discourse has been studied, like that art that embellishes and gives color to certain facts, but we have not realized that the culture that makes up man has to do with the word and with time, as Hernández says (1998), the word (poetry) and time (History) entrench the individual in a representative environment. So, it is not new for us that the very essence of man is in his experiences, his exploits, in what he names and in what he imagines.

 

      However, in the evolution of these discourses a rupture is generated by pretending, generally the schooled history, to study man only in his social context; considering society as an organic body submitted by laws, processes, changes and explanations. This divorce between the literary and the historical occurs from the differences that have been raised previously between both discourses. History can not be established as an opposition to Literature, since the historian necessarily goes to Literature, as a support to his considerations.

 

      Art is conceived as the immediate expression of feeling and, therefore, of the concrete individuality of the artist. The feeling defines individuals, while reason is common to all men; That is why Literature and Reason are representatives of Poetry and History. Literature is the knowledge of the world through its languages, alters and expands the dominating reason of science and puts man, over his realities, at the forefront of the different enriching logics of meaning. While the school history builds a monovalent discourse from the fact and the document. Literature amplifies its coverage in the world of the senses. This indicates how pedagogy and didactics should be different for the teaching of both knowledge and can not be oriented in the same way.

 

          It is considered that from the writing, the two ways that man has to approach his historical past are literary discourse and historical discourse; both of a narrative nature, only that one: the historical discourse, recounts the facts in a historiographical sense, that is, analyzes and interprets the historical documents and sources to elaborate the historical narrative, and the other, the literary discourse, reconstructs and restates that historiographical discourse, formulating alternative meanings to assume History. In this sense, it is necessary to emphasize not only the aspects that differentiate literary discourse from historical discourse, but also seeks to link Literature and History, through the possible identity relations that characterize these two narrative forms.

 

          It is inferred from these statements that this correspondence between the discourses in question, are established in the act of narrating; Temporality and narration in Literature and History establish a relationship of agreement, of correlation; since time is the order of the subsistence or coexistence of individuals over a given period (if chronological time is involved); temporality is founded as a style, as an ideal of life that accesses precisely language through narrativity, (also found in History), which has as its ultimate referent such temporality and unfolds in a chronological dimension and in a human dimension (Literature ) also or especially in History.

 

4.    The Poetic Image as a Reading Source of History.

          The poet rewrites the cosmos from his inspiration, reproduces or plays with it from his poetic creations, where the word, the language, the writing itself and history, intersect as visions of a human purpose in society; In this sense, this section seeks to capture the pilgrimage that the poets in question make for History from the Poetic Image, in such a way that they allow to affirm that the Poetic Image can be established as a reading source of History; Of course from a pedagogical perspective. The texts of Neruda and Palomares present an incarnation of voices, of historical subjects materialized by the document and interpreted in another way by the Poetic Image or in this particular case, silenced voices that dialogue in a repeated and antagonistic way with their oppressors.

 

The authors of Canto General and Santiago de León de Caracas respond in a reflective and distinct way to a conflict of their time, stoking the fire of their words and putting their texts of evidence to elicit dialogical encounters of historical subjects, dialogues that, although antagonistic, allow the multiple view of events that reverse the cultural heritage of our peoples. In this interlocution of clamor, an apology flourishes that puts in evidence those speeches, allegations that in the name of power have profaned historical subjects.

 

In attention to the aspects already mentioned, begins the dissertation on the works of these poets starting from Pablo Neruda, in his General Song, unleashes his anger mixed with pain and impotence to capture with his most accurate words, the injustices committed by the conquerors of America and very specifically for their beloved Chile. The Poetic Image conscientiously worked by Neruda, shows us different ways of seeing History, achieving with it the recreation of a hidden past that deserves to be discovered. It should be noted that the poet in general writes about things he sees, but in this particular case, Neruda is the victim of many abuses, being the oldest of them the exile of his native homeland.

 

The History of America is interpreted by Neruda with seriousness and rebellion, being one of the biggest opponents of the tricks that power usually makes. The memory of the people is transferred by the poet to a broader and deeper context, the immovable distorts its terrain leaving to light what was not talked about, because it was not convenient. Faced with the popular impulse, resistance and coalitions of forces using all means rise up: brutal repression, the ominous and anti-national dictatorship with its courtship of denial of freedoms and rights, even the most elementary ones, to prevent transformations that alter the systems of dominant domination, leading to more evolved structures, to more humane and dignified forms of coexistence, and to the true independence of Latin American countries.

 

Realities of such magnitude, which undermine the great American homeland, which asphyxiated man by narrowing their horizons and seriously mutilating their own humanity, necessarily had to impact - and in many ways - a consciousness as lucid and always awake as Neruda's. Hence, they are evoked again and again in Canto General, until the central thread of its texture is created, Neruda (1950b, p.336): "My people, all of my American homeland, hurt me in everything they have eaten. your bones, leaving you bound by the foam, like miserable goddess torn apart. "It hurt his integral and unreserved humanism, a state of alienating and deteriorating things of the peoples that made up his beloved American homeland. He deeply wore his limitless Americanist spirit, the devouring presence of imperialism, Neruda (1950c, 199): "The dollar arrived with aggressive teeth, biting territory, in the pastoral throat of America".

 

          With Canto General, Neruda performs an act of definitive and definitive self-assessment. He is situated in a perspective that opens new paths to his work. Now part of man - but not of the abstract and individual man, but of the concrete and acting social being - and of the earth - the American land that is a source of beauty, but also dialectically linked to man - with what follows, enriching it and giving it a real historical-social content, the line inaugurated by the old masters of Renaissance humanism.

 

Neruda can then trace in General Canto the march or the continuous development of the History of America from the distant pre-Columbian times until the mid-twentieth century. Penetrates into the recondite indigenous world, ascends to Macchu Picchu. Neruda (1950d, p.29) says: "I put my forehead between the deep waves, I descended like a drop between the sulfuric peace and, as a blind man, I returned to the jasmine of the spent human spring".

 

From there, the poet follows the advance of History. It stops in the feverish and violent conquest period of destruction of the autochthonous and of fierce debaucheries, in which: "the earth was cut by invading knives" Neruda (1950e, p.64), the foundations of his exploitation regime were established. It is evident that Neruda's relationship with history is not in the end, but the result of the poet's vital relationship with the environment in which his own existence unfolds. He knows himself rooted in the peoples of America who have a history that surrounds them, of which he participates and which confers an essential identity that determines the true and profound meaning of his life and his creative word.

 

What has been exposed so far, roughly, was appreciated in Neruda and we will also appreciate it with Palomares, this Venezuelan poet where poetry is configured in a very personal synthesis of a certain surrealism, mixed with fluency and colloquial vocabulary, addressing, sometimes, historical themes and heroic narratives; Dovecotes in this work establishes; a dialogue with its historical context and it can not be otherwise, History is the place of incarnation of the poetic word, because without a common word there is no poem and no poetic word there is no society; this poet with Santiago de León de Caracas, innovates History, Maggi (1982a), not only to transform it, but to transform another image of it.

 

In Santiago de León, a historical event is narrated, it may be that you do not understand that history is being written in a broad sense. The vision of the historical in the reader is invaded by the playful condition in front of the images and voices that participate in the poetic substantiation. Poetry is going to place History and its possible discourses in that dimension of language where the word functions as a metalanguage of History. Poetry returns looking for roots, making and undoing History to foment it from the faculty of the imaginary, History thus becomes a discursive object of another discourse, that of poetry: passed to the mirror of poetic writing, "the world" which is demonstrated in incomparable ways, begins to live independently and to be outlined as a reality of meaning, an alternate History capable of producing those senses.

 

Ramón Palomares, has ventured into a field very little addressed by contemporary Venezuelan poets: that of National History (like Neruda with Chile and its General Song). With Santiago León de Caracas, stops at relevant moments in the history of Venezuela, but we could say that, with a completely new attitude, does not incur the patriotic (historical) exaltation, often blind and exaggerated epics or Conventional historical poetry Maggi (1982b), but on the contrary, his poems constitute an approach, simple and fundamental to History and its characters, stripping it of all artificial solemnity and bringing them closer to the reader. (The antecedents of this type of poetry should be sought in folklore: romances and historical songs, in which the people dealt with characters and episodes of history, with admiration, familiarity and humor).

 

          In Santiago de León de Carcas the time in which they fixed their banners and raised their swords those that came from the sea is related. The plot of the work is the foundation of Caracas and the events close to it, but rather than narrating the historical fact, what is intended is to make feel the spirit of the conquerors and the conquered, who they were and how they expressed these men , your fears, your ambitions, your courage. It is about the violence and the cruelty of the conquering enterprise with everything that was fabulous and unusual in it. The book is divided into five parts and includes forty-one poems, in them we see Diego de Losada, Pedro Reynoso, Francisco Fajardo, and other conquerors, also Guicaipuro, Tiuna, Paramaconi and other indigenous chiefs. The voices of one and the other are interspersed in the poems. The conquistadors narrate episodes in which they have taken part, and in these narrations the Spanish's astonishment at the new world can be seen, as is seen in the chronicles of the Indies. Palomares (1967a):

What beauty the earth when that mountain climbs a white body in its airs and its height is estimated. And the blue looks clean and is a sharp edge is only distant is beautiful. Just a line of dawn and already the knights recognized the whole place: What tempered airs! What hills! (p.125).

 

          There is also the vision of the native, the astonishment of the first inhabitant of those lands before the arrival of the invader, and the hatred and the terrible fury before his cruelty. In Flecheros they, and runners and jumpers us, the caciques of the center remember for the war. Palomares (1967b):

Rotted the earth with those fierce and terrible of the sea. They reduced the men by turning them into a grass. There is no road that does not happen! The day came to put the children and the women in the fog. All men will descend by one and on the other hand, by the heights and the earth between the rivers on stone and foam, as points of rain and stones, as hair of woman and mountain and more than ants will come down. Ask your gods, invader Clean your weapons very well! (pp. 137-138).

         

So the History of the foundation of Caracas is not unilateral, it is about understanding the phenomenon of conquest in a deeper and more global way, from poetry, from poetic polyvalence. It is evident the plundering, the extermination of the Indians by the cruel conqueror, who, in turn, feels love for the founded city, for the new conquered lands. Dovecotes (1967c):

Maybe you are not the most beautiful of the Indies, nor your treasure reaches a sixth of Mexico. But what motive other than death could get us out of these streets Ah, houses without a hint of luxury or donations of mansions or pretensions of viceroys! Santiago, Santiago de León, our likeness! (p.144).

 

          In the first three parts of the poetry book, namely: Borburata de los Fantasmas, Flecheros them and runners and jumpers, we and El caballero Juan Rodríguez Suárez, we will find an important element to highlight; in all of them the intertitles of the poems are going to frame a concrete situation as a possible "historical narrative". Then, we can consider that the Poetic Image causes the historical referent to explode in multiple senses. From the allusion to a History, to a past, to its texts, to an epic phonologically and ideologically forged from the vision of colonialism, its limits are broken. The word embodies History to make it again, outside the canon established by the conquerors of always, those that exclude the discourse of the other, the one that resists the already not very strange invader today.

 

This opens the dialogue between poetry and history, as Paz says, in The Arc and the Lyre: "History is the place of incarnation of the poetic word" (1956b, pa.143). Thus the poem is the revelation of the voices of man for poetic communication, for its concretion as "epos" transformed into Image. Thus the poetry, the poet and the reader in poetry take possession of the "epos" of the dominant History and this is linked to the field of other unusual, torn and human visions as acts of revelations of the metaphor and, the poetic word is invoked to that secret association between man and the other, his condition of existence related, through multiple languages, with the images that he builds from that. We must not forget that Ramón Palomares (Poet Trujillano), like Pablo Neruda, is involved and perhaps absorbed by the historical context of his time. As Neruda sang reflectively and subversively to the system of his country, so does Palomares, his poetry is intimately linked to a life experience.

 

Like Neruda with Chile, Palomares experiences experiences that substantiate his personality and his rebellion against the Venezuelan social system of the moment. In Santiago de León, the verses of this poet contain something like the profession of their faith, they are the expression of his vision of History.

 

5.  Literature and History in Educational Institutions.

The educational institutions are identified by their social historical character and by their complexity, although in most of the occasions it is shown as natural and simple; apparently the students resort to them in search of a "formation" that allows them to adapt to the social system that surrounds them. But, the school fulfills functions that go beyond the simple process of social adaptation, since, its reality implies a series of responsibilities that aim to take care of: keeping the children, the adolescents as they go increasing the compulsory schooling, to the implantation of dominant values, and disciplinary vigilance for subordination and the world of work, in other words, an arduous training for the labor field.

 

With respect to the above, it can be said that part of the effects of educational praxis is closely related to the constitution of the subject, which concerns the establishment of judgments that allow the student to believe and judge himself, about the others. With this orientation, the school and its pedagogical mechanisms will be the ones that will build and mediate those relations of experiences with themselves and with their otherness. Within this process of educational experience and training Literature and History play a leading role, as both addresses record in different ways, the empirical repertoire of the human being; and is that History is not a museum of dead objects, much less can be seen as an antique shop.

 

The Literature is an alternative to know the History of pure way, without the intervention of the political phenomena that govern the formal aspects of the story told from the orientation of the dominant values ​​taught institutionally. The poetic vision is a holistic vision of History that escapes the controls of the established by parameters emanating from those dominant ideological factors of a given society; since medieval times we can see the use of literature as an alternative reference that in many cases contradicts what is established by placing the reader in the realities of life, showing the reader the hidden faces of history, such as the Cervantes Literary Carnival, Don Quixote de la Mancha and Lazarillo de Tormes, among many other works of the literary picaresque that undressed the realities hidden by the dominant factors of the time.

 

It is important to emphasize that the history approached from the different educational programs is not opposed to the literary discourse, but is limited by the dominant factors, and in turn the literary discourse reveals the hidden side of History that is not seen in the educational process, without to enter into contradiction with it, both discourses being necessary aspects of knowledge.

 

Finally, History and Literature have an undoubted connection, demonstrated with the analysis of the Canto General and Santiago de León texts of Caracas, where these writers, starting from the Poetic Image, establish, on the one hand, an effective dialogue between these discourses, and on the other, they manage to show us a new interpretation of History, thus offering that alternative reading so necessary in the plans of the school system. The historical discourse managed by these poets does not respond to the "anti-history", on the contrary, they present an additional view of the many that History can have, since it advances in waves, and these waves, and these waves they advance until they reach their maximum volume and then they retreat to advance afterwards even more.

       

In attention to the previously mentioned aspects, it is worth asking:

If Literature and History converge with each other, why not make use of Literature to facilitate historical knowledge?

 

How to make Literature become an effective tool for the student to identify with History?

 

Could it be said that Literature renews History?

 

Why, if History and Literature feed on each other, complementing each other in their constitution with their own elements, has the formative-enriching value they contribute to the student's development been reduced?

 

6. References

Acevedo, M. Arista, V. Carretero, M. Lima, L. Miralles, P. Prats, J & Santacana, J. (2011). Enseñanza y Aprendizaje de la Historia en la Educación Básica. Teoría y Práctica Curricular de la Educación Básica. Universidad Pedagógica Nacional. México: Primera Edición. Recuperado de: http://www.ub.edu/histodidactica/images/documentos/pdf/ensenanza_aprendizaje_historia_educacion_basica.pdf

 

Hernández, L. (1998). La palabra en el Tiempo, el Tiempo en la palabra. Caracas: Dirección General de Cultura y Extensión, Universidad de los Andes.

 

Maggi, M. (1982a,b). La Poesía de Ramón Palomares y la Imaginación Americana. “La poesía como hecho vital”. Caracas: Centro de Estudios Latinoamericanos “Rómulo Gallegos”.

 

Neruda, P. (1950a,b,c,d,e). Canto General. Barcelona: Editorial Seix Barral, S.A.

 

Palomares, R. (1967a,b,c). Santiago de León de Caracas. Caracas: Ediciones de la Comisión del Cuatricentenario de Caracas. Monte Ávila Editores.

 

Paz, O. (1956a,b). El Arco y La Lira. México: Fondo de Cultura Económica.

 

Siwka, C. (1982a,b). Historia, Biografía y Literatura. Caracas: Dirección de Cultura. Universidad Central de Venezuela.

 

Valverde, Y. (2014a,b,c,d). Lectura y Escritura con sentido y significado, como estrategia de pedagógica en la formación de maestros. Revista Fedumar Pedagogía y Educación, 1(1), págs. 71-104. Recuperado de: http://www.actiweb.es/educadora_andrea_reyes/archivo6.pdf

 

 

Rina Desireé Colina Matos

e-mail: desicolina1203@gmail.com

 

Born in Venezuela. Degree in Education, mention: Spanish and Literature (Universidad de Los Andes, Núcleo Universitario “Rafael Rangel”, Trujillo-Venezuela). Distinction Cum Laude. Master in Education Management. (Universidad de Los Andes, Núcleo Universitario “Rafael Rangel” Trujillo-Venezuela.). Doctorate in Education, (Universidad Experimental “Rafael María Baralt”, Maracaibo-Venezuela). Professor of the Ministry of Popular Power for Education - Venezuela. Her professional career includes being a Classroom Teacher, Pedagogical Coordinator; Student Welfare Coordinator, Administrative Deputy Director, Director of the Educational Unit: "Barrio Nuevo" Valera, where she currently serves as Institutional Coordinator. In the university area, she was a Contracted Professor at the Instituto Tecnológico “María Briceño Iragorry”; at the Universidad de las Fuerzas Armadas (UNEFA) Center Trujillo; Visiting Professor in the Department of Pedagogical Sciences of the Universidad de Los Andes, Center "Rafael Rangel", Trujillo, Trujillo State. It has as areas of work and research: Language and Literature and Educational Management.

 

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- Original Version in Spanish -

DOI: https://doi.org/10.29394/Scientific.issn.2542-2987.2018.3.7.20.394-414