The cultural reflection that accompanied and that was based on Lezama’s literary work can be read as one of the most excellent transatlantic dialogues, ‘through-historical’ and ‘through-artistic’ established inside the Caribbean, because that “island different and indistinct at the same time in the cosmos”, where he always thought, is raised in his work as the center of a ‘trans-culture’s’ dynamic fabric that contributed to bring up to date a discourse of cultural identity which, in its own time, represented already a tradition where almost everything seemed to be told.

Key words: Cuban Literature, José Lezama Lima, insularity, ‘trans-culturalization’, transatlantic condition, cultural identity.

One of the main aspects in Jose Lezama Lima´s work is its barroquism.Nevertheless , hidden betweeen the lines and together with this obvious gongorism and barroquism we find the trail of the lives and works of the Carmelite mystics San Juan de la Cruz and Santa Teresa de Jesús. It is from this crossroad that is produced  the confluence with the poetic work of  authors such as Juan Ramón Jiménez or Jose Angel Valente, masters of the word ,mystics of nothingness.

Key words: José Lezama Lima, Mystics, Saint John of the Croos, Saint Teresa of Jesús, Orígenes, Barroc.

The purpose of these article is “reconstruct” Lezama Lima’s Aesthetic underlying in his works, since he never had in mind organize a theorical corpus of it. In his essayist writings Lezama distinguish between his reflextions about a Poetic and his aesthetcal interpretation geographicaly and culturaly applied. From the main aesthetical trends of  the XXth century and the aesthetical ideas of the author dispersed in his work this article pretends the “reconstruction” of an Aesthetic in Lezama Lima.

Key words: aesthetic, poetic, neo-baroque, image, religion.

Parting from José Lezama Lima’s complete works, this essay offers a new interpretation of the author’s poetic and reveals the significance of the audiovisual in the creative process of Literature followed by Lezama. In this way, this research provides evidence of how the cinema, television and radio clear up the meanings of Lezama’s Poetic System of the World, and become part of his poetic language.

Key words: cinema, literature, creation, poetic system.

As an unfolder Lezama Lima is introduced from his death date to his birthday and his child years when he discover among his father papers some lines that will center his own writing and universe. In a second time the author visits Lezama’s home and incert various commentaries about his personality and work. In a third time it is underline his agglutinating character as head of Origenes group. At the end the author goes back to Trocadero 162 to fixe Lezama’s magisterial dimension in his own domestic surrounding.

Key words: Grupo Orígenes, Lezama Lima, linguistic universe.

The main theme of Paradiso  is Cuban identity, a topic that obsessed José Lezama Lima and members of the Orígenes group.  In Paradiso Lezama provides a synthesis of Cubanness expressed through the combination of the islands two principal products, sugar and tobacco that parallels the one proposed by Fernando Ortiz in his well-known essay Cuban Counterpoint: Tobacco and Sugar.  The protagonist’s father and mother come from sugar and tobacco producing family respectively, and each displays features associated with those substances: sugar means power and energy, while tobacco refinement and artistic inclinations. The Colonel is energetic, willful, while Eloisa, the mother, is refined and artistic.  Cemí will incarnate both tendencies.  In that way, Paradiso does not just propose a theory about Cubanness, but dramatizes it.

Key words: Jojsé Lezama, Cuban identity, Grupo Orígenes, Paradiso.

The spatiality is one characteristic of the poetry of José Lezama, and one of its components is Orphism, as explained in his essay “Introducción a los vasos órficos” Building on his theory, this article reviews his books of poetry in the light of these ideas and develops how the author makes substantial part of the poetic journey started with Muerte de Narciso.

Key words: Cuban Poetry, Lezama Lima, Orphism.

Among the enemies and / or heirs of Lezama Lima are Virgilio Piñera and Sarduy. This article examines some textual aspects of the intellectual friendship, its main ceremonies and concentric circles around the founder of a new poetic state of Cuba. Readers of Lezama and Reading Lezama.

Kay words: Poetry, Cuba, Tribute, Spells.

In the essays of Las eras imaginarias as much as in those of La expresión americana, Lezama outlines a theory in which cultural identity is founded upon a collective vision of the poetic image in history, speaking of ‘the diverse eras where la imago imposed itself as history.’ Certain cultures that Lezama analyses, such as the Etruscan, the Carolingian, the Breton, etc. achieved this form of imaginary force. In other articles and essays, Lezama explores el potens of historic revolutions, arguing that ‘revolutions are the gravitation of the eras imaginarias.’ As is well known, the biography of Lezama during the sixties and until 1976 show areas of agreement and disagreement with the Cuban Revolution. In this paper I am not proposing to enter into this polemical biographical debate. Instead, following the declaration of Emilio Bejel that ‘in Lezama’s system, the Cuban Revolution of 1959 constitutes another great era of the image in Latin America,’ I intend to analyse the extent to which Lezama envisioned the Revolution in aesthetic, poetic and cultural terms, and to consider to what degree we can include the Cuban Revolution as another of Lezama’s eras imaginarias.

Key words: Lezama Lima, Cuban Revolution, Ernesto Che Guevara, myth, imaginary eras.

The article is based on Lezama Lima’s literary conception from abroad: particularly the one that allows him to comprehend the true implications of culture in the creative process. In this text there are several ideas of this nature worth considering about the author, for example: the influence of mobility and immobility in his work and his search for a literary project that aspires to be universal.

Key words: dialog, the rest of the world, outside, “immobile pilgrim”, landscape.

In the following pages I present some ideas on what I call writing the body of José Lezama Lima.
Based on an idea of Lezama to consider writing as a body, I tried to describe and analyze the evolution of that idea in his mind, in his essays and poetry.
My conclusion is that the body is the main form of any writing Lezama.
The ideas I present here are based on the analysis of the essay "Confluence", the last appearing on The amount a spell, the book of essays with which the exhibition closes Lezama their entire aesthetic project.
Try here to show that it is in "Confluence" can best observe one of Lezama's poetic writing the body: the end of his life, is precisely the body of devine Lezama which model your writing.
"Confluence" is more complete then the corpus theoretical model of baroque writing the body of José Lezama Lima.

Key words: Leazama Lima, writing, corpus, baroque, The amount a spell.

Art Works in the world, especially in alliance with the practical disciplines of law, medicine, and economic development. It works as a trigger for thinking differently and breaking habits that mire societies in stagnant practices. This essay is a description of some existing alliances and also a call for more collaboration between artists and social activists.

Key words: art, social activits, imagination, economic development.