Manuel Machado is known as one of the most innovative Spanish modernist poets of the twentieth century. Despite his recognition as a literary figure in Spain, the mimetic descriptions in Machado's poetics are interpreted as mere innovations in Spanish poetry. Those mimetic descriptions are examples of ekphrasis in Spanish literature. Ekphrasis is both a literary and representational art. The mimetic dimension in Machado's poetry is ignored or misinterpreted by the critics of his poetics. This study written in Spanish investigates the use of ekphrasis in terms of Machado's poetic style. An analysis of Manuel Machado's ekphrastic poems will determine: ekphrastic poetry is a representational art; how visual and acoustic aspects of Machado's poems create enargeia; and the manifestation of ekphrasis in Spanish verse. In using Machado's poems, this project will contribute to future explorations of ekphrasis in Spanish literature.

The political ideologies that Martí envisioned of an America free from the inherited yoke of European ideals were taken by Fidel Castro as an anti-imperialist discourse. Therefore, Marti’s political vision on the power that the United States began to carry out at the end of the 19th century and the beginning of the 20th century was an excellent strategy to establish the anti-imperialist character of the Cuban revolution. Since 1961, Castro set Martí as the face of his Marxist-Leninist ideology to institute his anti-American philosophy; Castro created a myth of Marti’s persona, and converted him into the bastion of his political ideology. As a result, Castro distorted the revolutionary ideas of Marti’s. Castro proposed his ideas out of context and portrayed the incorrect idea of this great thinker and poet. Martí’s human ethic and love for the independence of Cuba placed Martí as a liberator of revolutionary and progressive ideas of his generation. Martí was not thought as a dictator and never was a man who lacked democratic values. The expressed analytical assimilation of Martí on his sociopolitical and economic juncture that was presented in America and Cuba was used to trace the political anti-imperialist propaganda by the dictatorial regime …

The unfolding of eroticism always has been controlled socially; its expression forbidden for the women and accepted for the men. Ernestina de Champourcín’s poetry is an example of the presence of eroticism and the Avant-Garde in Spanish poetry. Champourcín becomes a member of the Generation of ‘27 after appearing in the prologue of Gerardo Diego’s anthology, Poesía Española Contemporßnea (1934). According to this thesis, the shortage of studies on her work is due to her exile, not to the Spanish Civil War. The exposition celebrates the life and work of Champourcín and studies the relationship between the Avant-Garde and sensuality in her poetry and in poems of Pedro Salinas and Vicente Aleixandre. It compares their individual handling of the Avant-Garde, the sexual act, and love, and concludes that Champourcín’s poetry is as Avant-Garde and erotic as the works of her companions of the Generation of ‘27.