In his many essays on literary and cultural topics, the Cuban writer José Lezama Lima (1910–1976) develops a complex system of ideas about history and time. Lezama objects to simplistic ways of conceptualising temporality and favours a flexible notion of time. His way of thinking on the subject is bound up with his preference for literary or generally artistic expression as opposed to what he sees as the problematic ontological claims of historiography. He privileges the artistic image as a force that can transcend linearities and determinisms. Lezama sees the image as essentially future-oriented, as a force that makes possible an arc of Cuban cultural progress that stretches forward in time.
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Lezama Lima, José (1945) ‘Después de lo raro, la extrañeza’, Orígenes 6 (Summer): 51–5.
Lezama Lima, José (1949) ‘La otra desintegración’. Orígenes 21 (Spring): 60–1.
Lezama Lima, José (1952) ‘Alrededores de una antología’, Orígenes 31: 63–8.
Lezama Lima, José (1953) ‘Secularidad de José Martí’. Orígenes 33: 3–4.
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Lezama Lima, José (1977b) ‘Conocimiento de salvación’. Obras completas . Tomo II. 246–9. Mexico City: Aguilar.
Lezama Lima, José (1977c) ‘La imagen histórica’. Obras completas . Tomo II. Mexico City: Aguilar, 843–52.
Lezama Lima, José (1977d) ‘Las imágenes posibles’. Obras completas . Tomo II. Mexico City: Aguilar, 152–82.
Lezama Lima, José (1977e) ‘Mitos y cansancio clásico’. Obras completas . Tomo II. Mexico City: Aguilar, 279–301.
Lezama Lima, José (1977f) ‘Sierpe de Don Luis de Góngora’. Obras completas . Tomo II. Mexico City: Aguilar. 183–213.
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Lezama Lima, José and José Rodríguez Feo (1944). Editorial. Orígenes 1 (Spring) 5–7.
Lezama Lima, José and José Rodríguez Feo (1947) ‘Cuatro años’. Orígenes 16 (Winter): 46.
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