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The criticism which has evolved in relation to Vicente Huidobro's most important work, Altazor o el viaje en paraca(')idas, has not been able to dilucidate the complex poetical structures of the poem. This full-length study opens new perspectives by analyzing the poem through five theoretical frameworks: (I) "The structure of Altazor" (analysis of poetical, lexical and religious conventions; theories of the "infinite"; proof of the analogy between a mathematical theorem and the structure of Altazor); (II) "The lexicological praxis" (Altazor as "three" poems; analysis of neologisms; a "dictionary" of altazorian terms; the "possible poem" of Canto VII); (III) "Semantic conceptualization of altazorian meter" (definitions of verse; analysis of rhythm and meter in the poem and the semantic potentials related to the analysis of meter); (IV) "Tradition and transgression of the symbolic" (study of the most important symbols of the poem); (V) "The ideological-aesthetic discourse" (the work as ideological praxis; aesthetic features: romanticism, symbolism, "modernismo," cubism and futurism are explored).
Each theoretical framework proves the postulates of our thesis: Altazor is to be considered the poem-axis of Huidobro's poetical production since it summarizes not only the limitations but also the summation of a poetic of communicating the incommunicable, in order to generate the transformation of the "non-language" of Canto VII into the typographical representation of language reaching its "infinity." The Canto VII becomes, in this manner, not only the symbolic representation of "beginning" but also of "final cause" of every poetical process.