Resumen: Esta investigación analiza el problema de la formación del canon literario a través de la propuesta del sistema poético del escritor cubano José Lezama Lima. Su método de enseñanza de los objetos de la imaginación (Curso Délfico) se articula con el concepto de eras imaginarias que desarrolló en su obra ensayística y ejemplificó en sus novelas Paradiso (1966) y Oppiano Licario (1977). Para ello, en el primer capítulo, se describe la propuesta de paideia que el cubano llevó a cabo desde la vida material como autor biográfico y, a la par, en el mundo de la imaginación a través de su obra literaria. Más adelante, en el segundo capítulo, se desglosa el concepto del canon y su utilización en la teoría literaria y la historia de la literatura. A este concepto general se suman los aportes que de la misma idea da Lezama a través del Curso Délfico. En el tercer capítulo se estudia el concepto de eras imaginarias en el corpus que integran los ensayos ""Preludio a las eras imaginarias"" (1949), ""Mitos y cansancio clásico"" (1957) y ""A partir de la poesía"" (1959). En el último capítulo se ejemplifica, a través de tres obras, tres de las modalidades del canon de Lezama: 1) la interdisciplinariedad desde sus Diarios, 2) la interculturalidad en su novela Paradiso y 3) lo interartístico en su novela Oppiano Licario. Abstract: This investigation analyzes the problem of literary canon formation through the lenses of José Lezama Lima's poetic system. His method for teaching the objects of imagination (named the Delphic Course) is linked to the concept of imaginary eras developed in his essays and exemplified in his novels Paradiso (1965) and Oppiano Licario (1977). In order to expose that link, the text is organized in four chapters. The first chapter consists in a description of the paideia proposed by Lezama, a project he carried out simultaneously in the physical world, through his unorthodox teaching labour, and in the imaginary world through his oeuvre. Afterwards, the second chapter develops the concept of canon and its uses in literary history and literary theory. In addition to this general outline of the canon, Lezama's ideas of the canon found through his Delphic Course are discussed. The third chapter studies the concept of imaginary eras through the corpus composed by the essays: ""Prelude to the imaginary eras"" (1949), ""Myths and classical fatigue"" (1957) and ""From poetry"" (1959). The last chapter illustrates three modalities of canon through three of his works: 1) interdisciplinarity in his Diaries, 2) interculturality in his novel Paradiso and 3) the interartistic nature in his novel Oppiano Licario.

Ralladura, nace del ejercicio de dibujar objetos cotidianos con la mano no hábil, generar una historia que los vincule armando una puesta del relato que incluya un diálogo y por último elegir un formato, que en este caso fue un fanzine hecho con lápiz.

Mary Wollstonecraft Shelley, que nació en Londres el 30 de agosto de 1797, fue una escritora, dramaturga, ensayista y biógrafa británica que pasó a la historia gracias a su obra cumbre, la novela gótica Frankenstein

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