<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1405-1435</journal-id>
<journal-title><![CDATA[Convergencia]]></journal-title>
<abbrev-journal-title><![CDATA[Convergencia]]></abbrev-journal-title>
<issn>1405-1435</issn>
<publisher>
<publisher-name><![CDATA[Universidad Autónoma del Estado de México, Facultad de Ciencias Políticas y Administración]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1405-14352005000100331</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Pablo Neruda y la Mujer]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Cepeda Vargas]]></surname>
<given-names><![CDATA[Gloria]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad del Cauca  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>04</month>
<year>2005</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>04</month>
<year>2005</year>
</pub-date>
<volume>12</volume>
<numero>37</numero>
<fpage>331</fpage>
<lpage>343</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1405-14352005000100331&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1405-14352005000100331&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1405-14352005000100331&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Si se trata de ahondar en lo que significa la presencia femenina en la obra poética de Pablo Neruda, hemos de enfocarlo desde las tres vertientes que configuran su personalidad: el poeta, el político y el amante. Esto porque su militancia política y el tremor de las tierras que recorrió, permean frontal o simbólicamente sus poemas de amor.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Studying thoroughly what feminine presence means in the poetic work of Pablo Neruda should be focused on three sides that configures his personality: the poet, the politicians and the lover. This, in order that his politics militancy and the tremor of the lands he travelled through, they permeate, frontal or symbolically, his love poems.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[amor]]></kwd>
<kwd lng="es"><![CDATA[poemas]]></kwd>
<kwd lng="es"><![CDATA[presencia femenina]]></kwd>
<kwd lng="es"><![CDATA[político]]></kwd>
<kwd lng="en"><![CDATA[love]]></kwd>
<kwd lng="en"><![CDATA[poems]]></kwd>
<kwd lng="en"><![CDATA[feminine presence]]></kwd>
<kwd lng="en"><![CDATA[politician]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
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</name>
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<nlm-citation citation-type="book">
<person-group person-group-type="author">
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</nlm-citation>
</ref>
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<nlm-citation citation-type="book">
<person-group person-group-type="author">
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</name>
</person-group>
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<year>1998</year>
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</nlm-citation>
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<nlm-citation citation-type="book">
<person-group person-group-type="author">
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</name>
</person-group>
<source><![CDATA[Canto General]]></source>
<year>1970</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
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</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
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</name>
</person-group>
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</nlm-citation>
</ref>
</ref-list>
</back>
</article>
