By Federico Bonaddio
A significant other to Federico Garc????‚?a Lorca presents a transparent, severe appraisal of the problems and debates surrounding the paintings of Spain's so much celebrated poet and dramatist. It considers prior and present methods to the research of Lorca, and likewise indicates new instructions for additional research. An advent at the usually contentious topic of Lorca's biography is through 5 chapters - poetry, theatre, tune, drawing and cinema - which jointly recognize the polymath in Lorca. a different 3 chapters - faith, gender and sexuality, and politics - entire the amount by way of protecting vital thematic issues throughout a couple of texts, issues which needs to be thought of within the context of the enduring prestige that Lorca has received and opposed to the historical past of the cultural shifts affecting his readership. The better half is a testomony to Lorca's enduring attraction and, via its explication of texts and research of the guy, demonstrates simply why he maintains, and may proceed, to draw scholarly curiosity. participants: FEDERICO BONADDIO, JACQUELINE COCKBURN, NIGEL DENNIS, CHRISTOPHER MAURER, ALBERTO MIRA, ANTONIO MONEGAL, CHRIS PERRIAM, XON DE ROS, ERIC SOUTHWORTH, D. GARETH WALTERS, SARAH WRIGHT
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Extra info for A Companion to Federico García Lorca (Monografías A)
24 On the one hand, Dalí / St Lucy: ‘the exterior of things, the clean airy beauty of the skin, the charm of slender surfaces’, ‘contours, transparency and surface’. ), at a slightly later but distinct moment in his development – 1927 to 1929 – he seemed to open to García Lorca the possibilities of what Max Ernst called the ‘aesthetics of collage’ and to diminish the attractions of the traditional metaphor. Dalí’s pursuit of ‘objectivity’ had transcended the celebration of the visual world (a trait he shared with Góngora) and the rejection of sentimentality and symbolism to an epistemological questioning of whole objects of any sort and the effort to reduce the object – any object – to its individual parts.
Lorca’s title alludes to the existence of a subgroup of these traditional ballads transmitted by the Gypsies from one generation to another: poems he had first heard of, years earlier, in 1920, on his ballad-hunting excursion with Menéndez Pidal. 19 Years later, Lorca would speak of his effort to blend lyricism with narration: From my very first steps in poetry, in 1919 [sic], I devoted much thought to the ballad form, because I realized it was the vessel best shaped to my sensibility. The ballad had gone nowhere from the last exquisite ballads of Góngora until the Duque de Rivas made it sweet, fluent and domestic and Zorrilla filled it with water lilies, shades, and sunken bells.
In the north Surrealism can take hold – for example, modern German art – but Spain defends us from the strong liquor of dream’ (Sebastian’s Arrows, pp. 160–1). See also his comments to Sebastià Gasch regarding his drawings: ‘You’re right in all you tell me. 29 There are structural differences as well: the predominance of free verse and the reduced presence of metaphor; the use of a narrative structure – that of a journey – to bring unity to the book (chapter headings trace the poet’s progress to New York, to Vermont, back to the city, and his escape from there to Havana, Cuba); the intended combination of written expression with the use of drawings, postcards and photographs (only the drawings were included in the posthumous first edition).
A Companion to Federico García Lorca (Monografías A) by Federico Bonaddio