By Federico Bonaddio
A spouse 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 earlier and present techniques to the research of Lorca, and in addition indicates new instructions for additional research. An advent at the frequently contentious topic of Lorca's biography is via 5 chapters - poetry, theatre, tune, drawing and cinema - which jointly recognize the polymath in Lorca. one more 3 chapters - faith, gender and sexuality, and politics - whole the quantity through masking very important thematic issues throughout a couple of texts, matters which needs to be thought of within the context of the long-lasting prestige that Lorca has obtained and opposed to the history of the cultural shifts affecting his readership. The spouse is a testomony to Lorca's enduring attraction and, via its explication of texts and research of the fellow, demonstrates simply why he keeps, 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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Additional resources for A Companion to Federico García Lorca (Monografías A)
Essays in Memory of Federico García Lorca (Lanham, MD: University Press of America, 1988), 139. POETRY 37 are contrasted with the fragility and fleetingness of human life (‘Cuerpo ausente’ [Absent Body]); and (4) a final commemoration of Ignacio’s excellence (‘Alma ausente’; ‘Absent Soul’), inspired by the fifteenth-century elegy ‘Coplas por la muerte de su padre’ [Verses for the Death of His Father] by Jorge Manrique. Throughout the poem, Ignacio is imagined as a martyred Christ figure, except that, in Lorca’s vision, his death has little, if any, redemptive value: the protagonist is imagined, brutally, as destined for a ‘heap of snuffedout dogs’, and only the poet’s loyalty and the poem itself will keep his memory alive.
Lorca: Poet and Playwright (Cardiff: University of Wales Press, 1992), 9–30. 12 Epistolario Completo, ed. Christopher Maurer and Andrew A. Anderson (Madrid: Cátedra, 1997), 107. POETRY 21 four- or five-line lyrics of cante jondo, and, through them, of the expressive possibilities of the short poem. Lorca’s Bergsonian intuition, perhaps, was that a natural phenomenon – the sea, the nocturnal sky, the world of the snail or palm tree – could be rendered better in a series of discrete ‘moments’, snapshots or discontinuous partial views than it could by means of a longer, more unified and discursive poem.
I loathe the art of dream’ (Epistolario, pp. 518–19). 29 Lorca’s treatment of both blacks and gays reveals, as Paul Julian Smith and others have pointed out, a deeply ambivalent attitude. See ‘New York, New York: Lorca’s Double Vision’, Journal of Iberian and Latin American Studies, 6, 2 (2000), 171. 30 On Poet in New York, see Richard L. Predmore, Lorca’s New York poetry: Social Injustice, Dark Love, Lost Faith (Durham, NC: Duke University Press, 1980); Derek Harris, Federico García Lorca: Poeta en Nueva York, Critical Guides 24 (London: Grant & Cutler, 1978); and Martha Nandorfy, The Poetics of Apocalypse: García Lorca’s ‘Poet in New York’ (Lewisburg, PA: Bucknell University Press / London: Associated University Presses, 2003).
A Companion to Federico García Lorca (Monografías A) by Federico Bonaddio