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Baroque Lorca
Baroque Lorca An Archaist Playwright for the New Stage Andrés Pérez-Simón First published 2020 ISBN13: 978-0-367-82009-1 Chapter 5 Writing for the Stage (CC BY-NC-ND 4.0) NEW YORK AND LONDON 5 Writing for the Stage The final chapter of this book examines Lorca’s internationally renowned plays Blood Wedding, Yerma and The House of Bernarda Alba. Lorca wrote the first two plays, between 1932 and 1934, with the immediate goal of obtaining commercial and critical recognition before proceeding to implement his desired comprehensive reform of the theater industry in Spain (consider his transparent statement from December 15, 1934, two weeks before the premiere of Yerma, about his “perfectly clear trajectory in the theater,” Obras 545). While the writing of Blood Wedding and Yerma formed a single and continued effort, The House of Bernarda Alba came out as an independent play in June of 1936, just a few weeks before the outbreak of the Spanish Civil War and Lorca’s subsequent execution by a fascist squad in Granada in August of that year. Margarita Xirgu premiered The House of Bernarda Alba in Buenos Aires in 1945. In the analysis of the original context of production and reception of Lorca’s plays, I will limit my study to Blood Wedding and Yerma for the obvious reason that he did not stage The House of Bernarda Alba. Nor did Lorca provide any specific clue about a potential production while he was still alive. From the perspective of textual analysis, I propose a unitary approach to these three works, as they recreate identifiable plot patterns from the contemporary genre of the drama rural as well as from Calderón’s baroque honor plays. -
La Experiencia De Luis Cernuda En Su Exilio Fuera De Espana Trevor Martin Union College - Schenectady, NY
Union College Union | Digital Works Honors Theses Student Work 6-2014 El exiliado dentro del exilio: La experiencia de Luis Cernuda en su exilio fuera de Espana Trevor Martin Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Feminist, Gender, and Sexuality Studies Commons, and the Poetry Commons Recommended Citation Martin, Trevor, "El exiliado dentro del exilio: La experiencia de Luis Cernuda en su exilio fuera de Espana" (2014). Honors Theses. 556. https://digitalworks.union.edu/theses/556 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. Martin i Running Title: El exiliado dentro del exilio El exiliado dentro del exilio: La experiencia de Luis Cernuda en su exilio fuera de España By Trevor Robert Martin ******** Submitted in partial fulfillment of the requirements for Honors in the Department of Modern Languages UNION COLLEGE June 2014 Martin ii ABSTRACT MARTIN, TREVOR R. El exiliado dentro del exilio: La experiencia de Luis Cernuda en su exilio fuera de España. Department of Modern Languages, June 2014 The life experiences and the level to which assimilation is possible following a political exile can be modulated by many factors including the age, gender, ethnicity, religion, political ideologies and sexual orientation of the individual condemned to exile. Whereas, previous academic studies have been devoted to investigating the roles of many of these influences on the experience of exile, the role homosexuality plays has been almost completely neglected in the academic literature. -
A Critical Bibliography of the Theatre of Federico García Lorca, 1940-1970
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1973 A critical bibliography of the theatre of Federico García Lorca, 1940-1970. Dennis A. Klein University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Klein, Dennis A., "A critical bibliography of the theatre of Federico García Lorca, 1940-1970." (1973). Doctoral Dissertations 1896 - February 2014. 2686. https://scholarworks.umass.edu/dissertations_1/2686 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A CRITICAL BIBLIOGRAPHY OF THE THEATRE OF FEDERICO GARCIA LORCA: 19^0 THROUGH 1970 A Dissertation Presented By Dennis A. Klein Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY June 1973 Hispanic Languages and Literatures (C) Dennis A. Klein f^73 All Rights Reserved A CRITICAL BIBLIOGRAPHY OF THE THEATRE OF FEDERICO GARCIA LORCA; 19^ THROUGH 1970 A Dissertation By Dennis A. Klein Approved as to style and content by: Professor Sumner •rofessor Harold L. Boudreau June 1973 Iv For My Parents And for Jordan V acknowledgments Since it is impossible to acknowledge all of the faculty and staff members, relatives and friends who have seen me through my years of graduate studies and through this dissertation, I shall limit myself to five faculty members of the University of Massachu- setts: Professor Blanche DePuy and Professor David Lenson for their time and suggestions; Professor Sumner M. -
Luis Cernuda Habla Con España, De Camino Al Exilio: Una Lectura De “Elegía Española I” Y “II” (1937-1938)
Luis Cernuda habla con España, de camino al exilio: una lectura de “Elegía española I” y “II” (1937-1938) Renata LONDERO Università di Udine Resumen Se estudia la condición de exiliado íntimo de Luis Cernuda, cuyo estado de otredad y extranjería se reforzó durante el destierro geográfico en el Reino Unido, en los Estados Unidos y en México (1937-1963), del que el gran poeta sevillano nunca regresó. Tras hacer un recorrido por algunos poemas escritos durante la Guerra civil y el comienzo del exilio en Inglaterra, donde ya se expresan todos los vaivenes anímicos cernudianos entre realidad y deseo, desesperación y esperanza, amor y odio hacia su tierra natal, se consideran en particular dos líricas compuestas en 1937 (Valencia) y en 1938 (Londres): “Elegía española, I” y “Elegía española, II”. Se examinan las convergencias y divergencias semánticas y formales entre las dos composiciones, y se concluye que representan el atormentado alejamiento cernudiano de España, inaugurando un camino hacia la represión de la nostalgia y la negación del nostos que el autor alcanza, aunque nunca de forma definitiva, en su vejez mexicana y sobre todo a través del culto de la lengua española y de la poesía. Palabras clave: Cernuda, exilio, poesía, España, elegía. Abstract The essay deals with Luis Cernuda’s inner exile, whose status of alienation and foreignness grew during his geographic banishment in the UK, the USA and Mexico (1937- 1963), from where the great Sevillian poet never returned. After going over some poems written during the Spanish Civil War and the beginning of his exile in England, where all of Cernuda’s spiritual highs and lows are expressed between reality and desire, despair and hope, love and hate towards his native land, two poems in particular are studied. -
Bibliografía De Pedro Salinas
BIBLIOGRAFÍA DE PEDRO SALINAS LIBROS Defensa del estudiante y de la universidad. Sevilla: Renacimiento, 2011 La voz a ti debida. [Madrid]: Diario Público, 2010 La bomba increíble: (fabulación). [Córdoba]: Berenice, 2010 El gañán enmascarado. [Tomelloso, Ciudad Real]: P. Salinas, 2009 La derrota del gañán. [Tomelloso (Ciudad Real)]: P. Salinas, D.L. 2009 El valor de la vida. [Sevilla]: Renacimiento, D.L. 2009 El gañán enmascarado. [Tomelloso (Ciudad Real)]: P. Salinas, 2005 Quijote y lectura: defensas y fragmentos. Madrid: LR Imagen, [2005] La poesía de Rubén Darío: ensayo sobre el tema y los temas del poeta. 1ª ed. en Ediciones Península. - Barcelona: Península, 2005 Jorge Manrique o tradición y originalidad. Barcelona: Península, 2003 El defensor. Madrid: Alianza Editorial, [2002] El defensor: defensa de la carta misiva de la correspondencia epistolar... Barcelona: Península, 2002 Cartas de amor a Margarita (1912-1915). Madrid: Alianza Editorial, 1984 (1986) El defensor. Madrid: Alianza Editorial, 1983 (1986) Literatura española, siglo XX. Madrid: Alianza Editorial, 1985 Cartas de amor a Margarita (1912-1915). Madrid: Alianza Editorial, D.L. 1984 El defensor. Madrid: Alianza Editorial, 1984 Ensayos completos. Madrid: Taurus, D.L. 1983 El defensor. Madrid: Alianza Editorial, D.L. 1983 La voz a ti debida; Razón de amor. Madrid: Castalia, 1982 Teatro. Madrid: Narcea, D.L. 1979 La poesía de Rubén Darío: ensayo sobre el tema y los temas del poeta. - Barcelona: Seix Barral, [1975] Jorge Manrique o tradición y originalidad. Barcelona: Seix Barral, 1974 Vísperas del gozo. [Madrid]: Alianza Editorial, [1974] Poesía Instituto Cervantes. Departamento de Bibliotecas y Documentación. Página 1 El contemplado. [Sevilla?]: Grupo Pandora, 2014 Poesía inédita. -
Salinas, Lorca, Alberti Y Cernuda
EL GRUPO POÉTICO DEL 27: SALINAS, LORCA, ALBERTI Y CERNUDA Recibe el nombre de la celebración de un acto organizado en 1927, en el Ateneo de Sevilla, para conmemorar el tricentenario de la muerte de Góngora, poeta al que admiraban. Está formado este grupo por Pedro Salinas, Jorge Guillén, Dámaso Alonso, Federico García Lorca, Rafael Alberti y Gerardo Diego, que participan en el acto, y por Vicente Aleixandre, Luis Cernuda, Emilio Prados y Manuel Altolaguirre. CARACTERÍSTICAS COMUNES: Son muchos los puntos de coincidencia que acercan a estos escritores al concepto de generación literaria: - Todos ellos nacen en el intervalo de 14 años que median entre el nacimiento de Salinas (1891) y Altolaguirre (1905). - Pertenecían a la clase media-alta y compartían un mismo talante liberal- progresista. - Formación intelectual semejante. La mayoría son universitarios y algunos llegan a ser profesores (Generación de los poetas-profesores). - Coincidieron todos en Madrid en la década de los treinta. - Estuvieron vinculados a la Residencia de Estudiantes, bien como residentes, bien participando en actividades allí organizadas. - Publicaron su poesía en las mismas revistas literarias: “Revista de Occidente”, “Litoral” y “Mediodía”. - Participaron juntos en gran cantidad de actos, homenajes, tertulias, etc. - Colaboraron en la confección de la Antología de la poesía española contemporánea, publicada por Gerardo Diego en 1932, en la que, además de sus poemas, ofrecen un análisis crítico de su poesía, verdadero manifiesto poético de cada uno de ellos. AFINIDADES ESTÉTICAS: TRADICIÓN Y VANGUARDIA: - Los poetas del veintisiete, aunque tienen una concepción muy individualizada de su quehacer poético, comparten la búsqueda de un arte nuevo que busca el equilibrio entre los sentimientos y la razón. -
Santa Juana: the Opening Season in Spain (1925–26) Author(S): Gustavo A
Santa Juana: The Opening Season in Spain (1925–26) Author(s): Gustavo A. Rodríguez Martín Source: Shaw, Vol. 38, No. 1, SPECIAL ISSUE: Shaw and Performance (2018), pp. 20-40 Published by: Penn State University Press Stable URL: http://www.jstor.org/stable/10.5325/shaw.38.1.0020 Accessed: 22-05-2018 07:29 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/10.5325/shaw.38.1.0020?seq=1&cid=pdf- reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Penn State University Press is collaborating with JSTOR to digitize, preserve and extend access to Shaw This content downloaded from 158.49.240.56 on Tue, 22 May 2018 07:29:01 UTC All use subject to http://about.jstor.org/terms Santa Juana The Opening Season in Spain (1925–26) GU STAVO A. RODRÍGUEZ MARTÍN ABSTRACT: This article describes and analyzes the production of Santa Juana (the Spanish version of Saint Joan, translated by Julio Broutá) staged by Margarita Xirgu and her company during the 1925–26 season. -
Cernuda in Current Spanish Poetry
Studies in 20th & 21st Century Literature Volume 36 Issue 2 Defining Differences: 20th and 21st Article 3 Century Spanish Poetry 6-1-2012 Cernuda in Current Spanish Poetry Salvador J. Fajardo Binghamton University (SUNY) Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Modern Literature Commons, and the Spanish Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Fajardo, Salvador J. (2012) "Cernuda in Current Spanish Poetry," Studies in 20th & 21st Century Literature: Vol. 36: Iss. 2, Article 3. https://doi.org/10.4148/2334-4415.1780 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Cernuda in Current Spanish Poetry Abstract The poet Luis Cernuda (Spain, 1902-Mexico, 1963) has left his mark on much of the poetry written in Spain since the sixties. First rediscovered in the Peninsula in the late fifties and early sixties by, among others, Francisco Brines, José Angel Valente, and Jaime Gil de Biedma, his influence became pervasive both through the work of these poets, and, through the reading of Cernuda’s poetry itself, available since 1975 in Harris and Maristany edition. Referring in particular to Biedma, whose impact on younger poets has been significant, this paper examines the presence of Cernuda in certain approaches to language and reality in the poetry of several “poetas de la experiencia” ‘poets of experience,’ such as Jesús García Montero, Felipe Benítez Reyes, and Álvaro García. -
The Theatre of Lorca
FREDERIC WOOD THEATR E There's only one waY to really appreciate the quality of our new color copies . You have to see one. The new Canon Color Lase r Copier will give you color copie s just like the original . Or not lik e the original at all. Because now you can reduce and enlarge from 50% to 400%. You can change colors. You ca n YERMA combine a color original with a black and white original t o compose a totally new image. The Canon Color Lase r Copier lets you copy from printe d materials, 35mm slides, nega- tives and 3-dimensional objects . Why not call or write for you r own free color copy? And the n canon you'll see for yourself. The comforting choice. Now available on campu s exclusively at MEDIA SERVICES 228-477 5 2206 East Mall, UBC Campu s University of British Columbi a "The play's the thing // Frederic Wood Theatr e presents Plays And we have a fine selectio n Playwriting Acting and Voice of plays and books on al l Theatre Production Theatre Design . Theatre Criticism aspects of the theatre Theatre History Theatre People Screenplays But the play's not all . Screenwriting YERMA Film Directing We also have books on films Film Production Film Business and filmmaking, Film Acting Film Analysis & Criticis m By Film People for filmgoer Cinematography Federico Garcia Lorc a Special Effects and filmmaker alike. Film/Video Guides Directed B y Whether your thing Catherine Caines is stage or silver screen , you'll find inspiration January 11-2 1 at the UBC Bookstore . -
Salvador Dalí
Salvador Dalí Contents Introduction to Dalí ....................................................................................................................................... 2 Diminutive Biography ................................................................................................................................... 2 Chronology of Select Works & Contributions ............................................................................................... 2 Theatre ...................................................................................................................................................... 3 Film ............................................................................................................................................................ 3 Painting ..................................................................................................................................................... 3 Writing ...................................................................................................................................................... 5 Photography .............................................................................................................................................. 5 Fashion ...................................................................................................................................................... 6 Architecture ............................................................................................................................................. -
Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-19-2017 In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962 Jessica M. Bordelon University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Bordelon, Jessica M., "In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962" (2017). University of New Orleans Theses and Dissertations. 2366. https://scholarworks.uno.edu/td/2366 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962 A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in History International & Global by Jessica M. Bordelon BS. -
1 Writers Working Under Wretched Conditions: Luis Cernuda and The
Writers working under wretched conditions: Luis Cernuda and the Spanish canon Jordi Larios University of St Andrews With the possible exception of Antonio Machado and Federico García Lorca, Luis Cernuda is the twentieth-century Spanish poet who has attracted most critical attention. The young man from Seville who was upset by the lukewarm reception of his first book of poems, Perfil del aire, in 1927; the virtually unknown Republican exile who came to Britain in 1938, aged 35, without a penny to his name and without any knowledge of English, was to become — after his death in 1963 — one of the most revered Spanish poets of all times. In modern Spanish poetry there is Machado, Lorca and Cernuda, and then there is everyone else. Cernuda’s unassailable position in the canon can hardly be disputed by those who have been exposed to the unrestrained anger, the verbal prowess and the celebration of homosexual desire that characterize his surrealist poems of the late 1920s and early 1930s; or to the more reflective voice that emerges in his exilic poetry, once he had absorbed the lessons of Robert Browning and Alfred Tennyson on the use of the dramatic monologue; or to his ‘Poemas para un cuerpo’, the series of love poems which he wrote late in his rather short life, after falling in love with a young Mexican man, a doomed affair for the sake of which he would give up a comfortable life in the United States, the only decent job he ever had, and the financial security that went with it.