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Televisión Y Literatura En La España De La Transición (1973-1982)
Antonio Ansón, Juan Carlos Ara Torralba, José Luis Calvo Carilla, Luis Miguel Fernández, María Ángeles Naval López y Carmen Peña Ardid (Eds.) Televisión y Literatura en la España de la Transición (1973-1982) COLECCIÓN ACTAS f El presente libro recoge los trabajos del Seminario «Televisión y Literatura en la España de la Transición» que, bajo el generoso patrocinio de la Institución ACTAS «Fernando el Católico», tuvo lugar durante los días 13 a 16 de febrero de 2008. En él se incluyen, junto con las aportaciones del Grupo de Investigación sobre «La literatura en los medios de comunicación de masas durante COLECCIÓN la Transición, 1973-1982», formado por varios profesores de las Universidades de Zaragoza y Santiago de Compostela, las ponencias de destacados especialistas invitados a las sesiones, quienes han enriquecido el resultado final con la profundidad y amplitud de horizontes de sus intervenciones. El conjunto de todos estos trabajos representa un importante esfuerzo colectivo al servicio del mejor conocimiento de las relaciones entre el influyente medio televisivo (único en los años que aquí se estudian) y la literatura en sus diversas manifestaciones creativas, institucionales, críticas y didácticas. A ellos, como segunda parte del volumen, se añade una selección crítica de los principales programas de contenido literario emitidos por Televisión Española durante la Transición, con información pormenorizada sobre sus características, periodicidad, fecha de emisión, banda horaria y otros aspectos que ayudan a definir su significación estética y sociológica. Diseño de cubierta: A. Bretón. Motivo de cubierta: Josep Pla entrevistado en «A fondo» (enero de 1977). La versión original y completa de esta obra debe consultarse en: https://ifc.dpz.es/publicaciones/ebooks/id/2957 Esta obra está sujeta a la licencia CC BY-NC-ND 4.0 Internacional de Creative Commons que determina lo siguiente: • BY (Reconocimiento): Debe reconocer adecuadamente la autoría, proporcionar un enlace a la licencia e indicar si se han realizado cambios. -
Juan Larrea, Evasión Sin Límites / José Fernández De La Sota
\ Æ $. ~-¡0% Ä h ^ *> ' \ i W7 <//j (» ■ l ,M i j P J f 1 | w | f | lili;/ agÉ^rfftèl jm m y.i ß ’ \ \ ' f y ,: V ^ w' f l ” . /J s 1 !f' i: V HHHIhHhHHHH| ' : ' ; ; ■ José Fernández de la Sota JUANLARREA EVASIÓN SIN LÍMITES El 9 de julio de 1980 Juan Larrea tenia una gran barba bianca. Una barba que hubiera hecho feliz a Luis Buñuel. Larrea colaboró como guionista en algunas películas de Luis Buñuel en México. Películas famosas de Buñuel en cuyos créditos no figura Larrea. Larrea nunca fue lo que se dice un poeta famo so, pero sí tuvo fama. Tuvo fama de raro y difícil, es decir, mala fama en un país como el nuestro. Una fama difícil la del poeta Larrea, la del raro profeta poético que fue. La barba que tenía aquel 9 de julio de 1980 le hacía sin embargo justicia^ Una barba profètica que hubiera aprovechado Luis Buñuel para sacarle en alguna película. A Buñuel le gustaban los profetas con barba como la que se había deja do su amigo Juan Larrea, su raro amigo. Un amigo que siempre se estaba yendo, siempre estaba marchándose, fugándose, exiliándose, huyendo de sí mismo. Así el primer poema de su poesía completa, la que contiene el libro Versión celeste, se titula "Evasión". También entonces, ese 9 de julio de 1980 Juan Larrea estaba mar chándose para siempre, para nunca. Juan Larrea se estaba muriendo en su exilio de Córdoba (Argentina). Han pasado treinta años. Juan Larrea se murió el 9 de julio de 1980 en Córdoba (Argentina), tras veinticinco días de lúcida agonía. -
Paris, New York and Madrid: Picasso and Dalí Before Great International Exhibitions
Paris, New York and Madrid: Picasso and Dalí before Great International Exhibitions Dalí’s attitude toward Picasso began with admiration, which later became competition, and finally a behavior that, still preserving some features of the former two, also included provocative and exhibitionist harassment, simulated or expressed rivalry, and recognition. As we shall see, this attitude reached its climax at the great international exhibitions. On the other hand, Picasso always stayed away from these provocations and kept a completely opposite, yet watchful and serene behavior toward the impetuous painter from Figueres. Paris 1937, New York 1939 and Madrid 1951: these three occasions in these three major cities are good examples of the climaxes in the Picasso and Dalí confrontation. These international events show their relative divergences, postures, commitments and ways of conceiving art, as well as their positions in relation to Spain. After examining the origins of their relationship, which began in 1926, these three spaces and times shall guide our analysis and discussion of this suggestive relationship. The cultural centers of Madrid, Paris and New York were particularly important in Picasso’s and Dalí’s artistic influence, as well as scenes of their agreements and disagreements. On the one hand, Picasso had already lived in Madrid at the beginning of the 20th century, while Paris had then become the main scene of his artistic development, and New York played a relevant role in his self-promotion. On the other hand, Dalí arrived in Madrid in the early 1920s, and its atmosphere allowed him to get to Paris by the end of this decade, although New York would later become his main advertising and art promotion center. -
La Escritura De Mario Vargas Llosa, Heredera De Las Vanguardias
La escritura de Mario Vargas Llosa, heredera de las vanguardias Ángel de San-Martín Tudela ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. -
Making Images Talk: Picasso's Minotauromachy
UDK: 7.01:111.852 https://doi.org/10.2298/FID1901019L Original Scientific Article PHILOSOPHY AND SOCIETY Received: 14.11.2018. Accepted: 15.01.2019. VOL. 30, NO. 1, 001-196 Ana María Leyra Soriano MAKING IMAGES TALK: PICASSO’S MINOTAUROMACHY ABSTRACT KEYWORDS We can say that Picasso’s images speak to us, and, as writing, speak to Labyrinth, Archetypes, us from that space in which any text – far from being reduced to a single Spanish Civil War, sense – “disseminates” its “truths”. Using the figure and the story of the Minotauromachy, Minotaur, Picasso devoted himself to one of the great themes of his Guernica, Aesthetics. pictorial work. The word “labyrinth” connotes, to the European mind, Greece, Knossos, Dedalus, Ariadne and the Minotaur. However, the Greek formula already represents a mythic and poetic outcome thoroughly developed from an imagery forged in the remotest eras of our evolution. The relationship between the image, the spiral, and the word, labyrinth is also linked to the perception of a drilled earth, excavated, with numberless tortuous tunnels which, in our imagination, provoke concern because they lead to the world of the inferi, the unknown depths of the realms of the dead. Juan Larrea, a little-known essayist in the sphere of philosophical studies, although, from the outset of international renown for Picasso’s work, he gives what is perhaps the best interpretation of Guernica and consequently also sheds much light on the engravings immediately preceding the execution of this painting, theMinotauromachy among them. The artist is not a prophet. He is not foreseeing what the future holds for humanity, but he does possess a heightened sensitivity that drives him to minutely scrutinise the conditions of the time that he has had to live, and he has a transforming eye for the symbols that constitute the deepest threads in the fabric of his culture. -
The Complete Posthumous Poetry
CÉSAR VALLEJO César Vallejo in the summer of 1929 CÉSAR VALLEJO The Complete Posthumous Poetry Translated by Clayton Eshleman & José Rubia Barcia X X X UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of Califomia Press Berkeley and Los Angeles, California University of Califomia Press, Ltd. London, England ISBN 0-520-03648-4 Library of Congress Catalog Card Number 77-93472 Copyright @ 1978 by The Regents of the University of California Designed by Bob Cato Printed in the United Ctates of America Dedicated to Maureen Ahern and Juan Larrea, for their tremendous dedication to Vallejo. ACKNOWLEDGMENTS Come of these translations, in semifinal drafts, have appeared in: Text, Boundary 2, River Styx, Impact, Bezoar, Ecuatorial, and Pequod. Several of the poems translated in the Notes section, plus the entire Appendix, was published by The Black Sparrow Press as "Sparrow #65." "Paris, October 1936" was published by The Bellevue Press as a broadside. Eight of the translations appeared in a special issue of Oasis (London), #19, on Clayton Eshleman's poetry and translations. Severa1 of the final drafts first appeared in Eshleman's essay, "Vallejo, 1978," published in Montemora #4. INDICE NÓMINA DE HUESOS (1923-1936) Nómina de huesos / 2 La violencia de las horas / 4 El buen sentido / 6 El momento más grave de la vida / 8 "Las ventanas se han estremecido . ." / 10 Voy a hablar de la esperanza / 16 "Tendríamos ya una edad misericordiosa . ." / 18 Hallazgo de la vida / 20 "Una mujer de senos apacibles . ." / 22 "Cesa el anhelo, rabo al aire." / 24 "-No vive ya nadie en la casa . -
César Vallejo the Complete Poems
the complete poems césar vallejo the complete poems Edited and translated by Michael Smith & Valentino Gianuzzi × × × Shearsman Books First published in the United Kingdom in 2012 by Shearsman Books Ltd 50 Westons Hill Drive Emersons Green Bristol BS16 7DF www.shearsman.com ISBN 978-1-84861-226-6 Translations, introduction and notes copyright © Valentino Gianuzzi and Michael Smith, 2005, 2007, 2012. In accordance with the Copyright, Design and Patents Act 1988, Valentino Gianuzzi and Michael Smith are hereby identified as the translators of this work, and authors of the introduction and notes. All rights reserved. The translations published here originally appeared as follows: The Black Heralds and Other Early Poems(Shearsman Books, Exeter, 2007) Trilce (Shearsman Books, Exeter, 2005) Complete Later Poems 1923–1938 (Shearsman Books, Exeter, 2005) CONTENTS Introduction [ vii ] The Black Heralds (1919) [ 3 ] Trilce (1922) [ 157 ] Poems (1923-1938) [ 317 ] Early & Occasional Poems (1911-1922) [ 589 ] Appendix Early Versions Fragments from Contra el secreto profesional [ 653 ] Notes [ 699 ] Bibliography [ 759 ] Index of Spanish Titles and First Lines [ 766 ] Index of English Titles and First Lines [ 770 ] INTRODUCTION César Vallejo was born 120 years ago in Santiago de Chuco, an Andean town in northern Peru. Although his date of birth has been set tradition- ally as 16 March 1892, only a Baptism certificate is extant (dated 9 May 1892), and the exact date has been a matter of conjecture and contro- versy. Vallejo’s literary life is, also traditionally, divided into two clear phases: his years in Peru (where he lived in the town of Huamachuco, and the cities of Trujillo and Lima); and his time in Europe (living mainly in Paris, but with an interval in Madrid, several other trips within Spain and France, and three trips to Russia). -
Picasso's Guernica: the Imaginative Treatment of History
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 Picasso's Guernica: The imaginative treatment of history Riley Buchanan The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Buchanan, R. (2018). Picasso's Guernica: The imaginative treatment of history (Doctor of Philosophy (College of Arts and Science)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/213 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. 1 MASTER OF PHILOSOPHY Picasso’s Guernica The imaginative treatment of history A thesis submitted in the partial fulfilment of a Master of Philosophy Riley Buchanan The University of Notre Dame Australia June 2018 DECLARATION OF AUTHORSHIP I declare that this Research Project is my own and contains work which has not previously been submitted for a degree at any tertiary education institution. Riley Buchanan 12 June 2018 i ii ACKNOWLEDGEMENTS I wish to thank my supervisors, Professor Deborah Gare and Professor Charlie Fox, for their unwavering support and guidance throughout this project. Your feedback and assistance has been invaluable. Thanks also to the School of Arts HDR coordinator, Professor Joan Wardrop, whose workshops and reading groups were always a source of inspiration and encouragement. -
The Bull and the Horse: Looking at Two of Guernica's Figures
Forum: Modern Art History The Bull and the Horse: Looking at Two of Guernica’s Figures in the Context of Picasso’s Art by Alexandra Cassar Given the international familiarity and recognition received by Pablo Picasso’s grayscale masterpiece of wartime violence, Guernica has been studied in detail since its creation as both a political emblem rife with symbolism, and as a pictorial representation of human suffering. This paper argues that two primary animals of the Guernica canvas—the bull and the horse—despite varied and admirable attempts to decrypt the meaning of their inclusion in the painting, do not lend themselves to static interpretation. Rather, they are best understood as carefully-crafted parties to the tragedy of wartime violence when considered in light of Picasso’s artistic history. They are characters in the mise-en-scène, included in the painting by virtue of their significance in the artist’s mind, as well as their import as recognizable figures of the Spanish corrida.1 When the airplanes of the German Condor Legion screamed through the skies above Guernica in the Bilbao province of Spain on the afternoon of April 26, 1937, the destruction they wrought was, up until that time, unparalleled. For three and a half hours, the planes dropped incendiary bombs on the Basque capital, with no regard for the civilian population of the town, and with no apparent militaristic objective. Later documents suggest that the bombing of Guernica was a trial run by which the Condor Legion sought to test two things: the functionality of some of newer German aircrafts and the impact of the blitzkrieg method of attack on national morale by way of assessing civilian and military moods after the 1 Corrida is a bullfighter.–Ed. -
Picasso's Minotauromachy
UDK: 7.01:111.852 https://doi.org/10.2298/FID1901019L Original Scientific Article PHILOSOPHY AND SOCIETY Received: 14.11.2018. Accepted: 15.01.2019. VOL. 30, NO. 1, 001-196 Ana María Leyra Soriano MAKING IMAGES TALK: PICASSO’S MINOTAUROMACHY ABSTRACT KEYWORDS We can say that Picasso’s images speak to us, and, as writing, speak to Labyrinth, Archetypes, us from that space in which any text – far from being reduced to a single Spanish Civil War, sense – “disseminates” its “truths”. Using the figure and the story of the Minotauromachy, Minotaur, Picasso devoted himself to one of the great themes of his Guernica, Aesthetics. pictorial work. The word “labyrinth” connotes, to the European mind, Greece, Knossos, Dedalus, Ariadne and the Minotaur. However, the Greek formula already represents a mythic and poetic outcome thoroughly developed from an imagery forged in the remotest eras of our evolution. The relationship between the image, the spiral, and the word, labyrinth is also linked to the perception of a drilled earth, excavated, with numberless tortuous tunnels which, in our imagination, provoke concern because they lead to the world of the inferi, the unknown depths of the realms of the dead. Juan Larrea, a little-known essayist in the sphere of philosophical studies, although, from the outset of international renown for Picasso’s work, he gives what is perhaps the best interpretation of Guernica and consequently also sheds much light on the engravings immediately preceding the execution of this painting, theMinotauromachy among them. The artist is not a prophet. He is not foreseeing what the future holds for humanity, but he does possess a heightened sensitivity that drives him to minutely scrutinise the conditions of the time that he has had to live, and he has a transforming eye for the symbols that constitute the deepest threads in the fabric of his culture. -
An Appropriation for the Stage of Luis Buñuel and Salvador Dalí's Un
From the Screen to the Stage: An Appropriation for the Stage of Luis Buñuel and Salvador Dalí’s Un Chien Andalou Based on an Analysis of the Film from the Perspective of the Spanish Literary Avant-Garde. By: Diego Rodrigo Sosa Ortega. Royal Holloway, University of London. PhD Media Arts & Drama. 1 Declaration of Authorship The title page should be followed by a signed declaration that the work presented in the thesis is the candidate’s own. Please note that there is no set wording for this but an example is provided below: Declaration of Authorship I, Diego Rodrigo Sosa Ortega, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 22/09/2017 2 Abstract. This thesis is formed of two components: an analysis of the film Un Chien Andalou, as seen from the Spanish literary avant-garde and an appropriation of the film for the stage. Un Chien Andalou is one of the most discussed films amongst the surrealist cinema but most of the studies around it place it within the Surrealism practiced in France. The first component of this thesis is a careful analysis of Buñuel and Dalí’s involvment in the literary movements that developed in Spain from 1914 to 1932 and the way in which these movements had an influence in Buñuel and Dalí’s early writings. In this first component, I argue that, while Un Chien Andalou is indeed a Surrealist film, it derives from a particular understanding of Surrealism, one that is heavily influenced by the Spanish literary avant-garde. -
Guernica/Gernika Como Símbolo1
GUERNICA/GERNIKA COMO SÍMBOLO1 Ludger Mees Universidad del País Vasco/Euskal Herriko Unibertsitatea 1. De la infraestructura «objetiva» a la percepción subjetiva Es bien conocido el hecho de que desde el comienzo de los años 90 del siglo XX la historiografía ha vivido un proceso de trasformación en el que el paradigma dominante de la historia social y estructural vivió el desafío de un nuevo modo de entender y explicar los hechos históricos que suele defi nirse como el «giro culturalista» de la historia. En términos marxianos podríamos afi rmar que este proceso ha conducido a una paulatina devaluación de la base económica o infraestructura como elemento clave en la explicación del pasado, mientras que los fenómenos ubicados tradicionalmente en la superestructura ganaban en interés. Si antes era la confi guración objetiva de la realidad his- tórica lo que había que explicar, ahora se trataría cada vez más de analizar la percepción subjetiva de esta realidad por parte de los individuos y colectivos humanos. Aunque este debate no es nada nuevo y, a mi juicio, no es otra cosa que la superación de un materialismo dogmático a través de ideas y aportacio- nes realizadas en buena medida ya antaño por pensadores como, por ejemplo, Max Weber, sí es cierto que este giro ha provocado una cierta marginación de temas de análisis e investigación hasta entonces clásicos, y, como contrapar- tida, la emergencia de otros temas y enfoques que tradicionalmente no habían fi gurado entre los temas preferidos de los y las profesionales de la historia.2 1 Este artículo forma parte de un proyecto de investigación subvencionado por el Mi- nisterio de Ciencia e Innovación (ref.