Pages from LorcaSelectedSuites.pdf (original) (raw)
Related papers
VIDA, OBRA Y MUERTE DE FEDERICO GARCÍA LORCA EN LOS LIBROS
In this chapter I endeavour to survey relevant aspects of the literary image of the best known Spanish poet and playwright of the XXth century, Federico García Lorca, as depicted in English travel books on Spain. Many distinguished English-speaking travellers (
Federico García Lorca: Mediating Tradition and Modernity for a World Audience
Wiley Companion to World LIterature, 2019
Federico García Lorca's work has one foot in tradition and the other in modernity, bridging the rural and the urban but also deriving a peculiar force from contradictions between the two. This in-between status may very well be what brought Lorca and, through him, Spanish literature out of the periphery of Europe and on to a world stage. In his first mature work, Lorca interprets ancient traditions (flamenco and folksong), but he does so with a difference, using avant-garde technique or linking desire to a foregone frustration. The balladeer figure in the Gypsy Songbook mediates between an ancient community of gypsies and their "civilized" opponents. In Poet in New York, the poet seeks to mediate the loss of religious faith and the crisis of values triggered by the Great Depression. Lorca's theater starts with modernity's refusal of prescriptions for desire and a commitment to a politics of individual freedom.
Lorca’s Late Poetry: A Critical Study
Liverpool Monographs in Hispanic Studies, no. 10 (Leeds: Francis Cairns), 1990
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the Publisher.
The Greek Lorca: Translation, Homage, Image
greece is a case particularly worthy of attention within the panorama of Federico garcía Lorca's worldwide reception. In comparison to other countries, Lorca's presence in Greece has remained uninterrupted since his first appearance and remains current, with new translations, rewritings, adaptations, and stagings of his plays continually being produced. Lorca has also spurred a wide range of creative responses inspired by his life and death such as essays, music, poetry, and dramas. He has also stimulated debates over aesthetic, literary, cultural, ideological and political issues, and has thus become indissolubly bound to the greek cultural environment both as a greek and a Spanish icon. This paper examines the ways Lorca has been received and treated in greece in relation to the cultural and historical context. Resumen grecia es un caso que merece particular atención dentro del panorama de la recepción internacional de Federico garcía Lorca. en comparación con otros países, la presencia de Lorca en grecia ha permanecido ininterrumpida desde su primera aparición y se mantiene viva con nuevas traducciones, versiones, adaptaciones y puestas en escena de sus obras, producidas continuamente. Lorca ha provocado una gran variedad de respuestas creativas inspiradas por su vida y muerte, como ensayos, música, poesía y obras teatrales. También ha estimulado debates sobre temas estéticos, literarios, culturales, ideológicos y políticos, y así se ha vinculado de manera indisoluble con el contexto cultural griego como un ícono griego y español a la vez. este artículo investiga la manera en la que Lorca ha sido recibido y tratado en grecia dentro de un contexto histórico y cultural.
Romance Quarterly, 2011
Federico García Lorca exemplifies the kind of "poetic thought" characteristic of late modernist poets like JoséÁngel Valente. Because of the circumstances of Lorca's reception, however, this intellectual lineage has remained in the shadows. This article argues that Lorca's lectures belong to the same genre as the prose writings of Valente, Machado, or Lezama Lima and that therefore late modernist poetics is less exceptional in the Hispanic tradition than it might have seemed.
Fairy Tale or Fatal Song? The translator as director of meaning in Lorca’s translated poetry
M. Thelen & B. Lewandowska-Tomaszczyk (eds), Translation and Meaning Part 5, Maastricht University Press, 2001
A current trend in translation studies is for the translator to emerge from anonymity. There is an increasing awareness that a translation reflects a certain interpretation of the source text. Moreover, as a new textual product in the target language, it also steers the interpretative possibilities available to the target audience. In this article, I illustrate this duality on the basis of a French translation of a poem by Federico García Lorca, one of the most frequently translated and interpreted poets of the twentieth century. Earlier studies of his work mainly highlighted the elements of imagination, magic, and folklore. More recently, and especially outside Spain, critics have been paying more attention to interpretations that have a psychological flavour and that emphasise the destructive, homo-erotic, black side of Lorca's nature. This article shows that in the poem that I examine, the translator has used a strategy that stresses the imaginative, child-like aspects of the poem, thus making a more sinister interpretation less likely. I end with an attempt to account for the translator's strategy by showing that its tenor is similar to that of the early interpretations.
Review of Lorca After Life, by Noël Valis
Romance Quarterly, 70.1, pages 252-257, 2023
Lorca After Life was born out of a concern that Lorca, or at least some versions of Lorca, has become too much of a household name in certain quarters: too familiar, too knowable, and too easily mobilized in support of a variety of causes. "Lorca here, Lorca there, Lorca everywhere," quips Valis, referencing a veritable avalanche of cultural and critical works that, "however well intentioned and praiseworthy," run the risk of "domesticating him through overexposure" (10). Valis's worry is not that people have fashioned different understandings of Lorca as a source of individual and collective meaning or identity (a worthy endeavor in many cases), but rather that some ways of imagining him seem to foreclose other possibilities and leave little room for doubt or mystery. To this she responds that there is "something fundamentally unfinished about Lorca, not simply because his life abruptly ended but because an air of incompleteness characterizes the man and his work" (4). For anyone who thought they knew Lorca, Lorca After Life defamiliarizes the writer by evoking something of the marvelous that characterizes his life, work, and times and that prevents us from ever fully comprehending him, whatever that would mean. To this end, the book examines a "multiplicity of Lorcas" that emerged following his death, sometimes building on discourses that circulated during his life (2). Valis situates these different, often contradictory, Lorcas in four communities that furnish the book's organizational framework: those of the dead, the pueblo, the political right and left, and gay culture. Broadly speaking, the three chapters of part one explore Lorca's fame in relation to his place in a dead poets society, the polemical search for his physical remains in the service of historical memory, and his appropriation by writers across the political spectrum as the people's poet. The three chapters of part two locate his celebrity within a lineage of murdered gay writers, gay celebrity culture in Spain during his life, and his connections to crowds and gay admirers. The book references other images of Lorca as a gypsy poet, Andalusian poet or incarnation of duende (among others), but it dwells on the four cultural "constellations" named earlier, lighting them up through a deft integration of archival sources, comparatist criticism, close literary reading, and insights on fame and celebrity (13). Situating Lorca in these four communities is a smart way of helping us see him anew. Of course, other scholars have written at length about Lorca's death or sexuality, for example, and Valis is careful to acknowledge the work of many prior researchers. But she is also keen to pursue novel approaches to Lorca's afterlives. Methodologically, Lorca After Life may be provocative, even disquieting to some, on at least two counts. First, there is a tendency to "decenter" Lorca in extended discussions of other cultural figures scattered in time from the sixteenth century to the present and in space from Spain to Latin America, the United States, England or Italy (22). Chapter five is a case in point, for it mentions Lorca only in passing and focuses instead on Alvaro Retana, a much less-remembered gay celebrity in early twentieth-century Spain. As Valis remarks in another context, "[w]hat seems not to be about Lorca really is about Lorca" in the discussion of Retana and in other passages that may, on first blush, seem to stray far afield (31). One need only keep reading to see how apparently tangential details illuminate Lorca and his works, as when Valis ties Retana's campish novels with gay protagonists into chapter six's masterful reading of the maricas in "Oda a Walt Whitman." Such juxtapositions enrich our understanding of both Lorca and the many authors and texts that Valis draws into his orbit, meaning that this book's appeal will expand beyond lorquistas to other readers interested in such topics as modern and contemporary Spain, the history of fame and celebrity, the development of Spanish gay culture, and the cultural politics of death and remembrance. ROMANCE QUARTERLY Moving forward, scholars and admirers alike will have to grapple with its glowing contributions to the ever-growing universe that is Federico Garc ıa Lorca.