Approaching Lorca’s "Viaje a la luna": Structural Patterns, Symbolic Concatenation, and "El público" (original) (raw)
Related papers
“Cinegrafía” and the Abject in Federico García Lorca's Viaje a la luna (1930)
Romance Quarterly, 2011
Federico García Lorca's screenplay Viaje a la luna (1930) is an example of what Spanish film critic Antonio Espina called cinegrafía in that it theorizes the relationship between the written word and the film image. It is also a work that intertwines the desire for sexual freedom with an anxiety for artistic innovation. Drawing on Julia Kristeva's psycho-linguistic feminist rereadings of Freud and Lacanian formulations of the construction of human subjectivity known as the abject, this article explains how Lorca looked for new ways to enlist the possibilities of film in his search for a more open and fluid artistic subjectivity and ways of representing normative and non-normative sexual identities.
Lorca’s "New York Poems": a Contribution to the Debate
Forum for Modern Language Studies, 1981
There can now be no doubt that the year Lorca spent in the United States and Cuba, from summer 1929 bo summer 1930,1 was one of the most, fruitful periods of literary production in his life, including as it did much original composition as well as a good deal of revision of works whose inception dates from earlier years. One has only 1,o review the list of l,itles to find the proof: in the field of poetry Lorca completed tlne Od,a al santisimo sa,cramento d,el altar,z a surprising fact perhaps, given that his major efforts were devoted to the numerous and very different "I{ew York poems", most if not all of which were at Ieast drafted during this year.8 In the fieid of drama, two plays, La zapatera prodigi,osa and Amor d,e Don Perlimlfl|n con Belisa, en su, jaril6n, were subject to extensive revision, whilst two more, Asi, que pasent, c,i,nco afr,os a:nd El prtbli,co, were commenced. La zapa,tera gtroilig,iosa, originally started in 1923, was pronounced finished in January 1928. Ilowever, through the autumn and winter of 1929-30 Lorca under-1ook a considerable project of retouching.a Similarly, Amor d,e Don Perti,mpti,n dates back to the autumn of 1924; reappears in 1926; was "in preparation" in December 1928; and went into rehearsal with the theatrical group El Caracol led by Cipriano Rivas Cherif in the first half of 1929 before being banned by the censor. Lorca worked on it during the second half of 1929, ancl it was very probably of this play that he gave a reading on Christmas Eve, 1929.5 There are grounds for beiieving that work had started on Asi, gue pasen c,inco afi,os and El pdblico in the Summer or autumn of 1929;6 certainly Lorca was working on them in Cuba? although neither was "finished"" until after his return to Spain.s In the miscellaneous field of prose, whilst in New York Lorca wrote in collaboration with Emilio Amero a filmscript, Vi,aje a la luna.e None of the lectures he gave in New York or Cuba was a new composition, but most, if not all, were given in a revised form.1o It is fairly clear that all t]ne Poemas en prosa (previously termed Narraciones) were composed before his stay in New York but, there are grounds for thinking that Lorca had taken at least, some of them up and had been working on them again while he was there.1l Finally, it now seems almost, certain that he had written at least, some sort of draft of a prose work to be entitled La ciud,ad,, concerned with New York and complementary to the "New York poems".12 It is perhaps worth while reminding ourselves here how important it is to establish a clear and detailed chronology of a poet's work, and how necessary it is to know how that work came to form the collections hhab a reader encounters today. Without specific dating of individual poems, it is difficult
New York, New York: Lorca's Double Vision
Journal of Iberian and Latin American Studies, 2000
This article analyzes Lorca's Poeta en Nueva York by rehistoricizing it in the time of 'the Pansy Craze' (the new visibility of gay men in the modern metropolis documented by George Chauncey) and the history of African-American theater. It identifies an attitude of ambivalence or 'double vision' towards both topics in Lorca's work. Drawing on archival research the article also proposes a radical dance work by Martha Graham, which Lorca may well have seen, as a precedent for his own break with the boundaries of traditional theater in El público.
Revista Canadiense de Estudios Hispánicos, 1984
Clearly the crux of the majortextual polemicsurrounding Poeta... , namely whether we may work with the two 1940 editions towards a relatively satisfactory resuli or whether we must need/abandon them and return to Sf the earlier "split" versions of Poeta en Nueva York and Tierra y luna, depends on how invalidating the discrepancies which Dr Mart[n discovered really are. It is my present opinion that the continuing controversy bears more than a passing resemblance to the proverbial storm in a teacup. Critics have tended to be carried away by the "CaSo extremo" of "Nocturno del hueco" which Dr Martin cites in extensa (13-17). However, strikingly, a different impression is gained from the individual textual notes to Poeta ... tucked away at the back of the second edition presently under review (Poesfa,2),
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.
A Chronology of Lorca's Visit to New York and Cuba
Despite the ever-increasing interest in the life and works of Federico García Lorca; scholars have not devoted attention in recent years to his visit to the New World in 1929-30. This is surely explained by the fact that we have had for many years two studies of that visit, Ángel del Río's introduction to Ben Belitt's bilingual edition of Poet in New York 1 , and the book, Federico García Lorca, of John Crow 2 . Both of these, however, were written a generation ago, and lack the details and precision which are found in more recent studies of other periods of Lorca's life, and both are based almost exclusively on the memories of the authors, without any attempt to supplement these from written records. As a result, although Lorca's first trip outside of Spain is well-known in its general outlines, it is one of the periods about which detailed information is most lacking 3 . For example, while it is known that Lorca gave some lectures in the United States, no one has been able to specify accurately their titles or subjects, or even whether they were given in 1929 or 1930 4 .
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.