By Federico Bonaddio
A better half to Federico Garc????‚?a Lorca offers a transparent, severe appraisal of the problems and debates surrounding the paintings of Spain's such a lot celebrated poet and dramatist. It considers earlier and present methods to the learn of Lorca, and likewise indicates new instructions for additional research. An creation at the usually contentious topic of Lorca's biography is via 5 chapters - poetry, theatre, tune, drawing and cinema - which jointly recognize the polymath in Lorca. one other 3 chapters - faith, gender and sexuality, and politics - entire the amount by means of masking vital thematic matters throughout a few texts, issues which has to be thought of within the context of the enduring prestige that Lorca has got and opposed to the history of the cultural shifts affecting his readership. The significant other is a testomony to Lorca's enduring charm and, via its explication of texts and research of the guy, demonstrates simply why he keeps, and will proceed, to draw scholarly curiosity. individuals: 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)
Lorca’s interest in the gypsies, and in their contribution to Andalusian culture, dates as far back as the cante jondo festival of 1922, and was strengthened by his travels throughout Andalusia (see, for example, the letter to his brother written from Lanjarón in 1926 [Epistolario, pp. 329–31). Lorca’s primitivistic image of the gypsies, a group harshly marginalized by Spanish society, feeds on the conviction that they live in greater harmony with nature than others and enjoy greater imaginative freedom from societal constraints; see for example, the ‘Romance de la Guardia Civil española’ [Ballad of the Spanish Civil Guard] or the ‘Escena del teniente coronel de la Guardia Civil’ [Scene of the Lieutenant Colonel of the Civil Guard], a dialogue appended to Poema del cante jondo.
The composer places himself on a poetic plane that is far from direct impression . . He acquires a greater capacity for evocation . . He proceeds not by ‘presentation’ but by ‘reflection’. (Maurer 2000, p. 33) An article by the literary critic Enrique Diez-Canedo identifies the same characteristics in Lorca’s own Poema del cante jondo: The fact that we run into the name of Falla at the very beginning of Lorca’s apprenticeship, tells us much about the character of Lorca’s poetry, where the popular motif, taken directly from the people, turns into free artistic creation, 16 Christopher Maurer, Federico García Lorca y su ‘Arquitectura del cante jondo’ (Granada: Comares, 2000), 33.
On the suppression or mutilation of Lorca’s works, see Daniel Eisenberg, ‘Lorca and Censorship: The Gay Artist Made Heterosexual’, Angélica (Lucena, Spain), 2 (1991), 121–45.