128 research outputs found
Llanto por Ignacio Sánchez MejĂas
Ignacio Sánchez MejĂas. Periodista y dramaturgo. Seminari
Tigre y paloma. AntologĂa
Leer a Federico GarcĂa Lorca es encontrarse con ese ser casi mĂtico que fue capaz de entregarle a la humanidad, en poco menos de dos dĂ©cadas, una obra poĂ©tica y dramatĂşrgica que hizo historia en la literatura universal. Una obra teñida a la vez por la sensibilidad del mĂşsico y el talento del dibujante, pero sobre todo, tocada por el poderoso magnetismo de un hombre que hizo del arte su territorio. Aquel desde donde creĂł, pensĂł, sintiĂł y actuĂł sobre el mundo
La aurora
En el centenario de Federico GarcĂa Larca recordamos este poema de Poeta en Nueva York que refleja la crisis del poeta unida a la crisis colectiva de la ciudad, en una visiĂłn lĂşcida de la modernida
Primer romancero gitano : (1924-1927)
Indice.Copia digital. España : Ministerio de Cultura y Deporte. Subdirección General de Coordinación Bibliotecaria, 202
Las traducciones hĂşngaras del romancero gitano de Federico GarcĂa Lorca
Federico GarcĂa Lorca’s first volume of poems translated to Hungarian was The Gipsy Ballads, which was published in 1947 in two independent editions (CserĂ©pfalvi and Lux Publishing Companies) at the same time. Readers got acquainted with Lorcas’s lovely romances through the translations of Ervin Gyertyán and LászlĂł András. In 1963 a new edition enriched Lorca’s image in Hungarian, this time EurĂłpa Publishing Company issued the The Gipsy Ballads cycle within a volume along with other poets’ works, but this time the poems were translated to Hungarian by LászlĂł Nagy. The aim of this paper was to compare the three different Hungarian translations. Obviously, within the limits of this article it was impossible to compare all the ballads, therefore I have selected three poems (Romance de la luna, luna; La monja gitana; Precios y el aire) of the volume, in order to present through differences/similarities of syntactic, semantic and poetical aspects the importance of the translators’ valuable work in presenting Lorca’s duende in Hungarian language
Federico GarcĂa Lorca: mĂşsica y poesĂa : la problemática del cante jondo
The topic of my essay is the musical work of Federico GarcĂa Lorca and the effect of
music on poetry. The aim is to present an objective image of GarcĂa Lorca, the
musician, disregarding his reputation as poet and dramatist.
In this extract, I discuss the theory of cante jondo. The differences between Lorca’s
and later experts’ results are presented from the perspective of modern flamencology.
The first disputed aspect is stylistic categorisation – while the poet makes a distinction
between cante jondo and cante flamenco, flamencologists consider cante jondo as a
subtype of flamenco. The origin of the genre is even more problematic, and, in the
absence of written documents, the debate between the representatives of the
Andalusian and the gypsy origin is still unclosed. Considering the place of origin of
cante jondo Lorca did not state his opinion, therefore, based on some references, I try
to clarify if he shared his teacher’s, Manuel de Falla’s opinion, which is different from
what experts claim today.
Only part of the analysis of Poema del cante jondo is published here, but after the
in-depth examination of the volume it can be stated that despite the disputability of
his theory, the poet could recreate the emotions and thoughtfulness of “deep song”
El viaje de Federico a la luna : en torno al guiĂłn cinematográfico de Federico GarcĂa Lorca
This essay is about Federico GarcĂa Lorca’s filmscript, Trip to the Moon written during his stay in AmĂ©rica between June of 1929 and March of 1930. Although there was no doubt about the existence of this script the matter of fact is that was found only in 1989.The surrealist text is surprisingly daring, in certain way more than Buñuel’s Un chien andalou. For the reading and correct interpretation of the text is essential to be familiar with Lorca’s biografical background and system of symbols.The point of this essay is explain the reason and the meaning of the script and its importance in Lorca’ oeuvre.To sume it up, the message is dark: in Lorca’s view the well balanced, harmonious relationship betwen man and women does not exist or is sentenced to death and ends up in the death which means moon, according Lorca’s symbols
Llanto por Ignacio Sánchez MejĂas
Copia digital. Valladolid : Junta de Castilla y LeĂłn. ConsejerĂa de Cultura y Turismo, 2011En la cub:Cruz y Ray
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