By Federico Bonaddio

A spouse to Federico Garcí­a Lorca presents a transparent, serious appraisal of the problems and debates surrounding the paintings of Spain's so much celebrated poet and dramatist. It considers previous and present ways to the learn of Lorca, and likewise indicates new instructions for extra research. An advent at the usually contentious topic of Lorca's biography is by means of 5 chapters - poetry, theatre, song, drawing and cinema - which jointly recognize the polymath in Lorca. one other 3 chapters - faith, gender and sexuality, and politics - whole the quantity by means of overlaying very important thematic matters throughout a few texts, matters which has to be thought of within the context of the enduring prestige that Lorca has received and opposed to the historical past of the cultural shifts affecting his readership. The spouse is a testomony to Lorca's enduring attraction and, via its explication of texts and research of the guy, demonstrates simply why he maintains, and may 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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Extra info for A Companion to Federico Garcia Lorca

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The closeness of words and music in traditional song is another enduring characteristic of Lorca’s own work, and it is no coincidence that he composed tunes for some of his own ballads and, later in life, his own arrangements of folk tunes, which he played and recorded with the singer and dancer Encarnación López Júlvez, La Argentinita. Throughout his poetry, from his juvenilia (circa 1916) until the end of his life, one finds a conscious effort to bring together literature and music, a characteristic that is not surprising, given his earliest artistic training as a classical pianist and his early attempts at musical composition for the piano.

Christopher Maurer (San Francisco: Cadmus Editions, 1984). POETRY 19 medias res (which helped turn the lyrics into a mysterious story only half told); its circular structure, use of the refrain and of assonant rhyme (rhyming of vowels but not consonants); its sparing use of metaphor; and its vividness and ability to visually ‘enact’ rather than narrate. The closeness of words and music in traditional song is another enduring characteristic of Lorca’s own work, and it is no coincidence that he composed tunes for some of his own ballads and, later in life, his own arrangements of folk tunes, which he played and recorded with the singer and dancer Encarnación López Júlvez, La Argentinita.

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.

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