Download García Lorca at the Edge of Surrealism: The Aesthetics of by David F. Richter PDF

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By David F. Richter

Garcia Lorca on the fringe of Surrealism: The Aesthetics of Anguish examines the diversities of surrealism and surrealist theories within the Spanish context, studied in the course of the poetry, drama, and drawings of Federico Garcia Lorca (1898 1936). not like the idealist and unconscious tenets espoused by means of surrealist chief Andre Breton, which specialise in the wonderful, computerized artistic strategies, and sublimated depictions of fact, Lorca s surrealist impulse follows a trajectory extra according to the theories of French intellectuals equivalent to Georges Bataille (1897 1962), who used to be expulsed from Breton s authoritative team. Bataille reviews the lofty targets and beliefs of Bretonian surrealism within the pages of the cultural and anthropological evaluate files (1929 1930) by way of a dissident surrealist ethno-poetics.

This model of the surreal underscores the superiority of the grim or darker elements of fact: predicament, primitive sacrifice, the dying force, and the violent illustration of life portrayed via formless base subject resembling blood, excrement, and fragmented our bodies. the current research demonstrates that Bataille s theoretical and poetic expositions, together with these facing l informe [the formless] and the somber vacancy of the void, interact the trauma and anxiousness of surrealist expression in Spain, quite near to the agony, hope, and loss of life that determine so prominently in Spanish texts of the Nineteen Twenties and '30s usually certified as surrealist. Drawing commonly at the theoretical, cultural, and poetic texts of the interval, Garcia Lorca on the fringe of Surrealism bargains the 1st book-length research to think about Bataille s considering in the Spanish context, tested in the course of the paintings of Lorca, a novel exponent of what's the following often called a dissident Spanish surrealism.

By analyzing Lorca s surrealist texts (including Poeta en Nueva York, Viaje a los angeles luna, and El publico) during the Bataillean lens, this quantity either amplifies our realizing of the poetry and drama of 1 of crucial Spanish writers of the 20th century and likewise expands our standpoint of what surrealism in Spain means."

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Extra resources for García Lorca at the Edge of Surrealism: The Aesthetics of Anguish

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The liberation from conformity and the search for new expressive models is approached further by Guillermo de Torre, whose 1925 study Literaturas europeas de vanguardia [Literatures of the European Avant-garde] has been called by many the Bible of the avant-garde: Hay un deber fundamental en toda generación disidente: toda promoción que marca un punto de ruptura con su antecedente y aspira Spanish Surrealism’s Absent Father 27 a comenzar en ella misma: literariamente hablando, a inaugurar nuevas líneas de expresiones, de predilecciones y motivaciones.

Christopher Maurer, in Poet in New York: A Bilingual Edition, trans. Greg Simon and Steven F. White, ed. Maurer (New York: Noonday, 1998), 185, 199. 3. Georges Bataille, Literature and Evil, trans. Alastair Hamilton (London: Marion Boyars, 1990), 48. 4. Michel Foucault, Présentation [Introduction] to Œuvres complètes [Complete Works], by Georges Bataille, vol. 1 (Paris: Gallimard, 1970), 5. 5. Art historian Dawn Ades has dealt with surrealism in Spain through the artwork of Salvador Dalí and has considered the relevance of Bataille’s interest in the work of the Spanish painter.

37 The artistic ecstasy and heightened sense of pure emotion evident in Spanish art forms including poetry, flamenco dance, Andalusian cante jondo, and bullfighting demonstrate—for Bataille—a “plaisir angoissé” 38 [anguished pleasure] through which one experiences a brand of ecstasy linked with death. The aesthetic anguish sensed by Bataille in Spain in the early 1920s appeared in his own artistic endeavors such as the transgressive novella Story of the Eye. A disturbing sense of delight also provided the foundation for theoretical ruminations in Documents (and later texts like Erotism and Actualité), which considered the work of Spanish cultural icons such as Santa Teresa de Ávila, Juan de Valdés Leal, Francisco de Goya, Picasso, Dalí, Buñuel, and Lorca.

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