Review of Caleb Beissert: Federico Garcia Lorca & Pablo Neruda: Beautiful, Translations from the Spanish

<p>Föreliggande uppsats syftar till att undersöka metaforiken i Federico Garcia Lorcas drama Yerma. Undersökningen tar sin utgångspunkt i föreställningen att metaforiken är betydelsebärande för dramat. Metaforiken fokuseras genom en analys som syftar till att blottlägga struktur hos metaforerna. Denna analys fungerar som övergång till en tolkning med hermeneutisk prägel. I strukturanalysen tillämpas Max Blacks interaktionsteori och tolkningen utgår framförallt från Paul Ricoeurs hermeneutiska fenomenologi, vilken även ligger till grund för kombinationen av strukturanalys och hermeneutisk tolkning. Uppsatsen undersöker på detta vis metaforikens speciella karaktär i dramat och dess referens till verkets värld. Metaforerna ses som ingående i ett större nätverk i dramat och gemensamma mönster för uppbyggnad och uttryck urskiljs.</p><p>Nyckelord: Metafor, Metaforik, Federico Garcia Lorca, Yerma, Paul Ricoeur, dramatik, spansk litteratur.</p>

Föreliggande uppsats syftar till att undersöka metaforiken i Federico Garcia Lorcas drama Yerma. Undersökningen tar sin utgångspunkt i föreställningen att metaforiken är betydelsebärande för dramat. Metaforiken fokuseras genom en analys som syftar till att blottlägga struktur hos metaforerna. Denna analys fungerar som övergång till en tolkning med hermeneutisk prägel. I strukturanalysen tillämpas Max Blacks interaktionsteori och tolkningen utgår framförallt från Paul Ricoeurs hermeneutiska fenomenologi, vilken även ligger till grund för kombinationen av strukturanalys och hermeneutisk tolkning. Uppsatsen undersöker på detta vis metaforikens speciella karaktär i dramat och dess referens till verkets värld. Metaforerna ses som ingående i ett större nätverk i dramat och gemensamma mönster för uppbyggnad och uttryck urskiljs. Nyckelord: Metafor, Metaforik, Federico Garcia Lorca, Yerma, Paul Ricoeur, dramatik, spansk litteratur.

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.

Il pensiero teoretico del filosofo italiano Michele Federico Sciacca è il tema principale di questa tesi di dottorato. Sciacca si interessò costantemente alla cultura spagnola e amò la Spagna quanto una seconda patria, presso l’Università di Barcellona ricevette l’ultima laurea honoris causa della sua esistenza, questi i motivi che hanno dato ispirazione a questo lavoro di ricerca. Il lavoro è stato suddiviso in cinque parti fondamentali, nelle quali abbiamo cercato di cogliere ermeneuticamente le poliedriche sfaccettature della teoresi di e su Michele Federico Sciacca. Nella prospettiva storica ci siamo occupati del pensiero di Sciacca a partire dai pensatori che in qualche modo hanno più di altri plasmato la sua impostazione teoretica, con i quali il filosofo di Giarre ha dialogato durante la sua esistenza. Il dialogo con i grandi filosofi del passato è costituito, come ogni autentica relazione, da assensi e dissensi, dialogo, che non si inscrive in un’asettica ripetizione di formule e concetti ma che permette un autentico e dinamico progresso del pensiero che si svolge nel corso del tempo. Validità dunque della tradizione che si incarna nella perennità del vero, sulla quale è possibile fondare il presente in tensione verso il futuro. Tra le cause che Sciacca considera scatenanti della decadenza dell’Occidente in Occidentalismo, si evidenzia la perdita del senso metafisico della filosofia Dopo aver, quindi analizzato la teoresi di Sciacca era necessario affrontare il problema inerente l’ermeneutica sul pensiero di Michele Federico Sciacca, ovvero il percorso che i discepoli del filosofo siciliano hanno intrapreso sulle orme del maestro. Abbiamo quindi preso in esame il filosofare dei maggiori esponenti della scuola sciacchiana: Alberto Caturelli, Maria Adelaide Raschini e Tomaso Bugossi. Il pensiero sciacchiano ha lasciato un’impronta notevole all’interno di quella scuola genovese che ancora oggi persiste. Il pensiero di Sciacca è tutt’ora connotato di grande attualità combattendo fortemente la società occidentalistica e priva di valori in cui oggi siamo pericolosamente incardinati. In ultima analisi ci siamo occupati in maniera dettagliata dell’eredità sciacchiana, infatti, quella che potremmo identificare come la nuova scuola genovese si radica profondamente nel significativo messaggio che Sciacca lancia all’uomo dei nostri tempi: uomo perennemente squilibrato che deve desiderare con tutto se stesso di riconquistare la libertà, in un mondo che lo lacera, che lo riduce a brandelli. L’appendice, infine ci presenta le tappe fondamentali del filosofo italiano in terra spagnola, ovvero il discorso tenuto in occasione del conferimento della Laura Honoris Causa presso l’Università di Barcellona nel quale Sciacca evidenzia l’importanza della parola, denunciando il caos causato dell’uso inappropriato del linguaggio sia nella sua epoca che nella nostra. Questo ci permette di evidenziare anche la valenza ermeneutica del pensiero del filosofo siciliano In secondo luogo abbiamo presentato un breve articolo che la filosofa Spagnola Maria Zambrano scrisse sul quotidiano argentino “La Nation” nel 1956, intitolato: Ortega y Gasset fuè el tema de ayer de Sciacca, per sottolineare ancora una volta il profondo legame culturale tra Sciacca e il pensiero spagnolo. Sciacca è stato un pensatore responsabile, platonicamente eretto, cosciente del fatto che oggi, in un’epoca in cui manca la presenza di autentici maestri, il compito del filosofo è quello di essere testimone, autentico paladino della verità quale perfetta sintesi di tutti quei valori che nel tempo hanno costituito quell’uomo nuovo al quale ogni buon cristiano si ispira. Sciacca sapeva andare oltre le apparenze, esisteva appieno il suo essere andando contro quegli “ismi” che caratterizzavano la sua epoca e che pervadono la nostra, questo fa di lui un pensatore più che mai attuale il cui pensiero merita di essere scandagliato in ogni su sfaccettatura. / The main objective of this thesis is the theoretical thinking of the Italian philosopher Michele Federico Sciacca. Sciacca is constantly interested in the Spanish culture; he loved Spain as a second home and, at the University of Barcelona, received the last honorary degree of his life. These are the reasons that have given inspiration to this research work. The work was organized into five main parts, in which we tried to hermeneutically capture the multifaceted aspects of the Michele Federico Sciacca theoretical thinking. In the historical perspective, we dealt with the thinking of Sciacca from the people who somehow have more than others shaped his theoretical approach, with which the philosopher of Giarre dialogued during its existence. After having analyzed the theoretical thinking of Sciacca, it was necessary to address the problem of the hermeneutic thinking of Michele Federico Sciacca, i.e. the path that the followers of the Sicilian philosopher have undertaken in his footsteps. We then examined the philosophy of the sciacchiana school leaders: Alberto Caturelli, Maria Adelaide Raschini and Tomaso Bugossi. The Appendix presents the fundamental steps of the Italian philosopher in Spain, and the speech given when he received the honorary Laura at the University of Barcelona, in which Sciacca highlights the importance of the word. Finally, we presented a brief article that Maria Zambrano, a Spanish philosopher, wrote on Argentine newspaper "The Nation" in 1956: Ortega y Gasset de ayer fue el theme of Sciacca. Sciacca was a thinker responsible, conscious of the fact that today, in an age that lacks the presence of authentic teachers, the objective of the philosopher is to be a witness, a real champion of truth as the perfect synthesis of all those values that, over time, have formed “the new individual” to whom every good Christian should be inspired. Sciacca was able to go beyond the appearances, a great control of his capacity, which helped him to be against those “ismi” that characterized his time and pervade us. This makes him a thinker more than ever actual, whose thinking deserves to be explored in every facet.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

The purpose of this study is to examine literary representations of religiosity and the spiritual realm in late nineteenth-century Mexico, in prose works by Manuel Gutiérrez Nájera (1859-1895), Federico Gamboa (1864-1939), and Amado Nervo (1870-1919). Through an analysis of selected texts by these authors, I will explore how they articulated the Roman Catholicism that permeated their cultural context, amid the processes of modernization. I will also show how they expressed subjective spiritual experiences, independent of the doctrinal precepts of the Church. All three of these writers devoted attention to the pervasive religiosity of their milieu, and wrestled with the question regarding the relevance of the Church in modernity. However, each one presents a distinct vision for the role that institutional religion should play. Each of these authors also portrays his own individual experiences of the metaphysical realm. Part One is based on an analysis of selected articles, chronicles, and short stories by Manuel Gutiérrez Nájera. This author utilizes the modernista aesthetic of the era to transform the religious impulse into subjective expressions of the Divine. In this regard, he presents a secular form of spirituality, although his texts often contain undertones of a lingering Catholicism. Part Two addresses the tension between religious orthodoxy and modernity in three novels by Federico Gamboa, narratives that reflect the author’s close adherence to Church dictates. In these stories the protagonists often come into conflict with the prevailing religious discourse that attempts to thwart their autonomy. Yet the narratives ultimately reaffirm and uphold Catholic values. In Part Three of this study I turn my attention to a selection of articles, chronicles, short stories, and novellas by Amado Nervo, the most spiritually inclined of the three authors. His early novellas present similar themes as Gamboa’s novels regarding the interference of the Church in the lives of the characters. However, Nervo’s later texts reveal that he did not feel compelled to remain within the limits of Church doctrine. Instead, he follows Nájera’s lead in exploring alternative perspectives of the Divine, such as spiritualist practices and the other religious traditions. / text

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La presente investigación pretende introducirse en parte de la poesía de Federico García Lorca para conocer un aspecto no dilucidado de la obra del poeta andaluz a través del término putrefacto. Se dará cuenta de la influencia y del impacto que el término produjo reflexionando, al mismo tiempo, acerca de este concepto relacionado con la literatura.