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.

No description available.

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.

The thesis it´s about theatre play Blood Wedding written by spanish author F. G. Lorca. In first theoretical part I briefly concentrate on author, his life and his life´s work. Than I analyze drama Blood Wedding with focus of symbols and metaphors, which are dominated in the play of Lorca. At the end of theoretical part I choose three performances of Blood Wedding from three different directors. I describe them and complete them with fotos from performances. In a practical part of my thesis I analyze all dramatical characters and give description and explication of their costumes, which I use.

En el presente trabajo llevo a cabo un estudio comparativo de las técnicas teatrales y metateatrales que utilizaron el novelista español del Siglo de Oro Miguel de Cervantes en la Segunda Parte de Don Quijote de La Mancha y el dramaturgo modernista italiano Luigi Pirandello en las obras teatrales Sei Personaggi in Cerca d'Autore y Enrico IV. Si bien estos dos autores han sido objeto de numerosos estudios por separado, en la actualidad no existen análisis comparativos de sus obras. Para investigar la utilización que hicieron de técnicas teatrales y metateatrales, parto del teatro griego clásico como tertium comparationis. Pese a que durante mucho tiempo el concepto de metateatro se consideró incompatible con el teatro clásico, la relación entre los dos ha comenzado a reconsiderarse en los últimos tiempos. En mi estudio me baso en las publicaciones más recientes sobre el tema y muestro la importancia del teatro griego clásico para la metateatralidad cervantina y pirandelliana. Lo hago, en primer lugar, trazando el interés de Cervantes por la cultura mediterránea (en concreto, por la Commedia dell’Arte italiana) y, a través de esta, por el teatro griego clásico. Luego me aproximo a través del folclore siciliano a la filosofía del teatro de Pirandello, la cual, aunque se suele identificar con los movimientos de vanguardia europeos de comienzos del siglo XX, se nutrió profundamente de la filosofía y la tragedia griegas. Seguidamente procedo a examinar las técnicas teatrales y metateatrales cervantinas y pirandellianas desde la perspectiva de algunos topoi clave del teatro griego clásico. Asimismo, hago un repaso por los temas clave que comparten Don Quijote de La Mancha, Sei Personaggi in Cerca d'Autore y Enrico IV y su relación con el teatro griego clásico mediante el análisis de las técnicas teatrales y metateatrales de las que se valieron sus autores. Por último, me enfoco en una de dichas técnicas (el uso de títeres) para ilustrar la recurrencia de motivos y temas entre lo clásico (el teatro griego), lo moderno temprano (Cervantes) y lo vanguardista (Pirandello). En este caso, voy más allá de Cervantes y Pirandello para incluir al poeta y dramaturgo modernista español Federico García Lorca, quien fue contemporáneo del dramaturgo italiano y que compartía con él el interés en renovar el panorama teatral de su época regresando al novelista español del Siglo de Oro y, por extensión, al teatro griego clásico.

The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”

Os motivos de honra e honor na dramaturgia de Federico García Lorca. Análise da trilogia rural, Bodas de sangre, Yerma e La casa de Bernarda Alba. Os motivos de honra e honor e suas funções no desencadeamento das tragédias. Honra e honor como traços culturais da região de Andaluzia. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-22T16:35:21Z No. of bitstreams: 1 Dissertacao Luciana C dos Santos.pdf: 504960 bytes, checksum: 7c78d65e33f25e995a6b1d656c653188 (MD5) / Made available in DSpace on 2014-05-22T16:35:21Z (GMT). No. of bitstreams: 1 Dissertacao Luciana C dos Santos.pdf: 504960 bytes, checksum: 7c78d65e33f25e995a6b1d656c653188 (MD5) / Los motivos de honra y honor en la dramaturgia de Federico García Lorca. Análisis de la trilogía rural, Bodas de sangre, Yerma y La casa de Bernarda Alba. Los motivos de honra y honor y sus funciones en el desencadenamiento de las tragedias. Honra y honor como trazos culturales de la región de Andalucía.

Os motivos de honra e honor na dramaturgia de Federico García Lorca. Análise da trilogia rural, Bodas de sangre, Yerma e La casa de Bernarda Alba. Os motivos de honra e honor e suas funções no desencadeamento das tragédias. Honra e honor como traços culturais da região de Andaluzia. / Los motivos de honra y honor en la dramaturgia de Federico García Lorca. Análisis de la trilogía rural, Bodas de sangre, Yerma y La casa de Bernarda Alba. Los motivos de honra y honor y sus funciones en el desencadenamiento de las tragedias. Honra y honor como trazos culturales de la región de Andalucía.

The traditional cante jondo is a song unique to Andalusia as it developed from the "mosaic" of cultures that have inhabited its borders, including Arabs, Jews and Gypsies. The genre expresses the history of the region, reveals the typography of the landscape and cries the tears of its people. "Deep song," the translation for cante jondo, is the forerunner of the flamenco, but it is a communication of a dark soul rather than an exuberant entertainment. The original folk idiom is a medium less concerned with beauty than the cathartic release of pain of every day life. It expresses the soul of Andalusia. This study explores the history and the poetic and musical forms Andalusian cante jondo as the inspiration for the poetry of Federico Garcia Lorca set by Elisenda Fabregas in the song cycle, Five Poems of Garcia Lorca (1992). Lorca felt the validity of "deep song" and he was disturbed that it was being corrupted by commercialism and was afraid it would be lost to posterity. His goal was to preserve the essence of the song and lift it to an artistic plain. He saw folk music as the core of the national musical and literary identity in Germany, France and Russia and worked to establish Spain as an artistic equal. Lorca's writings were not imitations of the traditional cante jondo. They echoed the history, the landscape and the tears, but they did so through symbolism and vivid imagery. The poet communicated on several levels, one as a voice of Andalusia, Spain and ultimately mankind and another with his own private message. His life was short, but his legacy is long. Fabregas, like Lorca, has taken a folk medium and expanded it beyond its original boundaries. Being of Spanish heritage, but not Andalusian, she is less committed to the local musical constraints. She felt the humanity in Lorca's poetic cries and expressed them through her own language. As a result her songs are intensely dramatic and are exciting pieces to perform.

Dai Wangshu 戴望舒 (1905-1950) was a prolific translator, working on both French and Hispanic literature. However, his translation work has often been considered relevant only to the extent that it helped him to develop a self-fashioned modernist style in his own poetic writing. Moreover, no systematic study has been conducted on his interest in Hispanic literature, particularly on his translation of Federico García Lorca’s poetry, a project to which he dedicated over half of his professional career but left unfinished. In addition, investigations on Dai have been generally approached from a narrow theoretical perspective that has risked overlooking the social factors that affected his literary activities. This thesis, therefore, aims to reveal the extent and the way in which translating Lorca into Chinese contributed to the establishment and consolidation of Dai’s position as a social agent in the field of literary production in China. The methodology is constructed in an attempt to reconcile a sociological perspective on translation drawing on Pierre Bourdieu’s theory with a more interpretive understanding of literary writing based on the notion of transculturation inherited from Latin American cultural studies. Examining Dai’s translation of Lorca’s poetry from this integrated perspective allows foregrounding the heterogeneity and multiplicity of Dai’s literary dispositions, at both a macroscopic and a microscopic level, without ignoring the social factors involved in his translation practice. By embedding Lorca’s poetry in the field of literary production in China, Dai privileged a particular set of possibilities over the others, both literary and ideological at the same time. This kind of behaviour in Dai can be interpreted in terms of transculturation and observed in various textual domains, involving formal literary elements, discourses and worldviews. Furthermore, Dai’s project of translating Lorca’s poetry, which expanded over a three-decade period, allows establishing striking connections among literary journals and groups at various temporal and spatial locations, each of them associated with different and often competing views on translation, literature and politics. In sum, Dai’s translation project of Lorca played a pivotal role in establishing and consolidating Dai’s position in the literary scene to the extent that his status as a literary figure was more determined by his translation work than by his own poetic writing. Dai’s translation of Lorca involved not only transculturating a specific text-type, the romance, but also a particular view on the role of literature in society that, unexpectedly, positioned him as an author opportunistically committed to the Communist cause. This investigation contributes new evidence that helps to question some long-standing assumptions both in studies on Dai and in reflections on the role of translation in Chinese literature. In addition, it allows arguing for a study of such a role at large without the need to subsume translation to any other sort of practice.