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.”

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.

Made available in DSpace on 2015-12-10T14:22:12Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-29. Added 1 bitstream(s) on 2015-12-10T14:28:15Z : No. of bitstreams: 1 000853688.pdf: 6118742 bytes, checksum: 0899a7dccc5c539045351d6c407feb52 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / No presente trabalho buscamos refletir a respeito de alguns dos diversos procedimentos extramusicais e interdisciplinares envolvidos na confecção da obra musical Romancero Gitano, de Autoria de Mario Castelnuovo-Tedesco com textos de Federico Garcia Lorca. Para o cumprimento desta tarefa foram considerados procedimentos como retórica e word-painting, bem como levantamento de dados biográficos de compositor e poeta, análises técnico -musicais de cada um dos movimentos da obra e leituras poéticas dos textos / In the present work our aim was to reflect on some of the various extra musical and interdisciplinary procedures involved in the confection of the musical work Romancero Gitano, Mario Castelnuovo-Tedesco's authorship, with texts by Federico Garcia Lorca. To achieve this aim we have considered procedures such as rhetoric and word-painting, as well as research on biographical data about composer and poet, technical -musical analysis of each one of the movements of the work and poetical readings of the texts

Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-03-14T00:41:53Z No. of bitstreams: 2 Jussane Cristine Orlandeli Pavan.pdf: 1255671 bytes, checksum: 1c10eaca1bc003044c6a5b4c30e30e1b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-03-22T16:10:49Z (GMT) No. of bitstreams: 2 Jussane Cristine Orlandeli Pavan.pdf: 1255671 bytes, checksum: 1c10eaca1bc003044c6a5b4c30e30e1b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-03-22T16:10:49Z (GMT). No. of bitstreams: 2 Jussane Cristine Orlandeli Pavan.pdf: 1255671 bytes, checksum: 1c10eaca1bc003044c6a5b4c30e30e1b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-06 / This work has the objective to show a possible interpretation of the play Once Five Years Pass written by Federico Garcia Lorca. This interpretation concentrate on the main character called Young Man and his relationships throught the play. This play has not been the focus of the literary critic. Therefore, my interpretation concentrate on the study of Alfredo de La Guardia and Francisco Ruiz Ramón. They agree that Lorca used Sigmund Freud’s theory in the construction of the play and the characters, mainly, Young Man. As a result, this work shows that all the relationships that the main character has are introjections of the reality that he lives and this introjections gives him the posibility of growth. The interpretation about this play also brought enlightment about the author’s creation process and his way of thinking and acting in the modern theatrer. This work also brought enlightment about the human development and how it overcomes the obstacles in life. / O objetivo desse trabalho é apresentar uma leitura da obra Así que Pasen Cinco Años de Federico Garcia Lorca por meio da personagem Jovem, protagonista da peça, e de sua relação com as demais personagens. Por ser uma peça não tão estudada quanto a conhecida Trilogia Espanhola de Garcia Lorca, a minha interpretação se concentrou nos livros de Alfredo de La Guardia e Francisco Ruiz Ramón. Ambos concordam que a obra de Garcia Lorca utilizou as terorias psicanalíticas de Sigmund Freud para sua construção e, portanto, essa dissertação também recorreu a alguns trechos da obra do psicanalista. Como resultado do trabalho, foi possível perceber que a construção do protagonista acontece por meio das relações que ele constroi durante a peça e elas são introjeções da realidade vivida por ele em um sonho. A partir do encontro com as introjeções, o Jovem consegue alcançar o amadurecimento da vida adulta. A leitura dessa obra de Garcia Lorca trouxe não só o entendimento do processo criativo do autor na escritura do texto dramático e da sua visão para um novo modelo de teatro, mas também um entendimento do desenvolvimento humano e dos obstáculos que se apresentam para que ele seja conquistado.

During the 20th century, chamber works for harp expanded to include significantly different instrumentations, like flute, voice and harp. Indeed, a body of works for flute, voice, and harp began to develop mainly through the commissioning efforts of ensembles comprised of these instruments. This study of George Crumb's Federico's Little Songs for Children for flutes, soprano, and harp considers the unique advantages and challenges of this instrumentation and offers specific suggestions for performance. Attention to various compositional elements of Federico's Little Songs for Children, especially as they relate to the text, is also helpful in preparing to perform this work. The form, pitch material, and text-painting in the work allow for special opportunities to convey meaning to audiences in ways that do not rely on traditional tonal relationships. Accompanying the shift away from traditional tonal relationships, the development of the harp repertoire in chamber and solo settings during the 20th century also led to the development of many extended- techniques for this instrument. For the most part, these techniques have been described and given various notational symbols but not discussed in detail with regard to execution. Federico's Little Songs for Children itself requires several unique extended-techniques. Recommendations are given in this paper concerning how to achieve the extended-techniques in Crumb's work in a stylistically appropriate and effective manner.

The tragedy, La casa de Bernarda Alba, by Federico Garcia Lorca is generally recognized as one of the finest poetic tragedies of the Twentieth Century, yet it has not drawn the critical attention afforded the plays of Lorca's contemporaries, such as 'Tennessee Williams, for example. Ironically, Williams' early plays evince a definite. Lorquian influence. Close attention has been paid to the poetic texture of.Williams plays, providing an important contribution to understanding the art of his poetic tragedy. The same has not been true of Lorca. This may he due partly to the fact that Lorca's ·tragedies have not played very well in the United States and partly due to political considerations in his native Spain. It is the purpose of this essay to make a detailed analysis of the poetic structure of La casa de Bernarda Alba to show Lorca's brilliant welding of the basic elements 10f' the drama into one underlying statement of theme, This will be accomplished through a close reading of the play as originally written in the Spanish language with especial attention paid to its setting, dominant image patterns, characters, and action. These, then, will be examined and elucidated in relationship to thematics, thus demonstrating Lorca's dramatic technique of fusing these fundamental parts through use of language and symbol into one unified whole.

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics & Modern European Languages / D. Lit. et Phil. (Spanish)

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics and Modern European Languages / D. Lit. et Phil. (Spanish)

No description available.