Download book Monografías A: Pierrot/Lorca : White Carnival of Black Desire Volume 350 in FB2, MOBI, DOC
9781855662964 1855662965 Academic research has paid almost no attention to the importance of Pierrot in García Lorca's imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of the bohemian spirit and, corresponding to his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, García Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth, García Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El público. Pierrot / Lorca: White Carnival of Black Desire aims, from a multidisciplinary perspective, to open new critical readings of both García Lorca's work and some episodes of his life; as with, for example, his relationship with Salvador Dalí, which can be presented in theatrical terms: Harlequin (Dalí) / Pierrot (García Lorca). BR> Emilio Peral Vega is Associate Professor of Spanish Literature at the Universidad Complutense de Madrid., Academic research has paid almost no attention to the importance of the figure of Pierrot in García Lorca's imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of the bohemian spirit and, corresponding to his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, García Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth, García Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El público. Pierrot / Lorca: White Carnival of Black Desire aims, from a multidisciplinary perspective, to open new critical readings of both García Lorca's work and some episodes of his life; as with, for example, his relationship with Salvador Dalí, which can be presented in theatrical terms: Harlequin (Dalí) / Pierrot (García Lorca). Emilio Peral Vega is Associate Professor of Spanish Literature at the Universidad Complutense de Madrid., Academic research has paid little attention to the importance of the figure of Pierrot in Garca Lorca's imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of the bohemian spirit and, corresponding to his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, Garca Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth, Garca Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El pblico. Pierrot / Lorca: White Carnival of Black Desire aims, from a multidisciplinary perspective, to open new critical readings of both Garca Lorca's work and some episodes of his life; as with, for example, his relationship with Salvador Dal, which can be presented in theatrical terms: Harlequin (Dal) / Pierrot (Garca Lorca). Emilio Peral Vega is Associate Professor of Spanish Literature at the Universidad Complutense de Madrid., TEMPORARY Despite his continuous appearance in the paintings of Federico García Lorca, academic research has paid almost no attention to the importance of Pierrot, the Italian buffon appropriated by the French in the nineteenth century in García Lorcas imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of modernity, a reflection of the bohemian spirit and, in correspondence with his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, García Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth, García Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El público and Amor de don Perlimplín con Belisa en su jardín. Pierrot/Lorca aims, from a multidisciplinary perpective, to open new critical readings both of García Lorcas work and certain episodes of his life; for example, his relationship with Salvador Dalí. Emilio Peral Vega is Lecturer of Spanish Literature at the Universidad Complutense de Madrid.
9781855662964 1855662965 Academic research has paid almost no attention to the importance of Pierrot in García Lorca's imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of the bohemian spirit and, corresponding to his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, García Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth, García Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El público. Pierrot / Lorca: White Carnival of Black Desire aims, from a multidisciplinary perspective, to open new critical readings of both García Lorca's work and some episodes of his life; as with, for example, his relationship with Salvador Dalí, which can be presented in theatrical terms: Harlequin (Dalí) / Pierrot (García Lorca). BR> Emilio Peral Vega is Associate Professor of Spanish Literature at the Universidad Complutense de Madrid., Academic research has paid almost no attention to the importance of the figure of Pierrot in García Lorca's imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of the bohemian spirit and, corresponding to his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, García Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth, García Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El público. Pierrot / Lorca: White Carnival of Black Desire aims, from a multidisciplinary perspective, to open new critical readings of both García Lorca's work and some episodes of his life; as with, for example, his relationship with Salvador Dalí, which can be presented in theatrical terms: Harlequin (Dalí) / Pierrot (García Lorca). Emilio Peral Vega is Associate Professor of Spanish Literature at the Universidad Complutense de Madrid., Academic research has paid little attention to the importance of the figure of Pierrot in Garca Lorca's imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of the bohemian spirit and, corresponding to his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, Garca Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth, Garca Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El pblico. Pierrot / Lorca: White Carnival of Black Desire aims, from a multidisciplinary perspective, to open new critical readings of both Garca Lorca's work and some episodes of his life; as with, for example, his relationship with Salvador Dal, which can be presented in theatrical terms: Harlequin (Dal) / Pierrot (Garca Lorca). Emilio Peral Vega is Associate Professor of Spanish Literature at the Universidad Complutense de Madrid., TEMPORARY Despite his continuous appearance in the paintings of Federico García Lorca, academic research has paid almost no attention to the importance of Pierrot, the Italian buffon appropriated by the French in the nineteenth century in García Lorcas imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of modernity, a reflection of the bohemian spirit and, in correspondence with his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, García Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth, García Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El público and Amor de don Perlimplín con Belisa en su jardín. Pierrot/Lorca aims, from a multidisciplinary perpective, to open new critical readings both of García Lorcas work and certain episodes of his life; for example, his relationship with Salvador Dalí. Emilio Peral Vega is Lecturer of Spanish Literature at the Universidad Complutense de Madrid.