scholarly journals La desesperación del artista. El ultraísmo en las cartas cruzadas de Huidobro, Guillermo de Torre y Gerardo Diego

2020 ◽  
pp. 311-338
Author(s):  
Miguel Ángel García
2021 ◽  
pp. 63-100
Author(s):  
Eva María Martínez Moreno

El presente artículo señala la determinación social de la imagen cinemática como causa directa de la analogía entre las diferentes artes durante el periodo de la Primera Vanguardia. En particular, se profundiza en la reciprocidad expresiva del Cine y la Poesía Nueva que confirman numerosas aportaciones teóricas y prácticas, como las del poeta ultraísta Guillermo de Torre o las del cineasta surrealista Luis Buñuel. Asimismo, se demuestra la conveniencia de aplicar los conceptos de cine-ojo (1919) y cine-verdad (1922), del director ruso Dziga Vértov, y el de cine mental (1989), del escritor italiano Italo Calvino para explicar los fundamentos estéticos y poiéticos de esta ósmosis, que la lectura comparada final del poema creacionista “Lluvia” del español Gerardo Diego y la película homónima del holandés Joris Ivens demuestra.


2020 ◽  
Vol 45 ◽  
pp. 65-94
Author(s):  
Rocío González Naranjo

If we take into account the theories about the concept of ge- neration —Julius Petersen, José Ortega y Gasset, Guillermo de Torre, Azorín, Pedro Salinas, Lorenzo Luzuriaga, Gerardo Diego, José Luís Cano, José Luís Aranguren to tell few names— and after what was re- leased in a previous issue (González, 2016) to the propose of a movement of republican playwrigts females, the goal of this research, owing to the recent edition of Victorina Durán’s anthology of inedit plays of vanguar- dist scenography, is to insert this last one into the list. Thus, we will apply the same premises that we already used previously with the other women playwrights to represent their validity in this emergent move- ment despite being forgotten. Nevertheless, we will constate Durán’s modernity thanks to her dramaturgics of lesbian thematic, something ground-breaking for a society that is not prepared to that yet.


1995 ◽  
Vol 43 (2) ◽  
pp. 530-536
Author(s):  
James Valender
Keyword(s):  

Se reseñó el libro: Gerardo Diego y la vanguardia hispánica.


Author(s):  
Silvia Colás Cardona

Born in Cadiz, Andalusia, and a member of what is known as the Generation of ’27, Rafael Alberti started his career as an avant-garde painter. He began to paint when his family moved to Madrid in 1917, and later in his life, he admitted to thinking of himself as a painter before a poet. He started writing poetry in 1920, publishing some of his early works in the ultraista literary review Horizontes. His first book of poems, Marinero en tierra [Sailor in Land], won the prestigious Premio Nacional de Literatura [National Prize for Literature] in 1925. Soon would follow La amante [The mistress] in 1926 and El alba del alhelí [Dawn of the Wallflower], published in 1927. All three of these works were inspired by neo-popularismo, one of the various literary trends that influenced the Generation of ’27. The arrival of Alberti at the Residencia de Estudiantes [Student Residence] in 1924 marks a crucial moment in his life; it was at the Residencia that he met most of the members that would later form the Generation of ’27: Federico García Lorca, Salvador Dalí, Luis Buñuel, Jorge Guillén, Gerardo Diego, Pedro Salinas, Vicente Aleixandre and Dámaso Alonso, among others.


Author(s):  
Dagmar Vanderbosch

Ultraísmo is an early twentieth-century art movement which developed in Spain around 1920 and was introduced to Argentina by Jorge Luis Borges in 1921. It was strongly influenced by European avant-garde movements, particularly Cubism and Dadaism, and by the Chilean poet Vicente Huidobro’s Creationism. The poets of Ultraísmo rejected the fin de siècle aesthetics of Spanish and Spanish-American modernism and experimented with the graphic and acoustic dimensions of poetry, emphasising rhythm over rhyme. The origins of Ultraísmo go back to late 1918, when Vicente Huidobro visited Madrid for a short period, and Rafael Cansinos Assens, host of a literary circle in the Café Colonial, wrote the first Ultraist Manifesto, published in the magazine Grecia in January 1919 (Videla 1963: p. 27). Other founding texts of the movement are El movimiento ultraísta español and Manifiesto Vertical, both written by Guillermo de Torre in 1920. The movement of Ultraísmo was oriented both toward Europe and Spanish America. Ultraísmo adopted ideas from different European avant-garde movements in an effort to reduce the cultural distance between Spain and the rest of Europe, rather than develop an original programme. Their poetry gives importance to images and metaphors, experiments with typography and calligrams, rejects punctuation and often rhyme, and focuses on poetic rhythm. Ultraísmo developed in Spanish America when Jorge Luis Borges, who had spent several years in Spain and had published poems in Ultraist magazines, introduced the movement in the literary circles of Buenos Aires upon his return to Argentina in 1921.


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