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Anxious gatekeeping

Analogous to nervous cluelessness is something we might call “anxious gatekeeping.”   This is desire to police the borders of poetry, or of...

Monday, February 23, 2015

Contents

Why Lorca Kicks Ass*

Preface: Lorca par lui-même?
Chapter 1: Personae
Chapter 2: Lorca, vanguardista
Chapter 3: The Prophetic Voice: Rilke, Lorca, Neruda
Chapter 4: Baroques: Góngora, Lorca, Lezama
Chapter 5: Lorca and Beckett: The Subject of Farce


*Working title.

Ideally, each chapter should be both focused on Lorca and comparative. It still need to find chapter 6, which will be have to be on the theater, to balance out the lyric bias.

10 commandments of Lorca Studies:

It must be intelligent & Imaginative, shunning anti-intellectualism
It must be self-reflective
It must be comparative
It must look to Latin America, Europe, and the English-speaking world (at the very least)
It must also be comparative within the Iberian peninsula
It must address all of Lorca, poetic and theatrical, without making arbitrary divisions
It must not separate avant-garde from neo-traditional Lorcas
The Lorquian subjects must be plurals
It must be highly respectful of the findings of traditional Lorca scholarship, even when that scholarship is done from differing epistemological presumptions
It must show why Lorca continues to kick you in the ass with his transformative power


UPDATE:

Preface: Lorca par lui-même?
Chapter 1: Personae
Chapter 2: Lorca, vanguardista
Chapter 3: The Fractured Subject: Lorca, Vallejo
Chapter 4: The Prophetic Voice: Rilke, Lorca, Neruda
Chapter 5: Baroques and Neo-Baroques: Góngora, Lorca, Lezama
Chapter 6: Lorca and Beckett: The Subject of Farce