El ritmo en Poeta en Nueva York de Federico García Lorca
This article explores how Federico García Lorca’s interest in popular and traditional poetry facilitated the poet’s incursion into the “avant-garde” style with which Poeta en Nueva York is usually identified. An analysis of “El rey de Harlem”, “Pequeño vals vienés”, and “Son de negros en Cuba” attem...
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| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2023 |
| País: | México |
| Recursos: | EL COLEGIO DE MÉXICO |
| Repositório: | Nueva revista de Filología Hispánica |
| Idioma: | espanhol |
| OAI Identifier: | oai:oai.nrfh.colmex.mx:article/3844 |
| Acesso em linha: | https://nrfh.colmex.mx/index.php/nrfh/article/view/3844 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Poeta en Nueva York Federico García Lorca rhythm lógica lírica avant-garde tradition ritmo vanguardia tradición |
| Resumo: | This article explores how Federico García Lorca’s interest in popular and traditional poetry facilitated the poet’s incursion into the “avant-garde” style with which Poeta en Nueva York is usually identified. An analysis of “El rey de Harlem”, “Pequeño vals vienés”, and “Son de negros en Cuba” attempts to show that, far from practicing “free” verse, García Lorca’s poems are guided by rhythmic considerations established by resources such as accent, phonetic range, syllabic patterns, verbal tenses, syntactic structures and rhetorical figures of repetition. |
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