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Repeat performance: Federico Garcia ...

Nolan, Lisa.

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Repeat performance: Federico Garcia Lorca's theater, fascism and the Spanish literary imaginary.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Repeat performance: Federico Garcia Lorca's theater, fascism and the Spanish literary imaginary./
作者:	Nolan, Lisa.
面頁冊數:	231 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1683.
Contained By:	Dissertation Abstracts International64-05A.
標題:	Literature, Romance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3091496

Repeat performance: Federico Garcia Lorca's theater, fascism and the Spanish literary imaginary.
Nolan, Lisa.

Repeat performance: Federico Garcia Lorca's theater, fascism and the Spanish literary imaginary. - 231 p.

Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1683.

Thesis (Ph.D.)--State University of New York at Albany, 2003.

The primary aim of this study is to contemplate the theater of Federico Garcia Lorca and his image as "anti-fascist". The "anti-fascist" position extracts a severe price as we see that Garcia Lorca's work suffers from a relentless repetition that never quite moves away from simple binary structures that posit his work as investing in nature rather than culture. It is as if the traumatic moment of fascism has gripped the work of this poet and has evacuated it so that we are left with a repetition that repeats the performance of his theater in a striking literality. We see this, in particular, with his tragic theater as it is repeatedly characterized as merely "popular" and thus lacking in complexity. But, his tragedies are crucial to understanding the, poet because they arrived on stage at approximately the same moment as fascism and thus it is necessary to look at both and see how they impinge upon each other's space. By looking closely at the multiple levels of repetition that intersect, and are bound up, with Garcia Lorca's image one finds a peculiar problematic: For it is precisely the repetition of the name Garcia Lorca which points to trauma. Not only does his name recall the moment of fascism, but too his moment of death gives life to another loss and another point is inextricably linked to the poet, 1898. If the territorial losses of 1898 began the search for Spain's form and the imagining of a nation then the death of the poet in 1936 and fascism's entrance on the scene secures the relationship between these two points in history. The question of form leads the way to the poet as a nation struggles to save its form or to actualize the one they have imagined. If repetition is central to the image of Garcia Lorca because it points to trauma we also find that it gives us insight into the work of Garcia Lorca as it becomes the main characteristic of his work thus availing it to a correspondence among traumas, fascisms and bodies.Subjects--Topical Terms:

1019014
Literature, Romance.

Repeat performance: Federico Garcia Lorca's theater, fascism and the Spanish literary imaginary.
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500 $a Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1683.
500 $a Director: Jaume Marti-Olivella.
502 $a Thesis (Ph.D.)--State University of New York at Albany, 2003.
520 $a The primary aim of this study is to contemplate the theater of Federico Garcia Lorca and his image as "anti-fascist". The "anti-fascist" position extracts a severe price as we see that Garcia Lorca's work suffers from a relentless repetition that never quite moves away from simple binary structures that posit his work as investing in nature rather than culture. It is as if the traumatic moment of fascism has gripped the work of this poet and has evacuated it so that we are left with a repetition that repeats the performance of his theater in a striking literality. We see this, in particular, with his tragic theater as it is repeatedly characterized as merely "popular" and thus lacking in complexity. But, his tragedies are crucial to understanding the, poet because they arrived on stage at approximately the same moment as fascism and thus it is necessary to look at both and see how they impinge upon each other's space. By looking closely at the multiple levels of repetition that intersect, and are bound up, with Garcia Lorca's image one finds a peculiar problematic: For it is precisely the repetition of the name Garcia Lorca which points to trauma. Not only does his name recall the moment of fascism, but too his moment of death gives life to another loss and another point is inextricably linked to the poet, 1898. If the territorial losses of 1898 began the search for Spain's form and the imagining of a nation then the death of the poet in 1936 and fascism's entrance on the scene secures the relationship between these two points in history. The question of form leads the way to the poet as a nation struggles to save its form or to actualize the one they have imagined. If repetition is central to the image of Garcia Lorca because it points to trauma we also find that it gives us insight into the work of Garcia Lorca as it becomes the main characteristic of his work thus availing it to a correspondence among traumas, fascisms and bodies.
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