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Las raices del duende: Lo tragico y ...

The Ohio State University.

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Las raices del duende: Lo tragico y lo sublime en el cante jondo.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Las raices del duende: Lo tragico y lo sublime en el cante jondo./
作者:	Mora Contreras, Francisco Javier.
面頁冊數:	425 p.
附註:	Adviser: Samuel Amell.
Contained By:	Dissertation Abstracts International68-12A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3292710
ISBN:	9780549362838

Las raices del duende: Lo tragico y lo sublime en el cante jondo.
Mora Contreras, Francisco Javier.

Las raices del duende: Lo tragico y lo sublime en el cante jondo. - 425 p.

Adviser: Samuel Amell.

Thesis (Ph.D.)--The Ohio State University, 2008.

Within the world of Andalusian music called flamenco, popular language first, and later intellectualised reflections by cultural elites have coined a term, duende [charm, charisma, magic...], whose purpose is either the process of generation of artistic creation, or the specific manner of emotional intercommunication between artist and audience, or the formal objectifying of the tragic spirit in a peculiar manner of flamenco expression called cante jondo [deep song]. Ever since Federico Garcia Lorca in the 1920s, and from very distant disciplines and sciences, a number of theories have emerged, one of whose main axis has been the attempt to clarify such an ineffable experience. Therefore, this work intends to do a critical survey of some of the texts which flamencology considers canonical for the understanding of duende and cante jondo. We will not regard cante jondo here as a subset of styles within the flamenco musical current, but as a particular way of interpreting this kind of music, consisting of the expression of tragic and pathetic contents subjected to minimalist, primitivist forms developed during the second half of the 19th century, following the premises of romantic aesthetics. For that very reason, we thought it necessary to do research into the concept of the tragic and its links to the aesthetic category of the sublime in the context of the reflections on art produced in European pre-romanticism and romanticism.

ISBN: 9780549362838Subjects--Topical Terms:

735016
Anthropology, Cultural.

Las raices del duende: Lo tragico y lo sublime en el cante jondo.
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245 1 4 $a Las raices del duende: Lo tragico y lo sublime en el cante jondo.
300 $a 425 p.
500 $a Adviser: Samuel Amell.
500 $a Source: Dissertation Abstracts International, Volume: 68-12, Section: A, page: 5227.
502 $a Thesis (Ph.D.)--The Ohio State University, 2008.
520 $a Within the world of Andalusian music called flamenco, popular language first, and later intellectualised reflections by cultural elites have coined a term, duende [charm, charisma, magic...], whose purpose is either the process of generation of artistic creation, or the specific manner of emotional intercommunication between artist and audience, or the formal objectifying of the tragic spirit in a peculiar manner of flamenco expression called cante jondo [deep song]. Ever since Federico Garcia Lorca in the 1920s, and from very distant disciplines and sciences, a number of theories have emerged, one of whose main axis has been the attempt to clarify such an ineffable experience. Therefore, this work intends to do a critical survey of some of the texts which flamencology considers canonical for the understanding of duende and cante jondo. We will not regard cante jondo here as a subset of styles within the flamenco musical current, but as a particular way of interpreting this kind of music, consisting of the expression of tragic and pathetic contents subjected to minimalist, primitivist forms developed during the second half of the 19th century, following the premises of romantic aesthetics. For that very reason, we thought it necessary to do research into the concept of the tragic and its links to the aesthetic category of the sublime in the context of the reflections on art produced in European pre-romanticism and romanticism.
520 $a One of the aims of the present study is precisely to link the experience of duende to the experience of the sublime, considered as a phenomenon of the transcendence of being in search of the ultra-sensitive. However, we also intend to displace the cliched notion that flamenco is an eminently tragic genre, given its stylistic variety, which allows for a wide emotional range, with room for anything from overflowing cheerfulness to the deepest sadness.
520 $a Finally, the thesis underlying the above considerations consists of the affirmation that theories about duende and the tragic have been used as a political instrument to forge a national/regional project on the basis of certain ethno-cultural differential traits, capable of facilitating the identity development of the Andalusian community, and by extension, of the Spanish one. Moreover, those same theories have been used to institutionalise a canon preserving some so-called pure forms contained in cante jondo as opposed to other spurious forms which arise by contact of the autochthonous folklore with foreign musical trends in the context of the cultural industry and the market economy. Thus certain sectors of flamencology favour flamenco as a magic, ritual, orientalist modality linked to the private sphere, within or beyond the limits of art, as opposed to a different flamenco, considered as artistic, play-oriented, scenic, occidentalist and associated to the mass culture promotion channels.
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