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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| Format: | Online |
| Langue: | espagnol |
| Éditeur: |
El Colegio de México
2023
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| Accès en ligne: | https://nrfh.colmex.mx/index.php/nrfh/article/view/3844 |
| Institution: |
Nueva Revista de Filología Hispánica |
| Résumé: | 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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