Literary Movements and the Generation of ’27: Key Aspects
Vanguard Movements and the Generation of ’27
Vanguards: Artistic movement arising from the loss of spiritual values in capitalist society between the 1st and 2nd World Wars in the early twentieth century. The youth’s end-of-century consciousness against the world of the ‘elders’ led to disaster. Characteristics include: anti-realism and autonomy of art; irrationalism; a desire for originality; and aesthetic experimentation.
Juan Ramon Jimenez
Works: Characterized by trends in the literature of the fin de siècle: aestheticism, decadence, symbolism, and modernism. Subsequent Productions show change.
Pedro Salinas: Themes and Style
Pedro Salinas: Themes and Style: Love: a search for the central facts of existence that give meaning to life. A search for the absolute and permanent, understanding and knowledge, and integration between self and the world. Themes also include dreams, loneliness, and monotony.
Jorge Guillen: Themes and Style
Jorge Guillen: (Rigorous selection process; accessory details are deleted to communicate the essential idea/feeling.) Topics and Style: Affirmation of joyous being, existing in the reality of love. Life is formed as a vital accomplishment and perfection, the fullness possible if you enjoy the conditions that surround you. The man lives at cda. Chance creates insecurity. Chaos causes suffering.
The Generation of ’27: Key Traits
Generation of ’27: Birth of the poets within close dates; fellowship and friendship, influence and cultural exchange; 1927 marked the 3rd death anniversary of Gongora. Key members include: Pedro Salinas, Jorge Guillen, Gerardo Diego, Lorca, Rafael Alberti, Vicente Aleixandre, Luis Cernuda, Emilio Prados, Manuel Altolaguirre, and Dámaso Alonso. The generation valued tradition and rescued past authors and styles: traditional poetry (songs, ballads, neopopularismo); the Golden Age (Gongora, poetic reality itself; Garcilaso, San Juan, Quevedo, and Lope); the 19th century (Bécquer’s intimacy; Dario’s innovations in metrics and use of images; Unamuno and Machado’s reflections on thought, dreams, and imagination; Mallarmé and Valéry’s symbolist poetry); Vanguard movements; Gómez de la Serna; Juan Ramón Jiménez (pure poetry); José Ortega y Gasset (dehumanization of the artistic work, minority art, irony, insignificance, and dominance of the metaphor).
Subjects and Methods
Subjects and methods: Love, Universe, Destiny, Death. A sense of freedom: the city (optimism: comfort, cinema, advertising; pessimism: urban development); Love (liberal fullness, both heterosexual and homosexual, and ethereal love which brings pain); the arts (poetic creation); nature (environment and part of the poetic with a pantheistic vision); combination of traditional metric forms with free verse and rhythm.
In this fragment, there is a protagonist narrator (p. 1) + explanation. Thus, the view is + explanation, so it gives us their known wishes and thoughts. This is a past event, i.e., after it has happened. In this… is used to reproduce the direct style of dialogue literally.
It is a poem in free verse, i.e., it is composed of irregular verses without rhyme. Regarding its internal structure, the poem is divided into… The first covers… The lyrical ‘I’ addresses the ‘you.’ It contains prosaism in form and content, as there are no over-educated expressions peculiar to the lyric poem… i.e., the current COMPARE: A comparison of these works leads us to the conclusion that despite… TIME, LANGUAGE, SUBJECT…