La dimensión prefílmica de la imagen poética de las «Soledades» de Góngora
- Statement of Responsibility:
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Martínez Moreno, Eva María
- Hlavní autor:
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Martínez Moreno, Eva María
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- Formát:
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Journal article
- Jazyk:
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Spanish; Castilian
- Forma / Žánr:
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text (article)
- Vydáno:
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2022
- V:
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Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro ISSN 2328-1308 Vol. 10, Nº. 1, 2022, pags. 667-682
- Předmětová hesla:
- Annotation:
-
Although critics have highlighted on numerous occasions the innovative status of Góngora's poetic image in his Soledades (1613-1614), its temporal categories and its objective nature have not yet been analyzed in sufficient detail of the bibliography is dedicated to highlighting its plastic values that for some bring it closer to painting. For this reason, the objective of this work is to specify and exemplify, from a pragmatic perspective and as historical receivers, the formal mechanisms that Góngora uses in his Soledades to present his images as in the cinema. With this, it will be shown that the Baroque poet anticipates the subsequent conquest of the seventh art by more than two centuries and that he is a precursor of the audiovisual narrative that will later characterize the cinema, a feature that also underlines its narrative character, although, as Lorca warned, Góngora tried to hide it by covering it of images, so we will base our analysis on the Lorca conference on the Góngora poetic image, on some film techniques transferred to the novel and on the concepts of Narratology
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| 520 | 3 | \ | |a Although critics have highlighted on numerous occasions the innovative status of Góngora's poetic image in his Soledades (1613-1614), its temporal categories and its objective nature have not yet been analyzed in sufficient detail of the bibliography is dedicated to highlighting its plastic values that for some bring it closer to painting. For this reason, the objective of this work is to specify and exemplify, from a pragmatic perspective and as historical receivers, the formal mechanisms that Góngora uses in his Soledades to present his images as in the cinema. With this, it will be shown that the Baroque poet anticipates the subsequent conquest of the seventh art by more than two centuries and that he is a precursor of the audiovisual narrative that will later characterize the cinema, a feature that also underlines its narrative character, although, as Lorca warned, Góngora tried to hide it by covering it of images, so we will base our analysis on the Lorca conference on the Góngora poetic image, on some film techniques transferred to the novel and on the concepts of Narratology |
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| 650 | |a Pragmatics | ||
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