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A biographical and critical study of the Spanish poet Manuel Machado (1874-1947), who was highly thought of in his lifetime but who, since his death, declined in popularity. His brother, Antonio, whom he once overshadowed, became more widely read. The first half of the book is biographical, setting Machado against the general literary background in Spain, and estimating his debt to French influence. Dr Brotherston deals in some detail with the Modernista movement, so that the study is almost an account of Spanish literary life of the time. The second half of the book is critical; Dr Brotherston wishes to show the fine quality of certain poems, and to affirm Machado's real importance and distinction. The generous bibliography will be useful to readers closely concerned with Machado and his period.
Ekphrasis, the description of pictorial art in words, is the subject of this bibliography. More specifically, some 2500 poems on paintings are catalogued, by type of publication in which they appear and by poet. Also included are 2000 entries on the secondary literature of ekphrasis, including works on sculpture, music, photography, film, and mixed media.
Antonio Machado (1875-1939) is one of Spain’s most original and renowned twentieth-century poets and thinkers. From his early poems in Soledades. Galerías. Otros poemas of 1907, to the writings of his alter-ego Juan de Mairena of the 1930s, Machado endeavoured to explain how the Other became a concern for the self. In The Poetics of Otherness in Antonio Machado’s “Proverbios y cantares,” Nicolás Fernández-Medina examines how Machado’s “Proverbios y cantares,” a collection of short, proverbial poems spanning from 1909 to 1937, reveal some of the poet’s deepest concerns regarding the self-Other relationship. To appreciate Machado’s organizing concept of otherness in the “Proverbios y cantares,” Fernández-Medina argues how it must be contextualized in relation to the underlying Romantic concerns that Machado struggled with throughout most of his oeuvre, such as autonomy, solipsism and skepticism of absolutes. In The Poetics of Otherness in Antonio Machado’s “Proverbios y cantares,” Fernández-Medina demonstrates how Machado continues a practice of “fragment thinking” to meld the poetic and the philosophical, the part and whole, and the finite and infinite to bring light to the complexities of the self-Other relationship and its relevance in discussions of social and ethical improvement in early twentieth-century Spain.
This is the first biography in English of Antonio Machado, regarded by Spaniards as their finest 20th century poet. It contains translations of his poetry and prose, which are set within the dramatic story of his life. It tells of his tragic marriage, his clandestine affair with a married woman and his close ties with his brother and fellow-poet Manuel, which ended when they took opposite sides in the Civil War. Antonio fought with his pen against Franco and was eventually driven into exile. The book concludes with a psychological analysis of the man and his work.
This volume focuses on the interdisciplinary investigation of Portuguese humanism, especially as a noteworthy player in the international network of early modern scholarship, literature and visual arts.
This book offers a much needed reappraisal of a major twentieth-century Spanish poet, Antonio Machado (1875-1939), offering compelling arguments why his poetry should have a more vital profile not only within the precincts of Hispanism but also alongside the most significant twentieth-century poets of Europe and America, seeking to open up new perspectives for the interpretation of his poetry. The unifying concepts, as the title suggests, are landscape and transformation. Landscape, a topic barely broached in Spanish poetry before Machado, is a central thematic concern in his poetry.
With more than 1800 critical entries on the writers and literatures of 33 languages, this work presents the entire range of modern European writing -- from the symbolist and modernist works rooted in the last decades of the nineteenth century; through the avant-garde and existentialist movement to Barthes, Blanchot, Breton, and continental thought pertinent today.
Dandyism's queerness, both in the traditional sense of its strangeness and oddness regarding conventionality and in the contemporary sense of resisting and contesting imprisoning gender and sexual labels, including homosexuality, underscores reading Machado and his poetry differently. Given the poet's fondness for the visual arts, as well as the pictorial quality of his verse, the image of the museum functions as an appropriate phenomenological space where to house, organize, categorize and display Machado's diverse poetry in order to examine and analyze the desires of this dandy period."--Jacket.