PAYSAGE D'ÂME AND OBJECTIVE CORRELATIVE: TRADITION AND INNOVATION IN CERNUDA, ALBERTI, AND GARCÍA LORCA

This article offers a brief overview of English and French landscape poetry, and then a structural analysis of the features that characterize the paysage d'âme technique. The uncertain history of the coinage of the term is also explored, with special reference to Amiel and Verlaine, as is the a...

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Bibliographic Details
Published in:The Modern language review 2015-01, Vol.110 (1), p.166-183
Main Author: Anderson, Andrew A
Format: Article
Language:English
Subjects:
Avant-garde
Avant-garde (Aesthetics)
Communications media
Criticism and interpretation
Experimental poetry
French symbolism
Literary criticism
Literary style
Literature, Experimental
Lyric poetry
Objective correlatives
Romantic poetry
Spanish poetry
Surrealist poetry
Symbolism (Literary movement)
Symbolist art
Symbolist poetry
Citations: Items that this one cites
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Summary:This article offers a brief overview of English and French landscape poetry, and then a structural analysis of the features that characterize the paysage d'âme technique. The uncertain history of the coinage of the term is also explored, with special reference to Amiel and Verlaine, as is the adoption in Spanish literature of both the label (as paisaje del alma ) and the technique. I go on to trace how, after the Symbolist period, it is gradually transformed into the objective correlative, and finally scrutinize several Spanish poems from the late 1920s where objective correlatives combine to create disjointed avant-garde landscapes.
ISSN:0026-7937
2222-4319
DOI:10.5699/modelangrevi.110.1.0166