Papers by Jonathan Mayhew
Modern Drama, 2020
Following a major trend in Lorca studies, Baroque Lorca studies the Spanish dramatist’s work in r... more Following a major trend in Lorca studies, Baroque Lorca studies the Spanish dramatist’s work in relation to its original audience, emphasizing how he shaped his work to adjust to the challenges of the Spanish stage of the day.
History of European Ideas, Oct 3, 2018
Every epoch justifies itself before history by the finding of a truth that achieves clarity in it... more Every epoch justifies itself before history by the finding of a truth that achieves clarity in it. What will our truth be? What will be our manifestation? Truths have their precursors that have paid, in some prison of forgetfulness, the crime of having seen from afar. But precursors are recognized only from the full truth which they preceded; only from the possession of this truth can the meaning of their enigmatic words be understood. Only in truth which has become clear do we recognize the half-veiled truth. The revelation that we feel we are witnessing in these current times is that of man in his life, a revelation that comes out of philosophy, with which philosophy itself is revealed to us. From a philosophy that employs its rational instruments to throw light on science, a 'Science of Sciences,' we have returned to a situation in which, without abandoning its heritage, philosophy, thought in its purest form, may advance with the impetus of passion, yet not to devour itself, as passion on its own does, but stopping itself in time before the prey flees and so bringing it to us intact. Passion by itself scares off the truth, which is sensitive and agile in avoiding its claws. Reason alone cannot capture its prey. But passion and reason together, reason charging forward with passionate impetus and braking at the right point, can collect the naked truth without damaging it. Philosophy is, then, as Plato said speaking of Pythagoras, a 'road of life.' Truth is the nourishment of life. However, life does not devour truth; it holds it high and in the end leaves it fastened above time, since 'time passes and the word of the Lord remains.' And thus, being conscious that, in the times in which we live, a truth emerges from the light of reason, and this comforts us and assists us in bearing the anguish of passing with time. 'Everything passes away' would be the great quietist solace if we did not pass away in the same way, if with the time that passes our own life did not pass as well. Grabbing hold of the truth, of our truth, associating ourselves with its discovery because we have accepted it in our interior, because we have made our life conform to it, rooting it in our being, we feel that our time, at least, does not pass in vain. Something of its passing remains, as in the flowing of water in the river, which passes and remains. 'Everything passes away,' the water of the river flows, but the riverbed and the river itself remain. But it is necessary for there to be a riverbed, and the riverbed of life is truth. And the riverbed is so necessary to the river that without it there would be no river, only a swamp. The escaping waters would have the momentary illusion of having achieved freedom, of having recovered the entirety of their potency. But this potency would gradually exhaust itself before the lack of limits; even if there were no other obstacle than unlimited extension, the fury of the water within the riverbed would abate, vanquished on the limitless plane. The riverbed creates the river just as much as the fury of the flow of water which passes through it. And it is good that life is rushing away from us, fleeing the cosmos itself; the flight from mere physical permanence as life falls into the heart/bosom? of time is also good, if this movement conforms to the riverbed of truth. It is then that the anguish of passing away is transformed into the joy of the wanderer.
Hecho Teatral: Revista de teoría y práctica del teatro hispánico, 2015
1 online resource (PDF, page 183-190
Translation, Parody, Kitsch
The Modern Language Review, 1998
... the 1950s and 1960s is actually an early expression of postmodernism in Spain ... order to co... more ... the 1950s and 1960s is actually an early expression of postmodernism in Spain ... order to consider the relationship between novisimo poetry and Western postmodern aesthetics, with ... Heidegger, Barthes, and Foucault and subscribed to Tel Quel).*9 Post-modern poetry departs ...
The Twilight of the Avant-Garde: Spanish Poetry 1980–2000
The Twilight of the Avant-Garde: Spanish Poetry 1980–2000
Nueva Revista de Filología Hispánica, 2009
... daderamente artesanal-, y se presenta acompa?ada de una antolo g?a po?tica de Luis FelipeViva... more ... daderamente artesanal-, y se presenta acompa?ada de una antolo g?a po?tica de Luis FelipeVivanco preparada por Margot Vivanco, con ilustraciones de Gustavo Torner. S?lo resta desear que el objeti vo -hacer justicia al poeta-tenga la debida respuesta de los lectores ...
Estudios Hispánicos
La relación entre Federico García Lorca y el flamenco es bastante complicada, a pesar de que la i... more La relación entre Federico García Lorca y el flamenco es bastante complicada, a pesar de que la identificación entre la obra del poeta y esta música es casi un lugar común en los estudios lorquianos. La contradicción central es que los músicos flamencos, al aproximarse a la obra de Lorca, se interesan más por su faceta vanguardista, y solo en menor grado por el compromiso de Lorca mismo con el cante jondo. Esta situación se explica por la falta de simetría entre dos fenómenos distintos: por un lado, la defensa de los intelectuales del cante jondo y, por otro, la reivindicación de la poesía canónica en el cante contemporáneo.
The Twilight of the Avant-Garde: Spanish Poetry 1980–2000
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Papers by Jonathan Mayhew