This thesis reassesses the theory and play of duende as a queer poetics of boundary transgressions, offering close readings of Federico García Lorca’s less explored later works. Approaching queerness as the performative transgression of normativity, the study concentrates on the poetic collections Diván del Tamarit and Sonetos del amor oscuro (1934-1936), his late drawings (1930-36), and his film script Viaje a la luna (1929-30), arguing that duende is articulated via transgressions of the notions of sex, gender and sexual identity; notions of desire, death and spatiotemporal stability; and notions of media representations and intermediality. I examine how the queer subjects and objects Lorca creates in his works and their metaphysical mysteries become poetic artefacts with aesthetic value, offering the artist and the reader/spectator a substantial sensory and spiritual experience. The less explored post-New York works must form an integral part of the vast scholarly corpus on Lorca’s late theatre so as to give the poet’s entire artistic project the recognition it deserves. Drawing on duende and contemporary queer theories will help to map Lorca’s aesthetics within the context of critical and biographical analyses of his later period, considering intermediality a key aspect of his more avant-garde phase.
|1 Nov 2017
|Unpublished - 2017
- duende, queer, intermediality, Federico García Lorca, poetics, film, visual arts, poetry