Belgian novelist, writing in French, who stimulated Belgian national consciousness and prepared the ground for an original native literature.
He lived most of his life in poverty and obscurity and took 10 years to write his masterpiece La Légende et les aventures héroïques, joyeuses, et glorieuses d´Ulenspiegel et fe Lamme Goedzak au pays de Flanders et ailleurs (1866; The Glorious Adventures of Tyl Ulenspiegl). Freely adapting the traditional tales of the folk heroes Till Eulenspiegel and Lamme, he set his story in the 16th century, at the height of the Inquisition; the hero´s father is burned at the stake as a heretic, and Ulenspiegel swears an oath to avenge him. De Coster presents his characters as combining heroic qualities with a typically Belgian realism. The style is highly coloured and archaistic, being derived from Rabelais, from Montaigne and from the 16th-century chroniclers. With its theme of resistance against oppression, the book has been called "the Bible of Flanders" and "the breviary of freedom"; yet neither the gruesome death scenes and the shrieks of the tortured, nor, on the other hand, a cetain tendency to philosophize, prevent its being, as the author describes it, "a merry, jovial book, a work of art and of literature".
The contrast between La Légende and the commonplace novels of the period is sharp and striking.
March 19, 2013
GREGORY CORSO (1947-74)
Poet, a leading member in the mid-1950s of the Beat movement, a group of U.S. writers who rebelled against academic and formalist writing and poured their own unmoderated feelings into free and spontaneus forms.
Corso lived in an orphanage and with four foster parents until his remarried father took him to live with him when he was 11.
A repeated runaway, he was placed in juvenile institutions. At 17 he was sentenced to three years in Clinton Prison in Dannemora, N.Y., for theft. While there he was introduced to great literature.
He met the principal Beat poet Allen Ginsberg in Greenwhich Village in 1950 and through him continued his education as a writer and a "noninstitutionalized" man.
He worked in 1951-52 for the Los Angeles Examiner and then travelled to South America and Africa.
Back in the U.S. he lived in Cambridge, Mass., and students at Harvard University and Radcliffe College helped him publish his first volume of verse, The Vestal Lady on Brattle (1955).
In 1956 Corso went to San Francisco and rejoined Ginsberg and the Beat movement was born at public readings in the bars and coffee-houses there.
Off all Corso´s poems, those in Gasoline (1958) are the most typical, using the rhythmic, incantatory style effective in spoken erse. In The Happy Birthday of Death (1960) he returned to an easier, conversational tone and wrote some of his bests poems. Long Live Man appeared in 1962 and The Mutation of the Spirit in 1964. His Selected Poems were published in 1962. Elegiac Feelings American (1970) showed maturity and new power not present before. He also has written a play, This Hung-Up Age (1955) and a fictional work, The American Express (1961).
Corso lived in an orphanage and with four foster parents until his remarried father took him to live with him when he was 11.
A repeated runaway, he was placed in juvenile institutions. At 17 he was sentenced to three years in Clinton Prison in Dannemora, N.Y., for theft. While there he was introduced to great literature.
He met the principal Beat poet Allen Ginsberg in Greenwhich Village in 1950 and through him continued his education as a writer and a "noninstitutionalized" man.
He worked in 1951-52 for the Los Angeles Examiner and then travelled to South America and Africa.
Back in the U.S. he lived in Cambridge, Mass., and students at Harvard University and Radcliffe College helped him publish his first volume of verse, The Vestal Lady on Brattle (1955).
In 1956 Corso went to San Francisco and rejoined Ginsberg and the Beat movement was born at public readings in the bars and coffee-houses there.
Off all Corso´s poems, those in Gasoline (1958) are the most typical, using the rhythmic, incantatory style effective in spoken erse. In The Happy Birthday of Death (1960) he returned to an easier, conversational tone and wrote some of his bests poems. Long Live Man appeared in 1962 and The Mutation of the Spirit in 1964. His Selected Poems were published in 1962. Elegiac Feelings American (1970) showed maturity and new power not present before. He also has written a play, This Hung-Up Age (1955) and a fictional work, The American Express (1961).
THOMAS CROFTON CROKER (1847)
Irish antiquary whose collections of songs and legends formed a storehouse for writers of the Irish literary revival.
During rambles in southern Ireland, 1812-16, he collected legends, folk songs and keens (dirges for the death), some of which he sent to the poet Thomas Moore, who acknowledged a debt to him in his Irish Melodies.
This collection formed the basis of Croker´s Fairy Legends and Traditions of the South of Ireland (1825-28) which was praised and translated into German and admired by Sir Walter Scott, who described Croker as "little as a dwarf, keeneyed as a hawk, and of easy prepossessing manners".
After 1818 Croker lived in England working as clerk in the admiralty until 1850.
His later works included Popular Songs of Ireland (1839).
During rambles in southern Ireland, 1812-16, he collected legends, folk songs and keens (dirges for the death), some of which he sent to the poet Thomas Moore, who acknowledged a debt to him in his Irish Melodies.
This collection formed the basis of Croker´s Fairy Legends and Traditions of the South of Ireland (1825-28) which was praised and translated into German and admired by Sir Walter Scott, who described Croker as "little as a dwarf, keeneyed as a hawk, and of easy prepossessing manners".
After 1818 Croker lived in England working as clerk in the admiralty until 1850.
His later works included Popular Songs of Ireland (1839).
LUCAS CRANACH THE ELDER (1547)
Leading painter of Saxony who was one of the most important and influential artists in the 16th century flowering of German painting and graphic arts.
Trained in his father´s studio until 1498 he is known to have been in Coburg inn 1501 and Vienna c. 1502.
Typical of his early work are emotive biblical scenes embellished with landscapes reminiscent of the Danube scool.
From 1505 to 1550 he was court painter at Wittenberg and as such was a propagandist for the Protestant Reformation (which began in 1517).
Among his vast output of paintings, woodcuts and decorative works, the most important are alterpieces, court portraits and portraits of the Protestant Reformers and innumerable pictures of women -elongated female nudes and fashionably dressed ladies with titles from the Bible or mythology.
Wealthy and famous Cranach had a large studio of assistants which has given rise to problems of attribution.
Trained in his father´s studio until 1498 he is known to have been in Coburg inn 1501 and Vienna c. 1502.
Typical of his early work are emotive biblical scenes embellished with landscapes reminiscent of the Danube scool.
From 1505 to 1550 he was court painter at Wittenberg and as such was a propagandist for the Protestant Reformation (which began in 1517).
Among his vast output of paintings, woodcuts and decorative works, the most important are alterpieces, court portraits and portraits of the Protestant Reformers and innumerable pictures of women -elongated female nudes and fashionably dressed ladies with titles from the Bible or mythology.
Wealthy and famous Cranach had a large studio of assistants which has given rise to problems of attribution.
SPANISH COSTUMBRISMO /CUSTOM
Literary genre that flourished in Spain during the first half of the 19th century and slightly late in Spanish America.
It is a descriptive sketch of the customs or manners of the people of a particular locality or region, usually provincial.
The costumbristas concentrated on realistic portrayal of character rather than on development of plot, writing short prose sketches, sometimes sympathetic, sometimes satirical or critical.
Outstanding among the costumbristas in Spain were Ramón de Mesonero Romanos (1803-82), Serafín Estébanez Calderón and Mariano José de Larra who is considered by many to be the greatest prose writer and social critic of his age.
In Spanish America, the Chilean Alberto Blest Gana and the Mexican Indian Ignacio Manuel Altamirano (1834-93) were important representative of this trend.
Costumbrismo, although usually limited to short forms of prose, strongly influenced the realistic direction that the novel in Spanish was to take in the later years of the 19th century.
It is a descriptive sketch of the customs or manners of the people of a particular locality or region, usually provincial.
The costumbristas concentrated on realistic portrayal of character rather than on development of plot, writing short prose sketches, sometimes sympathetic, sometimes satirical or critical.
Outstanding among the costumbristas in Spain were Ramón de Mesonero Romanos (1803-82), Serafín Estébanez Calderón and Mariano José de Larra who is considered by many to be the greatest prose writer and social critic of his age.
In Spanish America, the Chilean Alberto Blest Gana and the Mexican Indian Ignacio Manuel Altamirano (1834-93) were important representative of this trend.
Costumbrismo, although usually limited to short forms of prose, strongly influenced the realistic direction that the novel in Spanish was to take in the later years of the 19th century.
JERÓNIMO CÔRTE-REAL (1574)
Epic poet who endeavoured with little success, to follow in the path opened by Luís Camôes great epic Lusíadas.
He was of the same noble family as the explorer Gaspar Côrte-Real, the discoverer of Newfounland and took part in military actions on land and at sea. Besides being a poet and soldier he had some gift for painting; one of his pictures is preserved in the church of S. Antâo in Évora.
He produced three epic poems:
- Sucesso do segundo cérco de Dio (1574; "The Winning of the Second Siege of Dio"), on the historic siege of that Indian island-fortress.
- The Austríada (1578), in Spanish, on the victory od Don John of Austria at Lepanto.
- O Naufrágio de Sousa de Sepúlveda (1594; "The Shipwreck of Sousa of Sepúlveda).
All are long, discursive and prosaic and are of slight literary value.
He was of the same noble family as the explorer Gaspar Côrte-Real, the discoverer of Newfounland and took part in military actions on land and at sea. Besides being a poet and soldier he had some gift for painting; one of his pictures is preserved in the church of S. Antâo in Évora.
He produced three epic poems:
- Sucesso do segundo cérco de Dio (1574; "The Winning of the Second Siege of Dio"), on the historic siege of that Indian island-fortress.
- The Austríada (1578), in Spanish, on the victory od Don John of Austria at Lepanto.
- O Naufrágio de Sousa de Sepúlveda (1594; "The Shipwreck of Sousa of Sepúlveda).
All are long, discursive and prosaic and are of slight literary value.
March 17, 2013
COMENTARIOS DEL PÚBLICO AL BLOG DE MADRIZELEÑO
Jajajajajaja... Me lo tomo como una ironía tuya.
Has escrito la de dios y ni dios ha entendido nada.
:(
tú no estás bien, ¿verdad?
madrizeleño zzzzzz
Puede ser, también que tenga un "cacao maravillao" en la cabeza
... ¿perdona para ir al valle de los Caídos a qué ciudad debo desplazarme?
Metes unos rollos que no te los crees ni tú.
Por favor pon alguna coma y pausa que casi me ahogo.
... y el que quiera sentirse cerca de Dios que vaya a un parque, a la montaña, que hable con sus plantas.
... por si no lo sabías o no te habías dado cuenta, Jesús FUE EL PRIMER INDIGNADO.
Yo soy bastante farragoso escribiendo, debo reconocer; pero este comentario me supera. No digo que sea malo. Alabo la expresión conceptual; pero se pierde el sentido y es difícil de seguir cuando no se hacen las pausas debidas. Quiero decir que: a conceptos rebuscados, la falta de signos ortográficos lo hacen doblemente complicado.
Colega me pones en un brete. Si te doy un positivo a lo mejor te lo estoy dando por algo que va contra mis principios y si te doy un negativo a lo mejor te lo estoy dando por algo que va con mis principios. Y no puntuar algo tan elaborado podría generarme un conflicto de conciencia. ¿No le boto por que no le entiendo? Y sin embargo algo me dice
Y sin embargo algo me dice todos esos fuegos artificiales de prosa solo son puro cachondeo
(que por cierto no lo veo mal)
Di todo lo que tengas que decir y cállate la boca.
(comentarista catalán muy vasco de LA VANGUARDIA Año 2007)
Qué gracia, ¡hay cosas publicadas que aún no han pasado!
Has escrito la de dios y ni dios ha entendido nada.
:(
tú no estás bien, ¿verdad?
madrizeleño zzzzzz
Puede ser, también que tenga un "cacao maravillao" en la cabeza
yo me lo voy a leer otra vez. ;-)))
No entiendo nada.
madrizeleño Menudo
tostonazo...... No te importa que nI me lo lea ..... Verdad? JAJAJAJAJAJAJA
madrizeleño
jajajajajaj...espera espera que ahora lo leo y te digo jajajajajajajaj
Metes unos rollos que no te los crees ni tú.
Síntesis y más síntesis he ahí lo importante.
No hay nada repartido de modo
más equitativo en el mundo que la razón:, todo el mundo está convencido de
tener suficiente.
Por favor pon alguna coma y pausa que casi me ahogo.
... y el que quiera sentirse cerca de Dios que vaya a un parque, a la montaña, que hable con sus plantas.
... por si no lo sabías o no te habías dado cuenta, Jesús FUE EL PRIMER INDIGNADO.
Yo soy bastante farragoso escribiendo, debo reconocer; pero este comentario me supera. No digo que sea malo. Alabo la expresión conceptual; pero se pierde el sentido y es difícil de seguir cuando no se hacen las pausas debidas. Quiero decir que: a conceptos rebuscados, la falta de signos ortográficos lo hacen doblemente complicado.
Colega me pones en un brete. Si te doy un positivo a lo mejor te lo estoy dando por algo que va contra mis principios y si te doy un negativo a lo mejor te lo estoy dando por algo que va con mis principios. Y no puntuar algo tan elaborado podría generarme un conflicto de conciencia. ¿No le boto por que no le entiendo? Y sin embargo algo me dice
Y sin embargo algo me dice todos esos fuegos artificiales de prosa solo son puro cachondeo
(que por cierto no lo veo mal)
Di todo lo que tengas que decir y cállate la boca.
(comentarista catalán muy vasco de LA VANGUARDIA Año 2007)
Qué gracia, ¡hay cosas publicadas que aún no han pasado!
Subscribe to:
Posts (Atom)
