Creative Cognition and the Cultural Panorama of Twentieth-Century Spain
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Creative Cognition and the Cultural Panorama of Twentieth-Century Spain Candelas Gala
CREATIVE COGNITION AND THE CULTURAL PANORAMA OF TWENTIETH- CENTURY SPAIN Copyright Candelas Gala, 2015. Cover Art by Dr. Isabel G. Newton Eduardo Chillida s engravings are reproduced with permission of 2014 Artists Rights Society (ARS), New York / VEGAP, Madrid Softcover reprint of the hardcover 1st edition 2015 978-1-137-51226-0 José Moreno Villa s drawings by courtesy of José Moreno Nieto Clara Janés poems by courtesy of the poet. All rights reserved. First published in 2015 by PALGRAVE MACMILLAN in the United States a division of St. Martin s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-70256-5 ISBN 978-1-137-49986-8 (ebook) DOI 10.1057/9781137499868 Library of Congress Cataloging-in-Publication Data Gala, Candelas, 1948 Creative cognition and the cultural panorama of twentieth-century Spain / by Candelas Gala. pages cm Includes bibliographical references and index. 1. Spanish literature 20th century History and criticism. 2. Creative ability Spain. 3. Creation (Literary, artistic, etc.) History 20th century. 4. Discourse analysis, Literary. 5. Creativity (Linguistics) 6. Art and literature Spain History 20th century. I. Title. PQ6041.G25 2015 860.9'357 dc23 2014046735 A catalogue record of the book is available from the British Library. Design by Amnet. First edition: May 2015 10 9 8 7 6 5 4 3 2 1
Para Paul, Isabel, Tonia y Juliet, mis cuatro puntos cardinales
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Contents List of Figures Acknowledgments Introduction 1 1 Creative Convulsion: José María Hinojosa and La Flor de Californía 19 and Federico García Lorca 2 Creative Dialectics: José Moreno Villa and Jacinta la pelirroja 43 3 Creative Measurements: Plastic-Dynamic Development in Maruja Mallo s Naturalezas vivas 69 4 Creative Beatitude: Jorge Guillén and Baruch Spinoza 97 5 Creative Quietude. A Transdisciplinary Encounter: Clara Janés, Eduardo Chillida, and María Zambrano 121 6 Creative Artifacts: Agustín Fernández Mallo s Post-Poetry Proposal (Sharing Thoughts with Wittgenstein) 165 Closing Remarks 211 Notes 217 Works Cited 233 Index 249 ix xi
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List of Figures 2.1 Untitled [Peces/Fish]. 46 2.2 Untitled [Cuadro cubista/cubist Painting]. 50 2.3 Untitled [ Bailaré con Jacinta la pelirroja / I Will Dance with Redhead Jacinta]. 52 2.4 Untitled. 55 2.5 Untitled. 58 2.6 El Universo está en la Poesía [The Universe Is in Poetry]. 59 2.7 Untitled. 61 2.8 Untitled [ El duende /The Elf]. 64 2.9 Untitled. 65 5.1 Untitled. 131 5.2 Untitled. 137 5.3 Untitled. 142 5.4 Untitled. 152 5.5 Untitled. 155 5.6 Untitled. 159
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Acknowledgments I want to thank the Reynolds Research Leave Program at Wake Forest University for providing me one semester free from teaching responsibilities to allow the completion of this book project, whose beginnings dated back some three years. I also owe a very heartfelt recognition to José Antonio Mesa Toré, Director of the Centro Cultural Generación del 27 in Málaga (Spain), for facilitating a number of crucial works related to poet José María Hinojosa, and for putting me in contact with Alfonso Sánchez Rodríguez, indefatigable researcher of Hinojosa s works, and to whom I am also indebted for his constant support of my own research. It was through the mediation of José Antonio Mesa Toré that I came in contact with D. José Moreno Nieto, the son of author José Moreno Villa. Thanks to Mr. Moreno Nieto s generosity, his father s drawings included in Jacinta, la pelirroja are reproduced here, thus providing a much richer and more complete appreciation of this author s seminal book. The chapter on Maruja Mallo is indebted to the Guillermo de Osma Galería in Madrid and, particularly, to its curators, José Ignacio and Miriam, who provided the central text for Maruja Mallo s Naturalezas vivas series and a wealth of information coming from Mallo s contact with the gallery. I cannot thank Clara Janés enough for her friendship and wisdom, which have been an essential support and inspiration for this project and many others that I have dedicated to her writings. Her generosity has made it possible to quote some of her poems in their complete form. Regarding her collaboration with Eduardo Chillida, Clara s generosity went as far as intervening with Ignacio Chillida, the artist s son, and with the Chillida Museum Leku, to facilitate the reproduction of Eduardo Chillida s engravings. I am also extending my thanks to Ignacio Chillida and to Nausica Sánchez, at the library of the Chillida Museum, for facilitating the rights for reproducing the engravings. The Fundación Gerardo Diego and Centro de Documentación de la poesía Española del siglo XX, and its director, Pureza Canelo, are a necessary reference for any research related to the cultural panorama of twentieth-century Spain.
xii Acknowledgments I also wish to thank Bakhit Kourman, for his technical expertise with the images, and Dr. Isabel G. Newton for providing the image for the book cover, which, in consonance with her medical field, explores the process of introspection while alluding to the central nervous system through references to the hippocampus, gyri and sulci, cochlea, and homunculus. And as always, my love and gratitude go to Paul D. Escott, the best editor an author could ever have.