Abstract

The terms ‘image’ and ‘imagery’ have changed their meanings over time and are employed very inconsistently by commentators. In the early decades of the twentieth century, Marinetti, Pound, Eliot, Reverdy and Breton, among others, weighed in with innovative proposals of their own with respect to what an image was and how it worked. Lorca’s thinking on the subject of metaphor, image and what he called the ‘hecho poético’ evolved too, with analogies to be made between the latter concept and theories of Jean Epstein and Eliot. The variety of critical opinions concerning Poeta en Nueva York mandates careful scrutiny of individual texts, and a stylistic analysis of ‘1910 (Intermedio)’ reveals a mixture of more conventional and more modern imagistic techniques, the most prominent of which align quite closely with Eliot’s notion of the ‘objective correlative’ – in his words ‘a set of objects, a situation, a chain of events which shall be the formula’ of a particular emotion. This finding adds weight to the argument against Surrealism as a dominant factor in the stylistic orientation of many of the poems in the collection.

中文翻译：

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Lorca的《新约报》（Poeta en Nueva York）中的图像及其运作方式：'1910（Intermedio）'案

摘要

随着时间的流逝，“图像”和“图像”一词的含义发生了变化，评论员对其使用的含义非常不一致。在20世纪初期，Marinetti，Pound，Eliot，Reverdy和Breton等人就图像的含义和作用方式提出了自己的创新建议。洛尔卡（Lorca）关于隐喻，意象和他所谓的“回声诗”的思想也得到了发展，在后者的概念与让·爱泼斯坦（Jean Epstein）和艾略特（Eliot）的理论之间进行了类比。关于约克新城的各种批评意见要求对每个文本进行仔细的审查，对“ 1910（Intermedio）”的风格进行分析后发现，它融合了更传统和更现代的想象技术，其中最突出的是与艾略特的“客观相关”概念紧密结合的“一组对象，一种情况，一系列事件应是特定情感的公式”。这一发现增加了反对超现实主义的论点的重要性，超现实主义是该系列中许多诗歌风格取向的主导因素。