Abstract

Abstract: This paper analyses the poetry that Josep Maria de Sagarra wrote during the twenties and thirties —excluding El comte Arnau, Poema de Nadal and his satirical poetry— to reveal the deep reasons that favoured the ironic play. A clear difference in the poetry written in each decade is highlighted, in regard to a change in his personal circumstances and a sensitivity displayed towards new aesthetics. In 1920s poetry, irony, used as a defence, had to coexist with the intention of poetic purification, whereas in his 1930s poetry the impact of surrealism and the contrast caused by the knowledge of new lands perceived as strange provide new reasons for distance.Key words: irony, Josep Maria de Sagarra, pure poetry, surrealism.

Abstract

This essay highlights the role of historical avant-gardes in shaping film discourse. This role was vital for the recognition of cinema as an art form, as well as for the constitution of a visual and textual discourse that came to be reflected in the Institutional Mode of Representation – Hollywood film from the 1920s to the 1940s. To realize the importance of artistic movements in the creation of new paradigms for art at large, it is necessary to understand their principles and the context in which a new way of looking and reflecting on the world came about. The promotion of authentic and efficient film literacy requires focusing on the era in which cinema began. Only by examining the 19th century more deeply can we perceive what lies beyond that invention of the Lumière brothers. The essay shows that cinema was not only inscribed in the times from which it emerged but that it also launched a new paradigm that the arts of the 20th century were yet to discover.