Abstract
This article explores how Federico García Lorca’s interest in popular and traditional poetry facilitated the poet’s incursion into the “avant-garde” style with which Poeta en Nueva York is usually identified. An analysis of “El rey de Harlem”, “Pequeño vals vienés”, and “Son de negros en Cuba” attempts to show that, far from practicing “free” verse, García Lorca’s poems are guided by rhythmic considerations established by resources such as accent, phonetic range, syllabic patterns, verbal tenses, syntactic structures and rhetorical figures of repetition.
Nueva Revista de Filología Hispánica (1947-), volume 66, 2, July-December 2018, is a semi-annual publication edited by El Colegio de México, Carretera Picacho Ajusco 20, Ampliación Fuentes del Pedregal, Tlalpan, C.P. 14110, Mexico City, Mexico, Tel. (55) 5449-3000, http://nrfh.colmex.mx/index.php/NRFH, nrfh@colmex.mx. Editor: Pedro Martín Butragueño. Assistant editors: Alejandro Rivas and Jesus Jorge Valenzuela. All Rights Reserved: 04-2015-070112341900-203, ISSN (print): 0185-0121, ISSN (electronic): 2448-6558, as registered with the National Copyright Institute. Typographical composition: El Atril Tipográfico. Person in charge of updating this issue: Perla Reyna Muñoz; date of last update: June 26, 2018.
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