The essay aims to highlight and illustrate, through some examples, the way the influence of Ramón Gómez de la Serna shows in Francisco Ayala’s short-stories belonging to his Avant-garde period. Despite their profound differences in personality, during the years 1927-1930, Ayala experimented the new way of writing inspired by the ramonian greguerías (as well as by the dehumanized art of Ortega y Gasset). For this reason, this article tries to point out similarities and differences between the two authors. In particular, in collections such as El boxeador y un ángel and Cazador en el alba, Ayala uses plenty of images and metaphors that take the greguerías and the experimental art as a model. What the two authors have in common lies in an unconventional point of view, in describing impressions and sensations, in elevating trivial things and objects to a literary category. Nevertheless, it must be noted that the Avant-garde period was only a phase (though important) in Ayala’s literary evolution, while Gómez de la Serna never ceased to embody that attitude; thus the main difference between them consists in their personalities and in a partial (on Ayala’s side) or a total (on Ramón’s side) adhesion to the Avant-garde literary expression.

A propósito del ramonismo de Francisco Ayala. Evolución del vanguardismo a la mímesis

VOLPE, G.
2020-01-01

Abstract

The essay aims to highlight and illustrate, through some examples, the way the influence of Ramón Gómez de la Serna shows in Francisco Ayala’s short-stories belonging to his Avant-garde period. Despite their profound differences in personality, during the years 1927-1930, Ayala experimented the new way of writing inspired by the ramonian greguerías (as well as by the dehumanized art of Ortega y Gasset). For this reason, this article tries to point out similarities and differences between the two authors. In particular, in collections such as El boxeador y un ángel and Cazador en el alba, Ayala uses plenty of images and metaphors that take the greguerías and the experimental art as a model. What the two authors have in common lies in an unconventional point of view, in describing impressions and sensations, in elevating trivial things and objects to a literary category. Nevertheless, it must be noted that the Avant-garde period was only a phase (though important) in Ayala’s literary evolution, while Gómez de la Serna never ceased to embody that attitude; thus the main difference between them consists in their personalities and in a partial (on Ayala’s side) or a total (on Ramón’s side) adhesion to the Avant-garde literary expression.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11574/198110
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