Nelson Orringer

Nelson Orringer
University of Connecticut | UConn · Department of Literatures, Cultures and Languages

Ph.D. Hispanic Language and Literature and Comparative Literature

About

288
Publications
171,975
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231
Citations
Introduction
In philos, lit, & med. anthropology I study 20th c. Span. authors' dialog with sources (books: Ortega, Unamuno, Ganivet, Laín, & encyclopedia 20th-c Hispanic philos) My book "Lorca in Tune with Falla" proves mutual influence of Falla & Lorca .My 2021book "Uniting Music and Poetry in 20th. C Spain" joins lit.crit. to musicology in analyzing artsongs. I translated historical novel "Memoirs of Doña Marina," published 2021. I was the first to publish Unamuno's "Treatise on Love of God," Eng and Sp.
Additional affiliations
September 2003 - present
University of Connecticut
Position
  • Professor Emeritus of Spanish and Comparative Literature
June 2002 - June 2002
University of Haifa
Position
  • Professor
Description
  • Lectures on philosophy of time in J. L. Borges
August 2000 - September 2000
Seminário Redemptoris Mater
Position
  • Professor
Description
  • 3-wk. course in biblical Hebrew, August 14-Sept. 2, 2000.
Education
September 1965 - May 1969
Brown University
Field of study
  • Hispanic Studies
September 1957 - June 1962
Dartmouth College
Field of study
  • Liberal Arts

Publications

Publications (288)
Book
Full-text available
This book shows mutual impact of composer Falla and poet-playwright Lorca. Falla´s works affected by Lorca include "Retablo de maese Pedro,""Soneto a Córdoba," "Gran teatro del mundo," and "Atlàntidas." Lorca´s works affected by Falla are "Poema del cante jondo,""Romancero gitano,""Oda al santisimo sacramento del Altar," "Llanto por Ignacio Sánchez...
Article
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Mallarmé´s essays in "Crayonée au Thèatre" contain the notion of the dance as a metaphor with the stage as a crystal of an aesthetic illusion. This article shows that Mallarmé´s vision of theatre passes to Ortega y Gasset´s essays and from there to the mature theatre of García Lorca. The text of this article has been uploaded here for all to read.
Article
Full-text available
In his novel "Abel Sánchez," Unamuno pits modern authors (Ritschl, Stapfer, Croce) who view passion as cultural affirmation, against traditional sources (the Bible, Dante, Quevedo), seeing envy as sin.
Article
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This study examines for the first time Unamuno´s annotations to the Greek version of Plato´s "Dialogues," together with Unamuno´s veiled and open allusions to Plato. From Plato Unamuno inherits a series of concerns which can be systematized in a deductive series: (1) the process of verbal creation or poíesis, (2) love in four stages of an ascending...
Chapter
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The Cuban hero and martyr José Martí´s intimate correspondence helps Miguel de Unamuno characterize his heroically skeptical priest Manuel Bueno in the author's most beloved fiction, the novella "San Manuel Bueno, mártir." Marti's virtues correspond to many of those of Manuel Bueno, loved by his parish. Marti loves his country with the same mixture...
Article
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This is a review of a doctoral dissertation on Ansermet's philosophy of music.
Data
Dinámica de la otra vida en la filosofia de Unamuno Dynamics of the Other Life in Unamuno's Philosophy Unamuno concibe la otra vida en su óptima forma como un dinamismo en el sentido zubiriano. Ha leído en el libro de Job la visión de vida y muerte como una conscripción militar o como una contratación laboral. El cuento unamuniano "Juan Manso. Cuen...
Article
Full-text available
Unamuno concibe la otra vida en su óptima forma como un dinamismo en el sentido zubiriano. Ha leído en el Libro de Job la visión de vida y muerte como una conscripción militar o como una contratación laboral. El relato unamuniano «Juan Manso. Cuento de muertos» (1892) rechaza la mansedumbre, favoreciendo una «embestida» existencial antes y después...
Article
Joaquín Rodrigo wrote that music arose in response to the human need to make an image of the surrounding world. Affected by Ortegás view of life as the interaction of self and circumstance, Rodrigo would eventually attribute to music enough subtlety to paint even beings in the artist's ambience without perceptible properties, like Don Quixote's Dul...
Article
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En dos estudios muy conocidos en su día (1923, 1929-31) y centrados en Wilhelm Dilthey, su discípulo y yerno Georg Misch idealizó a su persona y pensamiento. Mientras Ortega estudiaba esta idealización, alcanzó la madurez filosófica entre 1929 y 1931. Ajustó la filosofía de la vida de Dilthey, vitalizada por Misch, a los propósitos de su «razón vit...
Preprint
Full-text available
In 1929 Ortega reached philosophical maturity by absorbing the interpretation of Dilthey read in two book-length studies of him made by his student, Georg Misch. This dynamic Dilthey invented by Misch invited Ortega to ground his philosophy on human life, root reality and reference-point of all others: to reform all philosophy from the grounding on...
Conference Paper
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According to Spanish composer Manuel de Falla and his student Federico Garcia Lorca, deep song, or primitive Andalusian song, is "the only song [in Europe] which has kept in all its purity, both in its composition and its style, the qualities inherent in the primitive song of Eastern peoples." Falla, echoes by Lorca, enumerates the following charac...
Chapter
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While it has been customary to trace the sources of Unamuno´s chief philosophical work, "The Tragic Sense of Life," to late 19th and early 20th-century Liberal Protestantism, the present book chapter recalls that Unamuno was a professor of ancient Greek; accordingly, his references to Graeco-Latin literature served major purposes in his great work....
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Article
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In view of the lack of rigorous Spinoza-Unamuno studies using Unamuno´s personal notes, we refer to these notes in broaching the problem of freedom according to Spinoza´s Ethics in The Tragic Sense of Life. We consider Spinoza in "On Authentic Tradition" (1895), with its mundane conception of “eternal tradition.” Next we focus on Unamuno´s crisis o...
Chapter
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At first, Unamuno read Calderón´s play "Life Is a Dream" from without, as the fruit of Castilian dogmatism. Nonetheless, he afterwards identified with its protagonist Segismundo during personal crises. Like him, he role-played while unaware of the fictional element. Subsequently, he realized with alarm that he was performing a fiction. Finally, he...
Chapter
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This chapter traces Spanish philosopher-poet Miguel de Unamuno´s successive reactions to Calderon de la Barca´s hero Segismundo, protagonist of "Life as a Dream." After pointing out that Unamuno always views Calderon through the eyes of historian of literature Marcelino Menéndez Pelayo, I examine the appearance of three roles played by Unamuno and...
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This is the full text of "Unamuno and St Jose' Marti', the Good."
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The structure, style, and content of Falla's Third Movement, or "Vivace," from his Harpsichord Concerto affects the structure, style, and content of Lorca's most polished farce, "Amor de Don Perlimplin con Belisa en su jardin," about a cuckold who at the climax shows heroism through a love-death. Both works have sonata-form, both double thematics a...
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In "Procesion," Lorca's poetic voice, adopting a childlike perspective on Holy Week parades in Seville, showers metaphors on a parade of hooded penitents as they approach-- now they seem like Merlins in the hoods, now like astrologists--. In stressing the changing perspectives from distance to nearness, Lorca imitates Isaac Albeniz's "Fete-Dieu a S...
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In the ballad "San Miguel (Granada)" (San Michael, Granada), Saint Michael becomes a symbol of the city of Granada, which for the poet Garc'ia Lorca, is characterized by its musicality. One proof of this characteristic is the attraction of Lorca's friend, the composer Manuel de Falla, to the city. Everything about Granada, in Lorca's view, is music...
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From this high spot at the top of the old Sacromonte or gypsy quarter, where the hermitage San Miguel el Alto is situated, Lorca states that one can hear the music of the whole city of Granada in all its variety. This is Lorca's interpretation of the finale of his poem "San Miguel (Granada)" from "Gypsy Ballads" (Romancero gitano). The musicality o...
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Literally, "Song of the Will of the Wisp," this sublime piece, intoned by a gypsy character in a contralto voice in Falla's gypsy theatre piece, "Love the Magician," received a comic brass-band version arranged by Garcia Lorca for Falla's amusement on Jan. 1, 1921. Lorca thereby apprised Falla of the comic possibilities of this song, and he inserte...
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Falla's autographed copy of his gypsy musical to Lorca may have inspired much of the poetry in Lorca's anthologies, "Poem of Deep Song" (Poema del cante jondo) and "Gypsy Ballads" (Romancero gitano). The Spanish says, "To the poet of the Andalusias Federico Garc'ia Lorca from his true friend Manuel de Falla, Nov. 28, 1921"
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The fountains of the Patio de la Acequia (Canal Patio), situated in the Generalife Gardens of the Alhambra, were imitated in their parallel vertical flow in the first nocturne of "Nights in the Garden of Spain" by Manuel de Falla. Garcia Lorca mentions this nocturne, titled, "En el Generalife," as being In contact with the Andalusian collective sub...
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Falla dedicates to his friend, Maurice Ravel, a program from the King's Day Concert he gave for Lorca's little sister at Lorca's home. This concert, proposed by Lorca, led Falla to all his major musical projects after 1923. We conclude that not only does Falla influence Lorca, but Lorca also has influence on Falla.
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In honor of the tricentennial (1927) of the poet Luis de Go'ngora, Lorca encouraged Falla to set G'ongora's sonnet "A C'ordoba" to music. Falla, not a fan of Go'ngora at first, read the sonnet to Co'rdoba and loved it because of its "Latinity." He set it to music using declamation. Hence the detached, distant style shown here. Concurrently, Lorca w...
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In Guádix Falla set his ballet "The Three Cornered Hat," and Lorca set his play "Blood Weddings." In the background are the caves where some of "Blood Weddings" is set.
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In this measure, Falla added at the last minute a comic version of his earlier piece from "El amor brujo" titled "Song of the Will-of-the-Wisp." This song speaks of fleeing the will-of-the-wisp, which pursues the fleer; and Lorca, to amuse Falla, had originally arranged his own comic, brass-band version of the sublime will-of-the-wisp song. Hence,...
Article
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Typescript. Vita. Thesis (Ph. D.)--Brown University. Bibliography: leaves 257-262. I show Ortega's view of life as sport (disinterested, lavish, spontaneous, ironic effort) persisting throughout his "Complete Works" as the essence of the authentic man in Ortega's vision of philosophy, epistemology, theory of science, esthetics, ethics, and politica...
Article
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In his survey of Hispano-American literature, Menéndez Pelayo introduced the poetry and prose of Sor Juana Inés de la Cruz into American Hispanism during its initial stage. This article examines how the image of Menéndez Pelayo´s Sor Juana changes with the various phases of U.S. Hispanism from 1893 to the present. At the beginning, this colonial Me...
Conference Paper
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This paper shows that both Ravel and Falla lived their Spanish-style music as something exotic (with respect to Parisian culture) yet intimate at the same time. The Spanish-born Falla was the most reliable witness of the authentic intimacy of his friend Ravel's Hispanic compositions. Falla expressed this opinion in the necrological article "Notes s...
Article
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García Lorca´s three historical ballads in "Romancero gitano" are affected by Falla´s and Durán´s theories of the Volksgeist or cultural spirit. Lorca projects over Falla´s notion of the Andalusian cultural spirit his own view of esthetic creative as a mystery. This is the unifying theme of the confessional historical ballad "Don Pedro a caballo,"...
Article
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Wives’ coquetry abounds in the musical comedy of Falla and the poetry and theatre of Lorca, with such flirtatiousness always displaying female fantasy. In this comparative study between literature and music, it requires little imagination in the lewd ballad, ‘El molinero de Arcos’, for the deceived wife to conceive the double adultery as comedy. Co...
Article
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This study examines Heinrich Gomperz´s articles on idol-worship and its relationship to art, then shows the presence of these notions in Ortega´s writings on aesthetics, notably, "The Dehumanization of Art."
Chapter
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This essay examines Falla´s musical contributions to "Gráfico de la Petenera," a series of poems derived from the anthology "Poema del cante jondo." Works by Falla discussed are "Homenaje" to Debussy and "El amor brujo."
Conference Paper
Full-text available
Menéndez Pelayo brought late 17th century Mexican poet Sor Juana Inés de la Cruz to the attention of North American Hispanism, which in its earliest times did not recognize Latin American Hispanism as part of canonical Spanish literature. This paper traces the impact of Menéndez Pelayo´s vision of Sor Juan on all six phases of American Hispanism as...

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Projects (6)
Project
The goal is to explain and interpret Spanish composer Joaquín Rodrigo's mysterious "Himnos de los neófitos de Qumrán," a three-piece group of hymns he imagined in the mouths of the novices of the Essenes in the Dead Sea Scrolls community. I will be collaborating with Prof. Walter Clark of the University of California (Riverside).
Project
My goal is to bring to the English-speaking public the most revealing writings by Spanish composer Joaquin Rodrigo (1901-1999) about music in general, his music in particular, his views on world-famous composers, and finally, his opinions of composers and performers he knew personally. To those ends, I have made an English translation of "Joaquin Rodrigo a través de sus escritos," a collection of some 200 essays by the composer compiled by his daughter Cecilia Rodrigo Kamhi in 2019.
Project
The aim of the nine chapters to follow is to enrich and deepen understanding of the poems and the Lieder that go with them. The composer offers an interpretation of a Spanish poem which has as much right to student and teacher evaluation as literary criticism of the same work. The poet has as much need for receiving conductor and musician appreciation as the composer. Where and why does the composer diverge from the poet? How does the music enhance the poetic text? Setting song to verse amounts to a hybrid art, and a full experience of both components requires knowledge of musical techniques, but also skills in literary criticism. The following chapters hope to provide this dichotomy.