Norah Borges como artista y musa del Ultraísmo español. Un acercamiento a su intervención en la revista Grecia (1920)
IIn this paper, we focus on Norah Borges' participation in Grecia. Revista De Literatura (1918-1920). Her presence was relevant, given that it consolidated the aesthetic transformation of the magazine –the covers she created demonstrated a full adherence to the avant-garde movement by installing a n...
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| Formato: | Artículo |
| Lenguaje: | español |
| Publicado: |
2025
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| Materias: | |
| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=10349415 |
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| Sumario: | IIn this paper, we focus on Norah Borges' participation in Grecia. Revista De Literatura (1918-1920). Her presence was relevant, given that it consolidated the aesthetic transformation of the magazine –the covers she created demonstrated a full adherence to the avant-garde movement by installing a new image that represents it, far from Modernism and the Hellenic tradition–: the collaborations she has carried out over the last year demonstrate her central role in the definitive establishment of an avant-garde imprint that Grecia did not have until her arrival on a visual level. In this sense, we will observe the inclusion of her woodcuts influenced by German Expressionism and Cubism, and their aesthetic function, which exceeded illustration, because they were independently created plastic texts (Lorenzo Alcalá) that were distributed in the ultraica publication, but not yet in exhibitions or shows. At the same time, Norah Borges became the inspiring muse (Baur, “Norah Borges. Musa...”; “Diario apócrifo de Norah Borges”) of the representatives of ultraist literature, who they praised her and dedicated their texts to her in the magazine, as a way of recognizing her innovative aesthetics (Galesio y Melgarejo). |
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