Paradojas de la Edad de Plata: Unamuno y Pérez de Ayala interpretados por La deshumanización del arte y Guillén, ilustrador de las Meditaciones del Quijote
A crossed chronology paradoxically connects several works from the Silver Age of Spanish Literature: Niebla (1914) by Miguel de Unamuno with La deshumanización del arte (1925) by José Ortega y Gasset; and Meditaciones del Quijote (1914) by José Ortega y Gasset with Cántico (1936) by Jorge Guillén. L...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2025 |
| País: | Perú |
| Institución: | Pontificia Universidad Católica del Perú |
| Repositorio: | PUCP-Institucional |
| Idioma: | español |
| OAI Identifier: | oai:repositorio.pucp.edu.pe:20.500.14657/204031 |
| Acceso en línea: | https://revistas.pucp.edu.pe/index.php/lexis/article/view/31653/27781 http://hdl.handle.net/20.500.14657/204031 https://doi.org/10.18800/lexis.202501.011 |
| Access Level: | acceso abierto |
| Palabra clave: | Miguel de Unamuno José Ortega y Gasset Ramón Pérez de Ayala Jorge Guillén “Más allá” Cántico Dehumanized art Edad de Plata Arte deshumanizado https://purl.org/pe-repo/ocde/ford#6.02.06 |
| Sumario: | A crossed chronology paradoxically connects several works from the Silver Age of Spanish Literature: Niebla (1914) by Miguel de Unamuno with La deshumanización del arte (1925) by José Ortega y Gasset; and Meditaciones del Quijote (1914) by José Ortega y Gasset with Cántico (1936) by Jorge Guillén. Likewise, a distant Ramón Pérez de Ayala, in Tigre Juan. El curandero de su honra (1926), becomes —consciously or not— an earnest executor of the ideal of the psychological novel proposed by José Ortega y Gasset in Ideas sobre la novela (1925) and of some characteristics of modern aesthetics outlined in La deshumanización del arte. This paper aims to map the relations —whether present or absent— of Ortega y Gasset’s aesthetic ideas within his own generation, as well as those that preceded and followed it. |
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