 Title page of the issue 73 dated 1930 | |
| Categories | Literary magazine |
|---|---|
| Frequency | Bimonthly |
| Founder | Ernesto Giménez Caballero |
| Founded | 1927 |
| First issue | January 1927 |
| Final issue | 1932 |
| Country | Spain |
| Based in | Madrid |
| Language | Spanish |
| ISSN | 1575-7226 |
| OCLC | 1022088772 |
La Gaceta Literaria (Spanish : The Literary Gazetta) was a bimonthly avant-garde literary, arts and science magazine which appeared in Madrid, Spain, between 1927 and 1932. It is known for its leading contributors and editorial board members.
La Gaceta Literaria was started as a bimonthly publication in Madrid in 1927. [1] [2] Its founder and editor was Ernesto Giménez Caballero. [3] [4] Guillermo de Torre was the secretary of the editorial board, but left the magazine in August 1927 when he settled in Argentina. [1] [4] His successor was César Muñoz Arconada who assumed the post in 1929. [2]
La Gaceta Literaria was open to all approaches in arts and had no a clear political stance at its start. [5] However, from 1930 the magazine was redesigned in terms of its physical qualities becoming much smaller in size and its ideological stance adopting a clear Fascist stance. [2] The same year it opened a debate on the meaning of avant-garde through a survey questionnaire asking its readers to answer the question "What is avant-garde?" [6]
The editorial board of La Gaceta Literaria included the following: Ramón Gómez de la Serna, Antonio Marichalar, José Moreno Villa, José Bergamín, Antonio Espina, Melchor Fernández Almagro, Benjamín Jarnés, Fernando García Vela, Joaquín Garrigues and Francisco Guillén Salaya. [3] Some of the leading contributors were Salvador Dalí, Rafael Sánchez Mazas, Federico García Lorca, Gerardo Diego, Dámaso Alonso, Rafael Alberti, Pedro Salinas, Vicente Aleixandre, Juan Aparicio López, Jorge Guillén, Luis Buñuel, Eugenio Montes and Adriano del Valle. [3] However, most of these figures left the magazine following the support of the Fascist views by Ernesto Giménez Caballero in 1930. [2]
La Gaceta Literaria published a special issue on Italian futurism in 1928. [7] Luis Buñuel was among the contributors of the magazine from the second issue dated January 1927 to April 1929 whose articles were about cinema. [8] José Ortega y Gasset published an article entitled Sobre un periódico de las letras in the first issue of La Gaceta Literaria dated January 1927. [9] Ramiro Ledesma Ramos was one of the regular contributors of the magazine which folded in 1932. [1] [9]
Ramón Gómez de la Serna y Puig, born in Madrid, was a Spanish writer, dramatist and avant-garde agitator. He strongly influenced surrealist film maker Luis Buñuel.
The Manifesto of Futurism is a manifesto written by the Italian poet Filippo Tommaso Marinetti, published in 1909. In it, Marinetti expresses an artistic philosophy called Futurism, which rejected the past and celebrated speed, machinery, violence, youth, and industry. The manifesto also advocated for the modernization and cultural rejuvenation of Italy.
The Generation of '27 was an influential group of poets that arose in Spanish literary circles between 1923 and 1927, essentially out of a shared desire to experience and work with avant-garde forms of art and poetry. Their first formal meeting took place in Seville in 1927 to mark the 300th anniversary of the death of the baroque poet Luis de Góngora. Writers and intellectuals paid homage at the Ateneo de Sevilla, which retrospectively became the foundational act of the movement.
Maruja Mallo was a Spanish surrealist painter. She is considered an artist of the Generation of 1927 within the Spanish avant-garde movement.
Martín Fierro was an Argentine literary magazine which appeared from February 1924 to 1927. It was one of the leading avant-garde magazines in the country.
La Conquista del Estado was a magazine based in Madrid, Spain.
Jorge Mañach y Robato was a Cuban writer and attorney, considered among the most distinguished of his time.
Guillermo de Torre Ballesteros was a Spanish essayist, poet and literary critic, a Dadaist and member of the Generation of '27. He is also notable as the brother-in-law of the Argentine writer Jorge Luis Borges.
José Cipriano de la Luz y Caballero was a Cuban scholar, acclaimed by José Martí as "the father ... the silent founder" of Cuban intellectual life of the 19th century. Interest in Luz's work was revived around the time of the Cuban Revolution, and new editions of his work published, as he was regarded as a wellspring of intellectual autonomy for the country.
Ernesto Giménez Caballero, also known as Gecé, was a Spanish writer, diplomat, and pioneer of Fascism in Spain. Director and founder of the avant-garde magazine La Gaceta Literaria (1927–1932), his work has been categorized as being part of the Futurist and Surrealist movement, while Stanley G. Payne has described him as the Spanish Gabriele d'Annunzio.
Luis Rosales Camacho was a Spanish poet and essay writer member of the Generation of '36.
Amalia Galárraga Azcarrunz was a Spanish feminist. She was one of the founders of the Lyceum Club of Madrid, and treasurer of its executive committee.
Octubre was a Communist literary magazine which was published in Madrid between 1933 and 1934. The subtitle of the magazine was Escritores y artistas revolutionarios.
Vértice was a monthly Falangist magazine published in Spain, between 1937 and 1946. Its subtitle was Revista nacional de la Falange. From late 1937 its subtitle was redesigned as Revista nacional de Falange Española Tradicionalista y de las J.O.N.S. The magazine was one of the early propaganda publications which supported the rule of Francisco Franco.
Prometeo was a monthly avant-garde magazine which existed between 1908 and 1912 in Madrid, Spain. The magazine was established by the avant-garde writer Javier Gómez de la Serna. Its subtitle was revista social y literaria.
Revista de Avance was a Cuban avant-garde magazine which existed between 1927 and 1930 in Havana. It was the media outlet of a group, minorism, which had been established in 1923 to support social and political change in Cuba. The magazine was described by Francine Masiello as "the most handsome product of avant-garde creative activity in Cuba and perhaps in Spanish." It functioned as a platform to gather the leading Cuban artists of the period.
Noi: Rivista d’arte futurista was an avant-garde magazine which adopted a futurist stance. It was published in Rome between 1917 and 1925. Its subtitle was Raccolta internazionale d’arte d’avanguardia.
Zwrotnica was an avant-garde magazine which was one of the significant publications in Poland. It appeared in Kraków in two periods: first between 1922 and 1923, and then between 1926 and 1927. Despite its short run, it is the first Polish avant-garde magazine that had an international audience.
Grecia was a literary magazine which was published from 1918 to 1920 in Spain. Its subtitle was Revista Decenal de Literatura. Later it was redesigned as Revista de literatura. It was a traditionalist as reflected in its title and modernist publication in the early years, but later adopted an avant-garde approach and became the flagship of the ultraísmo.
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