Cordero al vapor, plata de oso al vapor, cosa de venado al vapor, pago asado, pollo asado, ganso asado, pato salado estofado, pollo adobado, cerdo curado.
Huevos en conserva, panceta de cerdo ahumada, cerdo seco frito, salchicha, carnes variadas, pollo ahumado, callos de cerdo hervidos, cerdo de ocho tesoros al vapor.
Pato relleno arroz glutinoso, faisán en cazuela de barro, codorniz cocida en cazuela, estofado variados, pato cocido, gambas cocidas, gambas estofadas, gambas fritas... ".
El nombre de este trabalenguas Chino es "Anunciando el Nombre de los Platos".
Fragmento de la nobela ligera "Fields of Gold".
269 notes
·
View notes
Generation of 27
The Generation of '27 (Spanish: Generación del 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.
Terminology:
The Generation of '27 has also been called, with lesser success, "Generation of the Dictatorship", "Generation of the Republic", "Generation Guillén-Lorca" (Guillén being its oldest author and Lorca its youngest), "Generation of 1925" (average publishing date of the first book of each author), "Generation of Avant-Gardes", "Generation of Friendship", etc. According to Petersen, "generation group" or a "constellation" are better terms which are not so much historically restricted as "generation".
Aesthetic style:
The Generation of '27 cannot be neatly categorized stylistically because of the wide variety of genres and styles cultivated by its members. Some members, such as Jorge Guillén, wrote in a style that has been loosely called jubilant and joyous and celebrated the instant, others, such as Rafael Alberti, underwent a poetic evolution that led him from youthful poetry of a more romantic vein to later politically-engaged verses.
The group tried to bridge the gap between Spanish popular culture and folklore, classical literary tradition and European avant-gardes. It evolved from pure poetry, which emphasized music in poetry, in the vein of Baudelaire, to Futurism, Cubism, Ultraistand Creationism, to become influenced by Surrealism and finally to disperse in interior and exterior exile following the Civil Warand World War II, which are sometimes gathered by historians under the term of the "European Civil War". The Generation of '27 made a frequent use of visionary images, free verses and the so-called impure poetry, supported by Pablo Neruda.
Members:
In a restrictive sense, the Generation of '27 refers to ten authors, Jorge Guillén, Pedro Salinas, Rafael Alberti, Federico García Lorca, Dámaso Alonso, Gerardo Diego, Luis Cernuda, Vicente Aleixandre, Manuel Altolaguirre and Emilio Prados. However, many others were in their orbit, some older authors such as Fernando Villalón, José Moreno Villa or León Felipe, and other younger authors such as Miguel Hernández. Others have been forgotten by the critics, such as Juan Larrea, Pepe Alameda, Mauricio Bacarisse, Juan José Domenchina, José María Hinojosa, José Bergamín or Juan Gil-Albert. There is also the "Other generation of '27", a term coined by José López Rubio, formed by himself and humorist disciples of Ramón Gómez de la Serna, including: Enrique Jardiel Poncela, Edgar Neville, Miguel Mihura and Antonio de Lara, "Tono", writers who would integrate after the Civil War (1936–39) the editing board of La Codorniz.
Furthermore, the Generation of '27, as clearly reflected in the literary press of the period, was not exclusively restricted to poets, including artists such as Luis Buñuel, the caricaturist K-Hito, the surrealist painters Salvador Dalí and Óscar Domínguez, the painter and sculptor Maruja Mallo, as well as Benjamín Palencia, Gregorio Prieto, Manuel Ángeles Ortiz and Gabriel García Maroto, the toreros Ignacio Sánchez Mejías and Jesús Bal y Gay, musicologists and composers belonging to the Group of Eight, including Bal y Gay, Ernesto Halffter and his brother Rodolfo Halffter, Juan José Mantecón, Julián Bautista, Fernando Remacha, Rosa García Ascot, Salvador Bacarisse and Gustavo Pittaluga. There was also the Catalan Group who presented themselves in 1931 under the name of Grupo de Artistas Catalanes Independientes, including Roberto Gerhard, Baltasar Samper, Manuel Blancafort, Ricard Lamote de Grignon, Eduardo Toldrá and Federico Mompou.
Finally, not all literary works were written in Spanish: Salvador Dalí and Óscar Domínguez also wrote in French. Foreigners such as the Chilean poets Pablo Neruda and Vicente Huidobro, the Argentine writer Jorge Luis Borges, and the Franco-Spanish painter Francis Picabia also shared much with the aesthetics of the Generation of '27.
The Generation of '27 was not exclusively located in Madrid, but rather deployed itself in a geographical constellation which maintained links together. The most important nuclei were in Sevilla, around the Mediodía review, Tenerife around the Gaceta de Arte, and Málaga around the Litoral review. Others members resided in Galicia, Catalonia and Valladolid.
The Tendencies of '27:
The name "Generation of 1927" identifies poets that emerged around 1927, the 300th anniversary of the death of the Baroque poet Luis de Góngora y Argote to whom the poets paid homage. It sparked a brief flash of neo-Gongorism by outstanding poets like Rafael Alberti, Vicente Aleixandre, Dámaso Alonso, Luis Cernuda, Gerardo Diego and Federico García Lorca.
Spanish Civil War aftermath:
The Spanish Civil War ended the movement: García Lorca was murdered, Miguel Hernandez died in jail and other writers (Rafael Alberti, Jose Bergamin, León Felipe, Luis Cernuda, Pedro Salinas, Juan Ramón Jiménez, Bacarisse) were forced into exile, although virtually all kept writing and publishing late throughout the 20th century.
Dámaso Alonso and Gerardo Diego were among those who reluctantly remained in Spain after the Francoists won and more or less reached agreements with the new authoritarian and traditionalist regime or even openly supported it, in the case of Diego. They evolved a lot, combining tradition and avant-garde, and mixing many different themes, from toreo to music to religious and existentialist disquiets, landscapes, etc. Others, such as Vicente Aleixandre and Juan Gil-Albert, simply ignored the new regime, taking the path of interior exile and guiding a new generation of poets.
However, for many Spaniards the harsh reality of Francoist Spain and its reactionary nature meant that the cerebral and aesthetic verses of the Generation of '27 did not connect with what was truly happening, a task that was handled more capably by the poets of the Generation of '50 and the social poets.
Statue:
A statue dedicated to the Generation 27 Poets is now in Seville in Spain. The inscription on the monument translates as 'Seville The poets of the Generation of 27'
List of members[edit]
Rafael Alberti (1902–1999)
Vicente Aleixandre (1898–1984)
Amado Alonso (1897–1952)
Dámaso Alonso (1898–1990)
Manuel Altolaguirre (1905–1959)
Francisco Ayala (1906–2009)
Mauricio Bacarisse (1895–1931)
José Bello (1904–2008)
Rogelio Buendía (1891–1969)
Alejandro Casona (1903–1965)
Juan Cazador (1899–1956)
Luis Cernuda (1902–1963)
Juan Chabás (1900–1954)
Ernestina de Champourcín (1905–1999)
Gerardo Diego (1896–1987)
Juan José Domenchina (1898–1959)
Antonio Espina (1894–1972)
Agustín Espinosa (1897–1939)
León Felipe (1884–1968)
Agustín de Foxá (1903–1959)
Pedro García Cabrera (1905–1981)
Federico García Lorca (1898–1936)
Pedro Garfias (1901–1967)
Juan Gil-Albert (1904–1994)
Ernesto Giménez Caballero (1899–1988)
Jorge Guillén (1893–1984)
Emeterio Gutiérrez Albelo (1905–1937)
Miguel Hernández (1910–1942)
José María Hinojosa (1904–1936)
Enrique Jardiel Poncela (1901–1952)
Rafael Laffón (1895–1978)
Antonio de Lara (1896–1978)
Juan Larrea (1895–1980)
José López Rubio (1903–1996)
José María Luelmo (1904–1991)
Francisco Madrid (1900–1952)
Paulino Masip (1899–1963)
Concha Méndez (1898–1986)
Miguel Mihura (1905–1977)
Edgar Neville (1899–1967)
Antonio Oliver (1903–1968)
Pedro Pérez-Clotet (1902–1966)
Rafael Porlán (1899–1945)
Emilio Prados (1899–1962)
Joaquín Romero Murube (1904–1969)
Pedro Salinas (1891–1951)
Guillermo de Torre (1900–1971)
José María Souvirón (1904–1973)
Miguel Valdivieso (1897–1966)
Fernando Villalón (1881–1930)
10 notes
·
View notes
[Gazpacho] This plate combines a number of features of El Bulli’s style in the Nineties. The tomato water ice is the first example of frozen savoury cuisine and there is a new symbiosis between sweet and savoury, overcoming the boundaries previously found between mains and puddings. It is also an example of cocina enmoldada: the preparation is served in a container similar to a champagne glass, which supports its light texture.
Due to its subjective character, minimalism is perhaps the most difficult style to define. According to El Bulli, it could be said that a minimalist dish is one that creates the most magic with the least ingredients. The best example of this is the minimalismo de bocado, where all the magic is conveyed in a single mouthful. The huevo de codorniz caramelizado consists of a poached quail’s egg caramelised through a special technique developed in 1996, which creates a crunchy bite with a liquid centre.
New parameters were added with the introduction of the ‘sixth sense’ in El Bulli‘s cuisine. It wasn’t only about pleasure of the senses, but also intellectual appreciation of the dish. Two important parts of the sixth sense are playfulness and irony, both found in the plato de las especias. A green apple jelly serves as ‘support’ for twelve spices and aromatic herbs. The names of these are revealed to the diner, but not their order: this is how the idea of play made its entrance into El Bulli’s cuisine.
Another parameter of the sixth sense is provocation. In 1997, when the debate about foams was at its height, El Bulli served a snack that was specially created to provoke a reaction in the diner. The espuma de humo is a small glass filled with smoked water foam and served with oil, salt and croutons. The idea was for the diner to ‘eat smoke’.
From 2003, El Bulli created a number of dishes inspired by nature, such as tierra (earth), nieve (snow) and deshielo (thaw). It was soon recognised that they formed part of a new style, which was subsequently called natura (nature). Deshielo was inspired by a photo of the ice melting in spring with the first shoots sprouting out of the frozen blanket.
(https://www.theworlds50best.com/stories/News/12-iconic-dishes-el-bulli-ferran-adria.html)
2 notes
·
View notes