|
Subseries 3. Essays and Articles
|
Scope and Content Notes: This subseries features various essays and articles authored by Ramón Gómez de la Serna, both in form of manuscripts and published clippings. The subseries is again divided into sections in order to reflect the original organization of those writings by Ramón himself.
|
Section: "Para poder salir de viaje"
|
Scope and Content Notes: Ramón comprised several manuscript drafts and published clippings under the above heading. It is not clear how the original title relates to the content of this section. The folders are labeled according to the title of the draft or clipping it contains. The folder “Los caucheros” has little to do with its title and may be a fragment of a larger narrative. It offers a glimpse of the author’s attitude to his wife, “la mujer ideal,” and to love as a solace after a failed attempt to attain the secret of life represented by an imaginary walk in the forest. “Diálogo mázcara” takes the form of a poetically imaginative and witty dialogue between Ramón and a masked woman (“El” and “Yo” respectively). The first half is in Luisa Sofovich’s hand, the latter in Ramón’s. It may be a collaboration, although the piece is stylistically homogeneous. There is also a manuscript fragment of an article in which Ramón embarks on his own peculiar cosmovision, entitled “El huevo sideral,” dated September 1942. “Convivir con la hormiga” (1955) is another essay that is present in both manuscript form and as a published clipping. The folders are arranged alphabetically according to title. An asterisk behind the folder title indicates that its published version is included with the published clippings folder.
|
Box 10
| Folder |
2 |
"Una barquillera"
|
|
| Folder |
3 |
"El campo y sus mosquitos"
|
|
| Folder |
5 |
"Convivir con la hormiga"*
|
|
| Folder |
6 |
"Diálogo máscara"
|
|
| Folder |
7 |
"El estudio de Zuluoga"
|
|
| Folder |
8 |
"Evocación de un poeta romántico"
|
|
| Folder |
9 |
"Ganancias del escritor"
|
|
| Folder |
10 |
"El huevo sideral"
|
|
| Folder |
11 |
"Li-Tai-Poh y la poesía chino-japonesa"*
|
|
| Folder |
12 |
"Navidad caliente"
|
|
| Folder |
13 |
"Nombres de America"
|
|
| Folder |
15 |
"Un santo patrono para la T.V."
|
|
| Folder |
16 |
"Sobre las campanas"
|
|
| Folder |
17 |
Untitled Mansucript ("El marqués de Villena"?)
|
|
| Folder |
18 |
Clippings of Published Articles
|
|
| Folder |
19 |
Clippings of Published Articles
|
|
| Folder |
20 |
Clippings of Published Articles
|
|
| Folder |
21 |
Clippings of Published Articles
|
|
| Folder |
22 |
Original Cover of Contents entitled "Para poder salir de viaje"
|
|
Section: Brujas
|
Scope and Content Notes: This section contains Ramón’s handwritten notes of Goyesque inspiration, revealing a somewhat sarcastic antipathy for old women.
|
Box 11
| Folder |
1 |
Loose Notes 1-63
|
|
| Folder |
2 |
Loose Notes 64-120
|
|
Section: Teatro, 1941 and 1948
|
Scope and Content Notes: Besides a few general ideas on the theatre, this section comprises mainly notes, sketches, and occasional pieces of dialogue for plays that were apparently never written. Included are 13 sheets in Luisa Sofovich’s hand and a dialogue entitled “Te absurdo.” Two folders carry the dates 1941 and 1948, and it seems that most of the items belong to this time period.
|
| Folder |
4 |
"¿Por Qué Nos Mataste?," Comedia tragica
|
|
| Folder |
5 |
"Encuentro en el más alla," Tragicomedia en tres actos
|
|
| Folder |
6 |
"Jardín del Eden," Comedia
|
|
| Folder |
7 |
"Proyectos obras"
|
|
| Folder |
8 |
"Proyectos obras"
|
|
| Folder |
9 |
"Teatro sin nadie"
|
|
| Folder |
10 |
"Una mujer cualquiera"
|
|
| Folder |
11 |
"La calumniada"
|
|
| Folder |
12 |
"Tres tes absurdos"
|
|
| Folder |
13 |
"Té absurdo" ("Bernabé")
|
|
| Folder |
14 |
"La carta en la tumba" and "Encefalitis caballar"
|
|
Section: Buenos Aires
|
Scope and Content Notes: This section comprises mostly impressions of Buenos Aires, possibly in preparation for a new or enlarged edition of Explicación de Buenos Aires, which first appeared in Madrid in 1950, and fragments of which were included in Luisa Sofovich’s Ramón Gómez de la Serna (Ediciones Culturales Argentinas, 1962). Featured are published clippings that reflect an optimistic, picturesque impressionism; and Ramón’s manuscript notes that, for the most part, reveal some disillusionment and distaste for an immoral and materialistic environment. The folder “El tigre” contains notes and fragments of a narrative, apparently a continuation of a short story already published under the same title in La nación (cf. fragment of the published clipping, dated Madrid, September 1940). The theme is that of crime and perdition on the group of islands of the same name, when an innocent visitor becomes embroiled in a house party and suspects his wife of having been seduced. Other folders contain notes and documentation on toothpicks (palillos) or a list of epitaphs presumably destined for a novel that did not materialize (announced as early as 1932 in “Policéfalo y Señora” with the title “Tremedal americano pasión de otras estrellas”). In fact, several notes bearing the heading “Trembladeral” are scattered around in other folders. Two manuscript articles are entitled respectively “Yo he sido un gordo” and “Recuerdo de Keyserling.”
|
Box 12
| Folder |
1 |
Transcription of Selected Notes from Box 12
|
|
| Folder |
2 |
"Maritimas y fluviales," "Sarmiento," "El botánico de aquí," and Other Notes
|
|
| Folder |
3 |
"El tigre," Loose Notes
|
|
| Folder |
4 |
"El tigre," Manuscript Pages
|
|
| Folder |
5 |
"El tigre," Manuscript Fragments
|
|
| Folder |
7 |
"Misterios de Buenos Aires"
|
|
| Folder |
8 |
"Calles especializadas" — "La gran calle Florida"
|
|
| Folder |
9 |
"Replica de los botánicos—El botánico aquí"
|
|
| Folder |
10 |
"Hay que regar las calles"
|
|
| Folder |
11 |
"Piano de remate"
|
|
| Folder |
13 |
"Tormenta de Santa Rosa"
|
|
| Folder |
14 |
"Plaza Miserere"
|
|
| Folder |
16 |
"Avenida de mayo"
|
|
| Folder |
18 |
"Temario: 'Bancos de flores'": Manuscripts and Clippings
|
|
| Folder |
19 |
"Buenos Aires: plano general"
|
|
| Folder |
20 |
"Recuerdo de Keyserling"
|
|
| Folder |
21 |
"Corrientes, Florida y la diagonal"
|
|
| Folder |
22 |
Loose Notes, Items 227-238
|
|
Box 13
| Folder |
1 |
"Esquelas que intercalar para tembladeral": Epitaphs
|
|
| Folder |
4 |
"Prólogo a Explicación de Buenos Aires de Ramón Gómez de la Serna"
|
|
| Folder |
5 |
"Yo he sido un gordo y me ha ido bien con esa figura maciza y ancha"
|
|
| Folder |
6 |
Unidentified Fragments about Buenos Aires
|
|
| Folder |
7 |
Unidentified Fragments about Buenos Aires
|
|
| Folder |
8 |
Manuscript Fragments about "El frio en Buenos Aires" and "La barriguita"
|
|
| Folder |
9 |
Manuscript Fragment (Dialog)
|
|
| Folder |
10 |
Published Clippings by Ramón and Others
|
|
Section: Romanticismo
|
Scope and Content Notes: Gathered here are documents, graphic materials, clippings of Ramón’s own articles on the subject, and 23 large manuscript sheets (numbered 2-26, with 6 and 7 missing). The latter are probably lecture notes defending a romantic way of life and repeating what is said in the first chapter to the Carolina Coronado biography.
|
Box 14
| Folder |
1 |
"Romanticismo Español": Book and Newspaper Clippings
|
|
| Folder |
2 |
"Cosas mias publicadas": Manuscript Pages and Published Clippings
|
|
| Folder |
3 |
"Romanticos Catalanes": Manuscript Pages and Published Clippings
|
|
| Folder |
4 |
"Romanticismo": Manuscript Fragment
|
|
| Folder |
5 |
"Romanticismo": Notes
|
|
| Folder |
6 |
"Romanticismo": Notes and Clippings
|
|
| Folder |
7 |
"Poetas menores del Romanticismo: Francisco Zea, Ros de Olano, Tertulia María Nodier, Tasara, Garcia Gutierrez, Menéndez Valdés"
|
|
| Folder |
8 |
"Grafica Romanticismo": Clippings of Images
|
|
| Folder |
9 |
"Romanticismo y armas al hombre" by Adriano de Valle: Article Clipping
|
|
| Folder |
10 |
"Historia universal romanticismo": Article Clippings
|
|
| Folder |
11 |
"Cosas periodistícas Romanticismo": Article Clippings
|
|
| Folder |
12 |
"Archivado Espronceda": Article Clippings and Some Notes on José de Espronceda
|
|
| Folder |
13 |
"La Avellaneda": Article Clippings on Gertrudis Gómez de Avellaneda
|
|
| Folder |
14 |
"Romanticismo americano": Article Clippings
|
|
| Folder |
15 |
"Archivado Cadalso": Article Clippings on José Cadalso
|
|
| Folder |
16 |
"José Zorrilla": Article Clippings on José Zorrilla
|
|
| Folder |
17 |
"Duque de Rivas": Article Clippings on Duque de Rivas
|
|
| Folder |
18 |
"Carolina Coronado": Article Clippings on Carolina Coronado, 1951
|
|
| Folder |
19 |
"Romanticismo": Notes and Article Clippings on Romanticism
|
|
Box 15
| Folder |
1 |
"Fígaro" (Mariano José de Larra): Article Clippings, Notes, and Manuscript Drafts
|
|
| Folder |
2 |
"Don Miguel de Mañara": Article Clippings and Notes
|
|
| Folder |
3 |
"Don Juan": Article Clippings and Some Notes
|
|
| Folder |
4 |
"Don Juan": Article Clippings
|
|
| Folder |
5 |
"Don Juan de Zorrilla": Article Clippings and Some Notes
|
|
| Folder |
6 |
"Grafica Don Juan": Image Clippings of Don Miguel de Mañara
|
|
Section: Editores
|
Scope and Content Notes: This section comprises Ramón’s loose notes expressing a repetitive and almost obsessive tirade against publishers for their immoral exploitation of the writer.
|
| Folder |
7 |
Original Cover of Notes “Editores”
|
|
| Folder |
8 |
Loose Notes, Items 1-89
|
|
| Folder |
9 |
Loose Notes, Items 90-185
|
|
| Folder |
10 |
Loose Notes, Items 186-287
|
|
Section: Temas diferentes
|
Scope and Content Notes: As its title indicates, this section holds notes for Ramón’s newspaper articles dealing with a variety of subjects including prehistoric animals, subway bars, ‘genocide’ as opposed to genocide, the immodesty of women bathers, modern youth, capitalism and the perversion of money, clocks, allergies, modern sculpture, bells, butterflies, teddy bears, Russians and the moon, animal skulls symbolizing America, frying pans and cookery, and—more voluminously—on frogs and toads, and ‘Sunday’. Included are also manuscript drafts on a variety of topics, such as the minute forms of life found in the encyclopedia and on unmarked handkerchiefs. Notes on any one subject may be the result of an accumulation over a period of ten years or more.
|
| Folder |
11 |
"Lo cursi": Notes and Clippings
|
|
| Folder |
12 |
"Invencía/Mocedad Mocerío"
|
|
| Folder |
14 |
"Barlovento y virazón"
|
|
| Folder |
15 |
"El balduque y el brulote"
|
|
| Folder |
18 |
"Claro de la luna"
|
|
Box 16
| Folder |
2 |
"Azafrán y pimientón"
|
|
| Folder |
4 |
Loose Notes and Clippings
|
|
| Folder |
5 |
"Bares del subterráneo"
|
|
| Folder |
9 |
"Relojes y tiempo"
|
|
| Folder |
10 |
"Ranas y sapos"
|
|
| Folder |
11 |
"Esqueleto campo"
|
|
| Folder |
12 |
"Esqueletos en el campo"
|
|
| Folder |
19 |
"Arboles: Cultura del plátano"
|
|
| Folder |
23 |
"Los rusos y la luna"
|
|
| Folder |
24 |
"Osos de los niños"
|
|
| Folder |
25 |
"Las haches y el la y el le"
|
|
| Folder |
27 |
"Cosas oro," Manuscript
|
|
| Folder |
28 |
"Escultores," Manuscript
|
|
| Folder |
29 |
"Esqueletos del campo," Manuscript
|
|
| Folder |
30 |
"Los fotógrafos artísticos," Manuscript
|
|
| Folder |
31 |
"Multitud en las cornisas," Manuscript
|
|
| Folder |
32 |
"Osos," Manuscript
|
|
| Folder |
33 |
"Pañuelos sin marcar," Manuscript
|
|
| Folder |
34 |
"Predilección por los ositos," Manuscript
|
|
| Folder |
35 |
"Radiolarios, espongiarios y otros más," Manuscript
|
|
| Folder |
36 |
"Los saurios y las noches sauricas," Manuscript
|
|
| Folder |
37 |
"Trajes baño," Manuscript
|
|
| Folder |
38 |
Untitled (Related to "Radiolarios"), Manuscript
|
|
| Folder |
39 |
"Dias de Chimenea," Manuscript
|
|
| Folder |
40 |
"El matador de Guisando," Typescript
|
|
| Folder |
41 |
"En la ciudad desproporcionada," Manuscript
|
|
| Folder |
42 |
Clippings of Published Articles by Ramón and Others
|
|
Section: Sobre novela y novela corta y cuento
|
Scope and Content Notes: The documents in this section consist of two fragments of typescript, four annotated clippings, and over a hundred manuscript notes. They contain ideas either not included in or—the majority—subsequent to the publication of the essay “Novelismo” in Ismoa (2nd ed. Buenos Aires, 1947), reflecting Ramón’s conception of the novel and short story.
|
Box 17
| Folder |
1 |
Original Cover of Material
|
|
| Folder |
2 |
Transcription of Selected Items
|
|
| Folder |
3 |
"Novela/Ideas sobre la novela"
|
|
| Folder |
5 |
"Notas para una nueva novela"
|
|
| Folder |
6 |
"Sobre la novela"
|
|
Section: Caprichos y fantasmagorías
|
Scope and Content Notes: Ramón describes the caprichos represented here in subheadings as surreal, absurd, humorous, and terrifying. Most of them are in form of brief notes; others are longer pieces on manuscript pages. Apparently, some of the caprichos were originally intended for inclusion in the novel El hombre perdido.
|
Box 18
| Folder |
2 |
"Un pelo volante"
|
|
| Folder |
3 |
"Caprichos para España"
|
|
| Folder |
4 |
"Muy surrealistas y absurdistas"
|
|
| Folder |
6 |
"Diálogo de las tazas" and "Aerolandia," Manuscripts
|
|
| Folder |
7 |
"Caprichos," Manuscript
|
|
| Folder |
8 |
"Caprichos surrealistas," Manuscript
|
|
| Folder |
9 |
"El elefante cleptomano," Manuscript
|
|
| Folder |
10 |
"El que borró el crimen," Manuscript
|
|
| Folder |
11 |
"El órgano carcelario," Manuscript
|
|
Section: Ballet—Antropofagia
|
Scope and Content Notes: Documents in this section comprise impressions and ideas on night clubs, modern and classical ballet, exhibiting an attitude of puritanical censure towards the promiscuous, venal sexual behaviors of the modern city, expressed through the wit and humor of metaphor.
|
Box 19
| Folder |
1 |
"Cabaret," Notes
|
|
| Folder |
2 |
"Ballet—Antropofagia," Notes
|
|
Section: Corrigiendo retratos
|
Scope and Content Notes: This section contains revised notes, drafts, and published clippings concerning some of Ramón’s biographical sketches of several individuals, including Colette, Francisco Villaespesa, Manuel Machado, and Pío Baroja.
|
| Folder |
3 |
Loose Notes and Clippings
|
|
| Folder |
4 |
"Baroja y Villaespesa," Manuscript
|
|
| Folder |
5 |
"Manuel Machado," Typescript
|
|
| Folder |
6 |
"Oración para el poeta," Typescript
|
|
| Folder |
7 |
"Colette," Clipping
|
|
| Folder |
8 |
Unidentified Title ("Colette"), Clipping
|
|
| Folder |
9 |
Unidentified Title ("Baroja"), Clipping
|
|
| Folder |
10 |
Unidentified Title ("Prólogo corrigiendo"), Clipping
|
|
Section: Futuros ensayos
|
Scope and Content Notes: Ramón’s mostly handwritten notes in this section reveal critical commentaries on the modern world: the corruptive and false illusion of the cinema exposing the secret aspirations of society; the truck as an image for the machine culture as well as the revolutionary violence of the workers; airplanes and cars and a modern obsession with speed and travel divert man from his true spiritual nature; banks ought to modify their structure in order to end exploitation.
|
Box 20
| Folder |
2 |
"Cultura del camión"
|
|
| Folder |
3 |
"Autos—Velocidad—Turismo"
|
|
Section: Cartas a las golondrinas
|
Scope and Content Notes: Featured here are phrases and fragments for one or more uncompleted “Cartas a las golondrinas.” They have apparently been partly transcribed and arranged by Luisa Sofovich to create a posthumous letter to the swallows.
|
Box 21
| Folder |
1 |
"Carta golondrinas," Loose Notes
|
|
| Folder |
2 |
"Carta póstuma a las golondrinas," Annotated Typescript
|
|
| Folder |
3 |
"Cartas al las golondrinas," Published Clipping
|
|
Section: "Prólogos"
|
Scope and Content Notes: In these notes, Ramón recorded ideas on aesthetics and artistic reality in general, commenting on his own work and lamenting the social realism of the post-war Spanish generation.
|
| Folder |
5 |
"Estética literaria"
|
|
| Folder |
6 |
"Ultima Estética"
|
|
| Folder |
7 |
Unidentified Typescript, Fragment
|
|
| Folder |
8 |
"La literatura," Fragment
|
|
Section: Tiempo y reloj
|
Scope and Content Notes: This section comprises notes, fragments, and clippings that are discussing the topics of time and time-keeping.
|
Section: Revés del circo
|
Scope and Content Notes: The documents in this folder include impressions of the circus, especially with regard to clowns and elephants. There are hints at investigating the mysterious, perhaps Freudian, side of the circus.
|
| Folder |
10 |
Revés del circo
|
|
Section: Rupestre, Barroco, Renacimiento
|
Scope and Content Notes: Comprised here are Ramón’s definitions and descriptions of the Baroque, considering it in a larger historical perspective as a peculiar Spanish religious phenomenon. In the Renaissance section, Ramón claims that Spain’s Catholicism defended the country from the paganism of that period and from the austerity of the Reformation. He argues that the baroque period was more inspired by the prospect of the New World than by a counter movement to the Reformation. In other folders, one can find an article condemning communist–inspired murals, some ideas on paintings in general, and on Spanish cave paintings in particular. Most of the material here can be dated to the 1940s and reveals Ramón’s desire to study the myth of the ‘eternal Spain’. Some manuscripts are drafts for radio talks and may also have been published in the press.
|
Box 22
| Folder |
1 |
"Barroco—Renacimiento"
|
|
| Folder |
3 |
"Cuevas de España"
|
|
| Folder |
4 |
"Pintura" (Fragment)
|
|
| Folder |
6 |
"Rococó—Renacimiento"
|
|
| Folder |
7 |
"Bodas de América y España"
|
|
| Folder |
8 |
"El renacimiento": Radio Script, 1940
|
|
Section: España
|
Scope and Content Notes: This section includes memories and impressions of Madrid during the Monarchy and Ramón’s childhood. Present are also notes on Calderón, Quixote, Jorge Manrique, Lópe de Vega, an article on the history of Madrid and on the town Paredes de Nava, birthplace of Jorge Manrique, Pedro Berruguetes, and General San Martín. A large part of the documents consists of three manuscript articles. “Repetición de España” is about the eternal, unchanging character of the country, with its spiritual wealth despite, or rather because of, its poverty and sobriety. The second, “Perspectiva de España,” deals with the author’s sense of mission of seeing Spain from a true perspective, an idealized one, and describing it to South America. He sees the new nationalist Spain as the eternal Spain, which has been saved and rejuvenated, displaying an almost ingenuous faith in the truth of his vision. The third article, “Castilla antes del milenio,” discusses the historic Castile, which he exalts as representing the central essence of Spain.
|
Box 23
| Folder |
2 |
"España e Hispano-Americanismo"
|
|
| Folder |
3 |
"Perspective de España"
|
|
| Folder |
4 |
"Repetición de España"
|
|
| Folder |
5 |
"El surgente Madrid"
|
|
| Folder |
6 |
"Castilla antes del milenio"
|
|
| Folder |
9 |
About Spanish Art, Radioscript Fragment
|
|
| Folder |
10 |
About Spanish Art, Manuscript Fragment
|
|
| Folder |
11 |
"Paredes de Nava, Jorge Manrique, Los Berruguete y el General San Martín"
|
|
| Folder |
13 |
"Pedro de Mena"
|
|
| Folder |
14 |
Published Clippings
|
|
Section: Bio, España, política, archivar, ida y vuelta a España, 1949
|
Scope and Content Notes: This is a compilation of political notes reflecting Ramón’s views on the Second Republic, the civil war, his 1949 visit to Spain, and his political ideas in general. They provide further context for his declared allegiance to Franco, a fact he did not discuss in Automoribundia. He looks back with nostalgia to the relative calm of the monarchy, without sympathy for the Republic and its disorders, whose causes he attributes primarily to the socialist and communist movements. Apart from Franco, the only politicians referred to are Republicans, and all are subjected to bitter, scathing criticism: Alvarez del Vayo, Negrín, Araguistaín, Manuel Azaña, and Indalecio Prieto. Ramón favored the establishment of a Catholic military dictatorship to prevent a communist revolution and to maintain stability at all costs. His journey to Madrid in 1949 appears to not have been the success he had hoped for because his impressions are far from enthusiastic, and he seems to have returned embittered to Buenos Aires. Later notes commenting on the contemporary world—reference is made to the Polaris missile—reveal a feeling of increasing isolation and despair at the world.
|
Box 24
| Folder |
1 |
"Banquete a Montero Alonso"
|
|
| Folder |
2 |
Various Political Notes
|
|
| Folder |
3 |
"Cuestión Española"
|
|
| Folder |
4 |
Various Political Notes
|
|
| Folder |
5 |
"Revolución Española"
|
|
| Folder |
6 |
"Biografía política"
|
|
| Folder |
7 |
Various Political Notes
|
|
| Folder |
8 |
"Estado Madrid," 1949
|
|
| Folder |
10 |
"Concursos/Premios perdidos"
|
|
| Folder |
11 |
"Zancadilla de Madrid"
|
|
| Folder |
12 |
"Poeta/Biografia"
|
|
| Folder |
13 |
"Comida Aguilar"
|
|
| Folder |
14 |
"Biografía, Vuelta de España"
|
|
| Folder |
15 |
"Visita a España"
|
|
| Folder |
16 |
"La verdad de lo sucedido—Revolución española"
|
|
| Folder |
17 |
"Vuelta de España"
|
|
| Folder |
18 |
"Vuelta a Madrid"
|
|
| Folder |
19 |
Notes on Various Topics
|
|
| Folder |
20 |
"Indalecio Prieto"
|
|
| Folder |
21 |
"Biografía Indalecio Prieto"
|
|
| Folder |
23 |
Transcription of Selected Items from Box 24
|
|
Section: Notes on Spain
|
Scope and Content Notes: This section again reveals Ramón’s political views, this time more concerned with general reflections and interpretations about the character of Spain, displaying a tendency to take refuge in an idealized concept of the country separate from its inhabitants. There is more evidence of his worship of Franco, as well brief sections on the Palacio de Cristal in the Retiro and on the Escorial, and a large number of notes on Spain’s relationship with Latin America, especially concerning the Conquistadors.
|
Box 25
| Folder |
1 |
"Política/ cante jondo/España"
|
|
| Folder |
2 |
"La indiferencia altiva de España"
|
|
| Folder |
3 |
"Patriotismo español/Españoles/España"
|
|
| Folder |
4 |
"El Quijote/Gentes de España"
|
|
| Folder |
5 |
"España y América/España y los Españoles"
|
|
| Folder |
6 |
"Conquistadores"
|
|
| Folder |
7 |
"Palacio de Cristal"
|
|
| Folder |
8 |
"Descripción del Escorial"
|
|
| Folder |
9 |
"Avilés y Oviedo"
|
|
| Folder |
10 |
"España y los españoles": Various Topics
|
|
| Folder |
11 |
"Calderón de la Barca"
|
|
| Folder |
12 |
"España": Various Topics
|
|
| Folder |
13 |
Transcription of Selected Items from Box 25
|
|
Section: Dios
|
Scope and Content Notes: This section contains Ramón’s extensive notes on God and many related aspects of the Christian belief system such as the Devil, Hell and Heaven, Jesus, and the Bible.
|
Box 26
| Folder |
3 |
"Astronomías y misterios"
|
|
| Folder |
4 |
"Dios/infierno/cielo"
|
|
| Folder |
5 |
"La creación/velocismo"
|
|
| Folder |
6 |
"Dios/la creación"
|
|
| Folder |
7 |
"Dios": Various Notes
|
|
| Folder |
8 |
"Dios/Jesús/la biblia"
|
|
| Folder |
9 |
"Dios/oraciones"
|
|
| Folder |
10 |
"Sacerdote/iglesia/clericalismo"
|
|
| Folder |
11 |
"El mal y el bien"
|
|
| Folder |
12 |
"Dios y el pecado"
|
|
| Folder |
13 |
"Nuestra religión"
|
|
| Folder |
14 |
"La fe/letra de la religión/las palabras"
|
|
| Folder |
15 |
"La atómica y dios"
|
|
| Folder |
16 |
"Sumisión y resignación"
|
|
| Folder |
18 |
"Dios y otras religiones"
|
|
| Folder |
20 |
"Privilegios del hombre"
|
|
| Folder |
21 |
"Los fieles/los fanáticos"
|
|
| Folder |
22 |
"Su perdón y su misericordia"
|
|
| Folder |
23 |
"Querella conmigo"
|
|
| Folder |
24 |
"Dios": Various Notes
|
|
| Folder |
25 |
"Dios": Various Notes
|
|
| Folder |
26 |
"Dios": Various Notes
|
|
| Folder |
27 |
"Lo que es dios/teología"
|
|
| Folder |
28 |
"Dios": Various Notes
|
|
| Folder |
29 |
"Dios y el alma"
|
|
| Folder |
30 |
"Dios": Various Notes
|
|
| Folder |
31 |
"Evidencia del dios/el crimen impune"
|
|
| Folder |
33 |
"Principio del mundo"
|
|
| Folder |
34 |
"Dios": Various Notes
|
|
| Folder |
35 |
"Revelación y la biblia"
|
|
| Folder |
36 |
"El rigor de dios y la guerra"
|
|
| Folder |
38 |
"Dios y la realidad, la libertad, la nada, la duda, el arte"
|
|
| Folder |
39 |
"Dios y la sciencia"
|
|
Box 27
| Folder |
2 |
"Ateísmo América"
|
|
| Folder |
3 |
"Ateísmo Amércia"
|
|
| Folder |
4 |
"Dios y América"
|
|
| Folder |
5 |
"Filósofos y dios," Manuscript Fragment
|
|
| Folder |
6 |
Bellón Wiesner, Waldemar: Untitled Clipping
|
|
| Folder |
7 |
Rivet, Paul: "El origen del hombre," Clipping
|
|
| Folder |
8 |
Gómez de la Serna, Ramón: "Dios," Clipping
|
|
Section: "Artículos psiquiatría y psicoanálisis"
|
Scope and Content Notes: This folder contains Ramón’s notes of a polemical nature criticizing various psychological ideas, perhaps with an implicit tone of self-defense. The increasingly Catholic writer that Ramón has become embraces a Jungian kind of reaction to Freudian psychology. There are two article clippings on Jung’s affirmation of the reality of the soul, and several manuscript articles by Ramón in which he laments the absence of the mysterious, ‘lo indecible’, the soul and God in most psychologies, justifying artistic manic depression, neuroses, and persecution mania as logical and lucid reactions to the reality of the world. The artist’s willful madness is not pathological but a supreme form of protest; the idealist’s aspiration towards the supernatural is opposed to the scientific investigation of the sinful subconscious, according to Ramón’s argument.
|
Box 28
| Folder |
2 |
"Afecciones vaporosas"
|
|
| Folder |
3 |
"Maniacos depresivos" (Fragment)
|
|
| Folder |
4 |
"Neurastenias nuevas"
|
|
| Folder |
5 |
"Psiquiatras y depresivos"
|
|
| Folder |
8 |
Unidentified Title
|
|
| Folder |
9 |
Unidentified Title ("Cuento psiquiátrico")
|
|
| Folder |
10 |
Published Clippings
|
|
|
