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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 1 "Auriculares"
Folder 2 "Una barquillera"
Folder 3 "El campo y sus mosquitos"
Folder 4 "Los Caucheros"
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 14 "Un nuevo mar"
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 3 Original Cover
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 6 "Palillos"
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 12 "Buenos Aires"
Folder 13 "Tormenta de Santa Rosa"
Folder 14 "Plaza Miserere"
Folder 15 "Bodrio"
Folder 16 "Avenida de mayo"
Folder 17 Loose Notes
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 2 "La pampa"
Folder 3 "El porvenir"
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 13 Loose Notes
Folder 14 "Barlovento y virazón"
Folder 15 "El balduque y el brulote"
Folder 16 Loose Notes
Folder 17 "El genocidio"
Folder 18 "Claro de la luna"

Box 16
Folder 1 Loose Notes
Folder 2 "Azafrán y pimientón"
Folder 3 "Sartenes"
Folder 4 Loose Notes and Clippings
Folder 5 "Bares del subterráneo"
Folder 6 Loose Notes
Folder 7 "Saurios"
Folder 8 "Diccionario"
Folder 9 "Relojes y tiempo"
Folder 10 "Ranas y sapos"
Folder 11 "Esqueleto campo"
Folder 12 "Esqueletos en el campo"
Folder 13 "El dinero"
Folder 14 "Barbas"
Folder 15 "Humorismo"
Folder 16 "Tallarines"
Folder 17 "Alegría"
Folder 18 "Domingo"
Folder 19 "Arboles: Cultura del plátano"
Folder 20 "Afilador"
Folder 21 "Mariposas"
Folder 22 "El fotógrafo"
Folder 23 "Los rusos y la luna"
Folder 24 "Osos de los niños"
Folder 25 "Las haches y el la y el le"
Folder 26 Loose Notes
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 4 "La novela"
Folder 5 "Notas para una nueva novela"
Folder 6 "Sobre la novela"
Folder 7 "La novela"
Folder 8 "El cuento"

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 1 "Caprichos"
Folder 2 "Un pelo volante"
Folder 3 "Caprichos para España"
Folder 4 "Muy surrealistas y absurdistas"
Folder 5 "Terríficos"
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 1 "Cine"
Folder 2 "Cultura del camión"
Folder 3 "Autos—Velocidad—Turismo"
Folder 4 "Avión"
Folder 5 "El león"
Folder 6 "Bancos"
Folder 7 "Icaza"
Folder 8 "El eco"

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 4 "Realismo"
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.

Folder 9 Tiempo y reloj

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 1 "Lo rupestre"
Folder 3 "Cuevas de España"
Folder 4 "Pintura" (Fragment)
Folder 5 "Pintura mural"
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 1 "Madrid"
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 7 "Cante jondo"
Folder 8 "Calderón"
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 12 "Lope"
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 9 "Ida a España"
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 22 "Azaña"
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 1 "Dios"
Folder 2 "El diábolo"
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 17 "Amor a dios"
Folder 18 "Dios y otras religiones"
Folder 19 "La virgen"
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 32 "Virgen Maria"
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 37 "La moral"
Folder 38 "Dios y la realidad, la libertad, la nada, la duda, el arte"
Folder 39 "Dios y la sciencia"
Folder 40 "Ateos"

Box 27
Folder 1 "Ateísmo"
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 1 Loose Notes
Folder 2 "Afecciones vaporosas"
Folder 3 "Maniacos depresivos" (Fragment)
Folder 4 "Neurastenias nuevas"
Folder 5 "Psiquiatras y depresivos"
Folder 6 "El Ru-Ko"
Folder 7 "Trepanación"
Folder 8 Unidentified Title
Folder 9 Unidentified Title ("Cuento psiquiátrico")
Folder 10 Published Clippings