A Concordance of Pablo Picasso’s Spanish Writings: Book One and Book Two
|Author: ||Mallen, Enrique|
Awarded the Adele Mellen Prize for Distinguished Contribution to Scholarship
Due to the tumultuous nature of Picasso’s writings, many are difficult to read and a comprehensive concordance serves as a necessary accompaniment to understanding the multiple values of specific words in diverse contexts. In Spanish.
“The present concordance permits one to not only see the similarities between separate words, but also to analyze more carefully themes which we have accustomed to in the artist’s oeuvre and which constitute that special and exemplary universe that is Picasso’s, which include the Mediterranean, bullfights, still-lifes, landscapes and eroticism. Simply put, thanks to professor Mallen, one can conceive of all these spheres from a completely different perspective: not that of the historian or the art critic who approaches Picasso’s production to examine it, but rather something much more illuminating: the intellect of the author himself, who exposes his heart with a vocabulary rich in subtleties while simultaneously in direct contact with his parallel work in other media." – Rafael Inglada, Department of Publications in the Fundación Picasso, Málaga
“Mallen’s concordance clearly demonstrates that, in Picasso’s Spanish poems, certain semantic domains are predominant. For instance, Picasso is more inclined to refer to food items and everyday objects in his native language, which provides a clear reflection of his physical environment and of the harsh economic situation of this time. This appears to point to a certain correlation between native language and concrete concepts. Of additional interest in the case of a bilingual poet such as Pablo Picasso, is the manner in which a reverse dictionary permits us to see correlations between specific themes as identified by certain lexical terms and one particular language. The European conflict and the crisis in his own personal relations were the focus of many of his compositions. However, one may observe how more physical references to his immediate surroundings are more frequent in his native language. He also appears to prefer Spanish when he intends to apply a more folkioric tone, which is deeply rooted in his own native culture. This unique aspect of Mallen’s comprehensive Spanish concordance helps us understand the strata and complexities created by his written works.” – Prof. Rafael Saumell-M?noz, Sam Houston State University