1. Poeta en Nueva York in the context of other poetry on New York (e.g. Frank O’Hara, others), or on cities. For this, you could start by looking at Darío Villanueva’s book Imágenes de la ciudad. Poesía y cine de Whitman a Lorca (Universidad de Valladolid, 2007), and there are many other sources. Lorca scholar Margarita Ulecay points out hw many works appeared on New York and the modern city at this time, some of which Lorca read or would have known about: Fritz Lang’s film Metropolis, Dos Passos’ Manhattan Transfer, Eliot’s The Waste Land. He would have read Juan Ramón Jiménez’ 1917 book, written during his 1916 trip to New York. Other books on New York and on the modern city that came out around this time include José Moreno Villa, Pruebas de Nueva York (1927), Paul Morand’s New-York (1930), Georges Duhamel, Scènes de la vie future (1934), and Julio Camba, La ciudad automática (1934). [See the Cátedra edition of Así que pasen cinco años, Introduction, note 2, pp. 13-14 for additional and related commentary.]
2. Musical settings of Lorca–there are many, here are a few–or music in Lorca.
Lorca’s uses of music, and musical adaptations of him, include folklore and classical music, Cuban son, blues and more.
3. Flamenco and the flamenco tradition. One book on this we have available through the library is Edward Stanton’s The Tragic Myth: Lorca and Cante Jondo (Studies in Romance Languages) (UP of Kentucky, 1978). Rob Stone’s Flamenco Tradition in the Works of Federico García Lorca and Carlos Saura: The Wounded Throat (Edwin Mellen, 2004) is available through interlibrary loan, and there is much more on flamenco and the gypsy motif. For installations or annotations, an exhibit illustrating and explaining the kinds of flamenco forms Lorca uses could be very interesting.
4. Literary adaptations and responses. This article by José I. Badenés, for instance, explores plays responding to Lorca’s work, written after his death. What other adaptations and responses have there been, and what are they like?
5. The body and embodiment, tactile Lorca.
Clip from Carlos Saura’s film of FGL, Bodas de sangre – with Antonio Gades.
6. Arabism in García Lorca. What Arabic material did he use, and how? In what traditions, and to what effect?
7. Love, desire, sexuality, including queer Lorca. There is ample bibliography on this, including works by Paul Julian Smith, Paul McDermid’s Love, desire and identity in the theatre of Federico García Lorca (Boydell and Brewer, 2007, available to us in e-format via JSTOR), and more.
8. Manuscripts and textual traditions. Lorca was so committed to the poetic event, the performance (“el hecho poético”) that he gave many of his originals away. With his premature death, definitive versions of some texts were never established. Does this matter, and if so, how?