By Aníbal González
Modernismo, a literary move of primary value to Spanish the US and Spain, happened on the flip of the 19th century, approximately from the Eighteen Eighties to the Nineteen Twenties. it truly is broadly considered as the 1st Spanish-language literary circulation that originated within the New international and that grew to become influential within the "Mother Country," Spain. characterised by means of the appropriation of French Symbolist aesthetics into Spanish-language literature, modernismo's different major characteristics have been its cultural cosmopolitanism, its philological situation with language, literary historical past, and literary strategy, and its journalistic penchant for novelty and model. regardless of the attractiveness of modernista poetry, modernismo is now understood as a huge circulate whose impression was once felt simply as strongly within the prose genres: the fast tale, the unconventional, the essay, and the journalistic cr??nica [chronicle]. Conceived as an creation to modernismo in addition to an account of the present state-of-the-art of modernismo experiences, this booklet examines the movement's contribution to a number of the Spanish American literary genres, its major authors [from Mart? and N??jera to Dar?o and Rod??], its social and old context, and its carrying on with relevance to the paintings of latest Spanish American authors reminiscent of Gabriel Garc?a M??rquez, Sergio Ram?rez, and Mario Vargas Llosa.
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Extra resources for A Companion to Spanish American Modernismo (Monografías A)
Julián del Casal, Prosas (Havana: Consejo Nacional de Cultura, 1963), I, p. 272. 26 ANÍBAL GONZÁLEZ According to Casal, journalism undermined the notion of the author’s self as a source of authority, and it furthermore turned the literary text from an object of aesthetic contemplation into merchandise. Similar sentiments were echoed by Nájera and Martí. Martí, however, saw clearly that journalism’s effects on literature had less to to with its “intrinsic hatred of literature” (as Casal put it) than with modernity and the quickened pace of modern life.
30 ANÍBAL GONZÁLEZ I rarely go to the circus. Any spectacle in which I see displayed human abjection, whether moral or physical, is greatly repugnant to me. However, a few nights ago, I entered a tent that was raised in the small plaza near the Seminario. A contortionist dislocated himself with grotesque contortions, exploiting his ugliness, his shamelessness, and his idiocy, like those beggars who, in order to stimulate the expected benevolence of the passerby, display their sores and exploit their rottenness.
63. 14 Andrés Iduarte, Martí, escritor (Havana: Ministerio de Educación, Dirección de Cultura, 1951), p. 140. 34 ANÍBAL GONZÁLEZ it is to see it), a phrase Martí used in his well-known crónica about the Charleston earthquake of 1886, summarizes his constant attempt to create an impression of immediacy through the evocation of the spoken word. Martí’s “Escenas,” which were published weekly or fortnightly, posed an enormous challenge to his capacity as a writer, since he was required not only to enumerate and relate the week’s events but also to comment on them within a coherent stylistic and ideological framework while keeping his discourse as impersonal as possible.