By Aníbal González
Modernismo, a literary stream of basic value to Spanish the United States and Spain, happened on the flip of the 19th century, approximately from the Eighties to the Nineteen Twenties. it really is broadly considered as the 1st Spanish-language literary flow that originated within the New global and that grew to become influential within the "Mother Country," Spain. characterised via the appropriation of French Symbolist aesthetics into Spanish-language literature, modernismo's different major characteristics have been its cultural cosmopolitanism, its philological crisis with language, literary background, and literary method, and its journalistic penchant for novelty and style. regardless of the elegance of modernista poetry, modernismo is now understood as a large circulation whose effect was once felt simply as strongly within the prose genres: the fast tale, the radical, the essay, and the journalistic cr??nica [chronicle]. Conceived as an creation to modernismo in addition to an account of the present cutting-edge 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 comparable to Gabriel Garc?a M??rquez, Sergio Ram?rez, and Mario Vargas Llosa.
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Additional info for A Companion to Spanish American Modernismo (Monografías A)
Is the “daughter of the air” merely the helpess girl-child (like Goethe’s Mignon) or is she also the tyrannical, man-devouring seductress Semiramis? Similarly, is Manuel Gutiérrez Nájera merely a kindly journalistic Proteus who pliantly molds himself to every circumstance, or is he a sadistic exploiter of children in his crónicas and stories? It is shocking to realize how many children die in Nájera’s stories, from “La familia Estrada” (The Estrada Family) and “La balada de Año Nuevo” (The New Year’s Ballad) to “La mañana de San Juan” (The Morning of San Juan) and “La pasión de Pasionaria” (The Passion José Olivio Jiménez, Antología crítica de la poesía modernista hispanoamericana (Madrid: Hiperión, 1985), p.
However, unlike Flaubert, whose highly ironic depiction of reality intended to suggest that reality was ultimately impossible to fully understand, Martí’s crónicas presupposed an underlying order to the often chaotic events being described. The teeming masses of New York, the colonizers of the West, the great statesmen and orators, the criminals, the intellectuals, the civic celebrations, the public controversies, the disasters – fires, earthquakes, railroad accidents – all the myriad characters and events of life in the United States and Europe that parade through Martí’s crónicas, are seen as part of a single, coherent historical process.
Over the green mountains rising over grey haze the evening star twinkles like the pupil of a dying virgin in her final hour … The wave bemoans The Sun’s death and falls asleep casting its sad cries to the wind. (Prosas, p. 19) The crónica’s final section, however, is indicative of how Casal cared little, in the end, for the coherence of his chronicles. Here he comments, as if fulfilling a painful obligation, on two plays that were presented in Havana the previous week (pp. 19–20). Casal’s self-questioning Decadentist crónicas anticipate in some respects the tone of uncertainty that predominates in the crónicas of the younger generation of modernistas such as Rubén Darío, José Enrique Rodó, and Enrique Gómez Carrillo.
A Companion to Spanish American Modernismo (Monografías A) by Aníbal González