By Aníbal González
Modernismo, a literary circulate of primary significance to Spanish the USA and Spain, happened on the flip of the 19th century, approximately from the Eighties to the Nineteen Twenties. it truly is largely considered as the 1st Spanish-language literary stream 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 predicament with language, literary historical past, and literary method, and its journalistic penchant for novelty and style. regardless of the attractiveness of modernista poetry, modernismo is now understood as a large flow whose impression was once felt simply as strongly within the prose genres: the quick tale, the unconventional, the essay, and the journalistic cr??nica [chronicle]. Conceived as an advent to modernismo in addition to an account of the present state-of-the-art of modernismo stories, this publication examines the movement's contribution to some 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 up to date Spanish American authors similar to 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)
Although his previously cited diatribe against journalism was right in seeing journalistic discourse as inimical to self-expression and to an aestheticist view of writing, it also reflected Casal’s own Decadentist attitude, which led him to reject nearly everything not associated with art and beauty. Needless to say, this attitude tended to discourage Casal from any attempt (like Nájera’s and Martí’s) to stamp his personality on his crónicas. Even so, 20 Brooks Adams, The Law of Civilization and Decay: An Essay on History (New York: Macmillan, 1895); and Henry Adams, The Tendency of History (Washington: Government Printing Office, 1896).
Which is why I write calmly and with my true style only when I feel I am writing for people who will love me, and only when I am able, in brief successive works, to discreetly give shape on the outside to the inner work that already exists within my mind,” Obras completas, IX (Havana: Editorial Nacional de Cuba, 1965), p. 16. 18 Julián del Casal, Prosas, pp. 138, 159–61. 19 Julián del Casal, Poesías (Havana: Consejo Nacional de Cultura, 1963), p. 190. 38 ANÍBAL GONZÁLEZ last refuge of art, eroticism, and play.
16 Images of simultaneity and speed as well as chaotic enumerations, irony, and an implicit moral condemnation predominate in this section of the crónica: And at that same hour, in the deserted plains, the eager colonists of the indian lands, awaiting the noon hour on Monday to invade the new Canaan, the ancient home of the poor Seminoles, the land of milk and honey, pray or raise a hubbub, and in that live frontier held only by the vigilant troops nothing else is heard but the shouted greeting of the former wretch turned property-owner, the speculator who sees foaming gold, or the rogue who profits from vice and death (Martí, pp.
A Companion to Spanish American Modernismo (Monografías A) by Aníbal González