By Aníbal González
Modernismo, a literary circulation of basic value to Spanish the USA and Spain, happened on the flip of the 19th century, approximately from the Eighteen Eighties to the Nineteen Twenties. it's commonly considered as the 1st Spanish-language literary flow 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 crisis with language, literary historical past, and literary process, and its journalistic penchant for novelty and model. regardless of the attractiveness of modernista poetry, modernismo is now understood as a large move whose effect 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 cutting-edge of modernismo stories, this publication examines the movement's contribution to many 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)
175), a “weak, small, and sickly being” (p. 175) who is prematurely aged, battered by her life in the circus, where the audience “that shouts, that howls” turns her into “their beast, their thing” (p. 173). Filled with a mixture of pity and guilt, the narrator addresses the girl: “You are ill: no one heals you or caresses you softly. ” (p. 175). Brief and impressionistic, this crónica nevertheless holds hidden depths. To begin with, despite its seeming specificity, the character of the little girl-acrobat is not necessarily based on a “real” person.
As was said earlier, Martí’s success in infusing his crónicas with his subjectivity arises, paradoxically, from his avoidance of direct allusions to himself even as he exercises through his command of oratory and rhetoric a high degree of control over his representation of reality. As the title “Escenas norteamericanas” suggests, events in Martí’s chronicles are usually described as a sequence of tableaux or scenes, not unlike the dioramas that were so popular in the Parisian arcades of the mid-nineteenth century – in which each immobile scene was brought to life by the voice and presence of an orator – or like a museum, in which disparate exhibits 16 John W.
Certainly, Nájera’s girl-acrobat could be seen as a portrait of Nájera’s “inner self ” in which he presents himself, in the manner of the Decadent poets, as the artist who is misunderstood and mistreated by the masses, by society. It is interesting to note that in one of his best known poems, “Mis enlutadas” (My Women in Mourning), Nájera explicitly presents himself as a passive and victimized being, to the point of comparing himself with Carolyn Steedman, Strange Dislocations: Childhood and the Idea of Human Interiority, 1780–1930 (London: Virago Press, 1995).
A Companion to Spanish American Modernismo (Monografías A) by Aníbal González