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 Twenties. it truly is broadly considered as the 1st Spanish-language literary circulation that originated within the New global and that grew to become influential within the "Mother Country," Spain. characterised by way 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 heritage, and literary approach, and its journalistic penchant for novelty and model. regardless of the elegance of modernista poetry, modernismo is now understood as a large flow whose impression 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 advent to modernismo in addition to an account of the present state-of-the-art of modernismo reports, 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 historic context, and its carrying on with relevance to the paintings of up to date Spanish American authors comparable to Gabriel Garc?a M??rquez, Sergio Ram?rez, and Mario Vargas Llosa.
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Additional resources 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.
See also Gustave Flaubert, Correspondance, ed. Jean Bruneau (Paris: Gallimard, Bibliothèque de la Pléiade, 1973), II, p. 204. MODERNISmo and journalism 33 into a highly personal text, written in a style that could not be mistaken for anyone else’s. ”13 From New York City, where he lived for much of the latter part of his life, Martí sent his crónicas to prominent Spanish American newspapers like La Opinión Nacional in Caracas and La Nación in Buenos Aires. These crónicas, in turn, were widely reprinted throughout the continent.
In 1893, the Cuban modernista Julián del Casal voiced in stark terms the modernistas’ main complaints about the journalistic institution: Journalism, as it is understood today among us, is the most nefarious institution for those who, not knowing how to place their pen in the service of petty causes, or disdaining the ephemeral applause of the crowds, are possessed by the love of Art. … The first thing that is done to the journalist when he takes his post in the newspaper office is to deprive him of one of the writer’s indispensable attributes: his own personality.