By Aníbal González
Modernismo, a literary stream of primary value to Spanish the USA and Spain, happened on the flip of the 19th century, approximately from the Eighties to the Twenties. it really is extensively considered as the 1st Spanish-language literary stream that originated within the New international and that turned influential within the "Mother Country," Spain. characterised through the appropriation of French Symbolist aesthetics into Spanish-language literature, modernismo's different major characteristics have been its cultural cosmopolitanism, its philological problem with language, literary background, and literary strategy, and its journalistic penchant for novelty and model. regardless of the elegance of modernista poetry, modernismo is now understood as a huge circulate whose effect 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 cutting-edge of modernismo stories, this ebook 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 up to date Spanish American authors equivalent 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)
José Enrique Rodó, Obras completas, ed. Emir Rodríguez Monegal (Madrid: Aguilar, 1967), p. 422. 46 ANÍBAL GONZÁLEZ images of ideal beauty he had been seeking all his life, as he attests in his crónica titled “Y bien, formas divinas” (And Now, Divine Forms). Rodó’s face-to-face encounter with the Classical ideal of beauty took place in the Ufizzi Gallery in Florence before a statue of Niobe, a mythical Greek queen who boasted of being a better mother than Leto, the mother of none other than the deities Apollo and Artemis.
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.
This is the case with the “Crónica semanal II” (the lack of a more poetic title is in itself telling). Illness and death comprise the unifying leitmotiv of this text in which, nevertheless, flashes of ironic humor are also present. Casal begins by informing us that during the past week (which, in his words, “has just given up the ghost”), the society of Havana has been, quite literally, a sick society, since almost everyone was suffering from the cold (Casal uses the French term grippe): Each house was turned into a hospital where the patients, if not in danger of dying, were nevertheless tormented by the rigors of this overwhelming illness whose march science does not know how to stop.