By Aníbal González
Modernismo, a literary circulation of basic significance to Spanish the US and Spain, happened on the flip of the 19th century, approximately from the Eighteen Eighties to the Nineteen Twenties. it truly is extensively considered as the 1st Spanish-language literary circulate that originated within the New international and that grew to become 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 situation with language, literary historical past, and literary process, and its journalistic penchant for novelty and type. regardless of the attractiveness of modernista poetry, modernismo is now understood as a extensive stream whose impression 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 experiences, this e-book 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 reminiscent of Gabriel Garc?a M??rquez, Sergio Ram?rez, and Mario Vargas Llosa.
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Extra info for A Companion to Spanish American Modernismo (Monografías A)
For the Plato del día series, see Manuel Gutiérrez Nájera, Escritos inéditos de sabor satírico, “Plato del día”, ed. Boyd G. Carter and Mary Eileen Carter (Columbia, MS: University of Missouri Press, 1972). Walter Benjamin, “Paris, Capital of the Nineteenth Century,” Reflections: Essays, Aphorisms, Autobiographical Writings (New York: Schocken Books, 1986), p. 154. Manuel Gutiérrez Nájera, Cuentos completos y otras narraciones, ed. E. K. Mapes (Mexico: Fondo de Cultura Económica, 1958), p. 176.
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. The victims of grippe (such is the name of the illness) must resign themselves to withstand all kinds of tortures, from the fever that dulls the intelligence to the catarrh that places a humid veil before all objects.
140. 34 ANÍBAL GONZÁLEZ it is to see it), a phrase Martí used in his well-known crónica about the Charleston earthquake of 1886, summarizes his constant attempt to create an impression of immediacy through the evocation of the spoken word. Martí’s “Escenas,” which were published weekly or fortnightly, posed an enormous challenge to his capacity as a writer, since he was required not only to enumerate and relate the week’s events but also to comment on them within a coherent stylistic and ideological framework while keeping his discourse as impersonal as possible.
A Companion to Spanish American Modernismo (Monografías A) by Aníbal González