By Aníbal González

Modernismo, a literary move of basic significance to Spanish the United States and Spain, happened on the flip of the 19th century, approximately from the Eighteen Eighties to the Nineteen Twenties. it really is largely considered as the 1st Spanish-language literary circulation that originated within the New international and that grew to become influential within the "Mother Country," Spain. characterised via the appropriation of French Symbolist aesthetics into Spanish-language literature, modernismo's different major characteristics have been its cultural cosmopolitanism, its philological obstacle with language, literary heritage, and literary procedure, and its journalistic penchant for novelty and model. regardless of the elegance of modernista poetry, modernismo is now understood as a wide circulation 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 creation to modernismo in addition to an account of the present state-of-the-art of modernismo reviews, 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 historic 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 info for A Companion to Spanish American Modernismo (Monografías A)

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The teeming masses of New York, the colonizers of the West, the great statesmen and orators, the criminals, the intellectuals, the civic celebrations, the public controversies, the disasters – fires, earthquakes, railroad accidents – all the myriad characters and events of life in the United States and Europe that parade through Martí’s crónicas, are seen as part of a single, coherent historical process. ” In fact, the crónica allows for a more limited reading as a quasi-documentary account of a land rush in Oklahoma, and for a broader symbolic meditation on the national character of the United States.

Nevertheless, he too had begun his literary career in journalism; in 1895 he had founded the scholarly journal Revista Nacional de Literatura y Ciencias Sociales (National Review of Literature and Social Sciences). A few years later, becoming involved in politics, he began to collaborate on the daily El Orden. By 1907, he was publishing literary criticism and book reviews in the venerable Buenos Aires daily La Nación. In 1908 he was elected president of the Círculo de la Prensa (Journalists’ Circle), and from 1912 through 1914 politics again led him to become involved in two daily news25 Rubén Darío, El viaje a Nicaragua, in Obras completas (Madrid: Afrodisio Aguado, 1950), pp.

Darío tries in this crónica to come to grips with his troubled personality and his celebrity (and the many responsibilities it entailed) in the context of the tale of his triumphant return to his native country in 1907. Read simply as a travel narrative, Darío’s text describes the poet’s itinerary from his departure from the French port of Le Havre until his arrival at the port of Corinto, in Nicaragua, after a brief stop in New York, and Darío’s visits to the Nicaraguan cities of Masaya and León.

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