scholarly journals El Flaneur y la Flanerie en las crónicas modernistas latinoamericanas: Julián del Casal, Amado Nervo, José Martí, Manuel Gutiérrez Nájera y Arturo Ambrogi

2012 ◽  
Vol 36 (2) ◽  
pp. 59
Author(s):  
Dorde Cuvardic García
Keyword(s):  
Jose Marti ◽  
Ruben Dario ◽  
Julian Del Casal ◽  
Jose Enrique Rodo ◽  
Manuel Gutierrez Najera ◽  
Enrique Gomez Carrillo ◽  
Amado Nervo

Enrique Gómez Carrillo y Rubén Darío se erigen como los principales representantes de la flanerie en el modernismo latinoamericano. En todo caso, otros autores de este periodo estético realizaron contribuciones ocasionales a esta práctica cultural: Manuel Gutiérrez Nájera, Amado Nervo, Julián del Casal, José Martí, José Enrique Rodó, Arturo Ambrogi... Estos últimos escritores elaboran textos de la flanerie clásica: apreciación del espacio callejero como teatro social, utilización de la técnica descriptiva de la escena o cuadro, interés por los espacios comerciales o las festividades públicas? En todo caso, también nos enfrentamos a disidencias ideológicas, Así, Julián del Casal, como decadentista, asume una actitud desengañada y aristocrática frente al espacio público y su utilitarismo capitalista. Por su parte, algunas crónicas urbanas de Martí materializan la dialéctica entre la seducción que provoca el progreso norteamericano y el repudio de sus valores, opuestos al 'alma' latina

scholarly journals Existencial Poetics in the 19th Century Latin America

2019 ◽  
Vol 45 (1) ◽  
pp. 115-132
Author(s):  
Edwin Murillo
Keyword(s):  
Latin American ◽  
Jose Marti ◽  
Ruben Dario ◽  
Jose Asuncion Silva ◽  
Julian Del Casal ◽  
Manuel Gutierrez Najera ◽  
History Of ◽  
European Counterpart ◽  
American Poets ◽  
The 19Th Century

Typically, the origin story of Existentialism has depicted Latin America’s contributions as subsequent and tributary to its European counterpart. Nevertheless, a select few critics have approached this history in Hispanic America from a chronologically inclusive perspective, by calling attention to an Existential Poetics in modernismo. This article expands the borders of Existential Poetics to fashion a Latin American literary imaginary. Given the work already done on Rubén Darío and José Martí, both of whom have been studied independently, my analysis will be collective, favoring philopoetic works by Manuel Gutiérrez Nájera, Julián del Casal, José Asunción Silva, and João Cruz e Sousa. The purpose of examining Hispanic-American poets in conjunction with a Brazilian is to accentuate the Pan-American quality of this Existentialism avant la lettre.  As I will discuss, all these poems deal with a crisis of irrelevance and overtly question being in the world, classic motifs of Existentialism. Together, these poems allow for the synchronized inclusion of Latin American voices to the universal history of Existentialism, an approached not explicitly carried out by most philosophical and literary historiographers.

scholarly journals Por una filosofía del hecho menudo: Ambrogi y la crónica modernista

2017 ◽  
pp. 583-611
Author(s):  
Ricardo Roque Baldovinos
Keyword(s):  
Jose Marti ◽  
Ruben Dario ◽  
San Salvador ◽  
Manuel Gutierrez Najera

El olvido de la crónica en la historia del modernismo resulta sorprendente. Una proporción mayoritaria de la producción de modernistas insignes como Rubén Darío, José Martí o Manuel Gutiérrez Nájera se compone de crónicas. En las siguientes páginas, nos proponemos analizar un caso concreto donde se puede analizar la importancia de la crónica como lugar discursivo. Para ello, examinaremos la labor de Arturo Ambrogi como cronista en la revista semanal El fígaro. La aparición de esta revista en un medio cultural periférico como la ciudad de San Salvador, sólo viene a poner de mayor relieve lo que se está en juego en la escritura modernista.Realidad: Revista de Ciencias Sociales y Humanidades No.126, 2010: 583-611

The Slaves of the Church

PMLA ◽  
2013 ◽  
Vol 128 (3) ◽  
pp. 765-777
Author(s):  
Manuel González Prada ◽  
Cathleen Carris ◽  
Thomas Ward
Keyword(s):  
New York ◽  
Latin American ◽  
The United States ◽  
Mario Vargas Llosa ◽  
Jose Marti ◽  
Social Scientists ◽  
American Modernism ◽  
Garcilaso De La Vega ◽  
Julian Del Casal ◽  
Manuel Gutierrez Najera

Manuel GonzÁlez prada (1844-1918), like inca garcilaso de la vega, César vallejo, josé marÍa arguedas, and mario vargas llosa, ranks among the top Peruvian literary figures, but only in Peru, where his work is hotly debated by literati, social scientists, historians, politicians, and journalists. Outside Peru he rates no more than the inclusion in anthologies of one of his poems; his most famous essay, “Nuestros indios” (“Our Indians”); or the occasional critical article on his work. However, with the Cuban José Martí (1853-95), González Prada is a founder of Latin American modernism, a movement that critics generally accept as running roughly from the publication of Rubén Darío's Azul, in 1888, to Darío's death, in 1916. Gordon Brotherston notes that Darío coined the term modernismo the same year he published Azul (vii). There are many reasons there has been less interest in González Prada than in Martí and other modernists. To begin with, Darío, in an 1888 visit to Peru, met with Ricardo Palma but not González Prada (Castro). Palma, writing in a more traditional style—even though he invented a genre, tradiciones—was the establishment's literary darling, while González Prada, always the innovator in style and an agitator in subject matter, remained largely unknown outside his native land. Thus, it made perfect sense that the maker of literary movements would visit the internationally known Palma but not González Prada, who could not add to his fame and expanding literary networks. Furthermore, when Darío later went to New York he turned his epistolary relationship with Martí into a personal friendship (Henríquez Ureña 93). In the United States there is much more interest in Martí, who lived here, than in González Prada, who did not. Hispanic modernism is typically understood to include the like-minded people whom Darío knew personally, such as Martí, Julián del Casal (Cuba), Manuel Gutiérrez Nájera (Mexico), Ricardo Jaimes Freyre (Bolivia), and Juan Ramón Jiménez (Spain), and to exclude those whom he did not, such as Adela Zamudio (Bolivia) and González Prada. Finally, González Prada's anarchism, his feminism, and his tell-it-like-it-is essays did not endear him to many people.

scholarly journals José Emilio Pacheco: lector y antólogo del modernismo

2021 ◽  
Vol 32 (1) ◽  
pp. 163-190
Author(s):  
Rosario Pascual Battista ◽  
Keyword(s):  
Literary Criticism ◽  
Jose Marti ◽  
Ruben Dario ◽  
Modernist Poetry ◽  
Jose Emilio Pacheco ◽  
The Past ◽  
Manuel Gutierrez Najera ◽  
The One ◽  
Single Figure ◽  
Selection Of

José Emilio Pacheco (1939-2014) devoted part of his essay production to reconstruct the past of letters and, in particular, was interested in the Modernist movement. From two anthological texts: Anthology of Modernism [1884-1921] (1970) and Modernist Poetry. A General Anthology (1982), and a selection of journalistic notes that he published in the Mexican magazine Proceso, Pacheco aimed at broadening the spectrum of Modernist figures and avoiding to keep to a single figure, such as that of the Nicaraguan Rubén Darío. This article reconstructs the dialogues and reciprocities that José Emilio Pacheco traces with the literary tradition of Modernism and that are sustained, on the one hand, in connections between poets, as it is the case of Manuel Gutiérrez Nájera and José Martí and, on the other hand, in the recovering of poets less well-known by literary criticism, such as Salvador Díaz Mirón.

QUERER SIN QUERER

2011 ◽  
pp. 287-303
Author(s):  
José María Martínez
Keyword(s):  
Jose Marti ◽  
Ruben Dario ◽  
Amado Nervo

Este trabajo toma como punto de partida la polisemia del concepto de libertad, polisemia que se entiende primero en su formulación general y luego tal como la formularon escritores modernistas como José Martí, Rubén Darío o Amado Nervo. En el caso de Nervo esa formulación está claramente mediatizada por su orientalismo religioso y existencial, y guarda un interesante grado de analogía con la de la filosofía personalista. A través principalmente del análisis de “La conquista” y “Liberación”, dos poemas budistas de El estanque de los lotos, se llega a la conclusión de que a pesar de que la conceptualización nerviana de la libertad es quizá de las más profundas y metafísicas del modernismo, ésta acaba desembocandoen una clara contradicción, por la necesaria presencia de una voluntad operativa en el camino hacia el nirvana. En el fondo esto parece reflejar una asimilación incompleta o imposible del conjunto de las doctrinas budistas y, por ello, la conversión del orientalismo de Nervo en una pose que quiere ir más allá de sí misma, sin conseguirlo.

scholarly journals El hecho y el hechizo juntos en la crónica

2017 ◽  
pp. 27-34
Author(s):  
Froilán Escobar
Keyword(s):  
Jose Marti ◽  
New Journalism ◽  
Ruben Dario ◽  
Tom Wolfe ◽  
Manuel Gutierrez Najera

El texto en cuestión, busca fundamentar que el nuevo periodismo, etiquetado así por Tom Wolfe en 1973, a partir de la traducción del título de su libro The New Journalism, de la editorial EW Johnson y reeditado después en español por la editorial Anagrama, no surgió en Estados Unidos como muchos creen, sino en Latinoamérica, con el grupo de poetas modernistas (Rubén Darío, José Martí, Manuel Gutiérrez Nájera y otros,) los cuales, con sus crónicas, dieron inicio a este discurso periodístico a finales del siglo XIX.TEORÍA Y PRAXIS año 15, No.31, Junio-Diciembre de 2017, pp.27-34

Jose Marti and Social Revolution in Cuba

1963 ◽  
Vol 5 (2) ◽  
pp. 249-256 ◽  
Author(s):  
Richard B. Gray
Keyword(s):  
The United States ◽  
Miguel De Unamuno ◽  
Political Scientist ◽  
Social Revolution ◽  
Jose Marti ◽  
Ruben Dario ◽  
Gabriela Mistral ◽  
The Social ◽  
Simon Bolivar ◽  
Amado Nervo

To understand the social revolution in Cuba today one must be at once anthropologist, historian, sociologist, political scientist, scientist, economist, writer, philosopher, and something of a rebel oneself. In other words, one must be a Universal Man. Who of us today, however, would pretend to such all-encompassing knowledge? The Cuban Revolution in the nineteenth century, however, did produce such a man, José Martí. Or rather, it would be more accurate to say that such a man produced the Revolution, at least in the sense that Marti was the main publicist for the revolutionary Cuban exiles, co-ordinator of the emigrant groups, money collector, and author of its major political documents.Although Marti ranks with Simón Bolívar and José de San Martín as a liberator, he is relatively unknown in the United States. Yet his collected works fill seventy-four volumes. One bibliography lists over 10,000 items, including more than a hundred books and more than 200 monographs written about him. Marti was first and last a revolutionist, but he was also a poet, one of the best, and highly praised by such authorities as Gabriela Mistral, Rubén Darío, Miguel de Unamuno, Fernando de los Ríos, Rufino Blanco Fombona, and Amado Nervo.

scholarly journals Tradición clásica y mitos en la poesía cubana del siglo XIX

2020 ◽  
pp. 683-694
Author(s):  
Ángel Ruiz Pérez ◽  
Keyword(s):  
19Th Century ◽  
Ancient World ◽  
Classical Antiquity ◽  
Jose Marti ◽  
Political Issues ◽  
Julian Del Casal ◽  
Siglo Xix ◽  
Key Aspects ◽  
The 19Th Century ◽  
Poesia Cubana

Study of myths and motifs of classical antiquity in the poetry of some important Cuban poets of the 19th century (José María Heredia, Juan Clemente Zenea, Enrique José Varona Julián del Casal and especially José Martí). The importance of art as a subject and as a way of connecting with the ancient world and above all, the centrality of political issues are key aspects that explain the repeated presence of Prometheus and Laocoon

scholarly journals La crónica modernista centroamericana y sus posibilidades editoriales: tres obras que merecen una edición crítica.

2017 ◽  
pp. 11
Author(s):  
Osvaldo Carvajal Muñoz
Keyword(s):  
Ruben Dario ◽  
Enrique Gomez Carrillo

En el presente artículo se problematiza un aspecto de la crónica modernista: su compilación y publicación en ediciones críticas. Se revisa el caso de tres libros de autores centroamericanos que aparecieron, originalmente, en publicaciones periódicas: La vida de Rubén Darío Escrita por él mismo (1915), de Rubén Darío; Sensaciones de París y de Madrid (1900), de Enrique Gómez Carrillo; y El libro del trópico (1907), de Arturo Ambrogi. Las tres obras ofrecen particularidades que las convierten en modelos diferentes de un mismo problema filológico, por lo que evidencian lo provechoso que sería para el proceso de lectura de un receptor de hoy, acceder a un texto anotado y editado críticamente.

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