Comps people
-
Rubén Darío (pg. 119-120, 138-149)
-
José Asunción Silva (pg. 126-131)
-
Manuel Gutiérrez Nájera (pg. 133-136)
-
Julián del Casal (pg. 136-138)
-
Delmira Agustini (pg. 153-154)
General Notes
Introduction
-
Modernism movement started in 1880’s/1890’s in
Latin America – Rubén Darío was the poet who really shaped the movement (119)
-
Basic components of
Modernism (119):
o
Rejection of any
overt message or teaching in art
o
Stress on beauty as
the highest goal
o
Need to free verse
from traditional forms
-
Many literary magazines with new poetry style
(119-120)
o
Idea of “art for art’s sake”
-
After 1900, modernism split into different
strands: religious/meditative, sensual, Americanist (120)
-
Modernism was
dominant style of Spanish-American poetry until the avant-garde movements of the
1920’s (120)
-
Modernism revolutionized the Spanish-American
poets’ attitude to art and society (120)
o
Rejection of desire of material
progress/prosperity in favor of more eternal artistic values
Schopenhauer and Hugo
-
“much Modernist writing on art reflects the view
of the German ‘pessimist,’ Arthur Schopenhauer,” of the 19th century
(121)
o
Individuals motivated not by rational thought
but by unconscious drives which worked for the betterment of the species
-
Idea of the artist
as the most enviable member of society (122)
-
Modernism reflects the “poet’s attempt through
art to liberate himself from the temporal flux in an act of communion with all
that is eternal” (122)
-
Victor Hugo – view of the poet as a seer who
could predict the future and who also mediated between the divine and the
earthly (122)
-
Modernism and society
o
Modernists put literary creation above political
struggle (122)
o
Rejection of society
and societal conventions / conformity (122)
o
Deviation of the poets from the accepted moral
standards of the day (123)
-
Federico de Onís – Idea of modernism as an
aspect of the crisis of Western civilization (123)
o
Desire to restore power of imagination instead
of constant focus on scientific explanation
-
Modernist fascination
with the unknown (124)
o
Use of spiritualism as a way of exploration
-
Theme of sexual love
and sensual tone in Modernist poetry (124)
A New Language
-
Modernists wanted something new; they couldn’t
get that from Spain because things were so rooted in tradition there. Instead,
the modernists focused on influences from French literary movements of the 19th
century (124-125)
-
Use of musical tone and exotic symbols (125)
-
Cosmopolitan outlook
(125)
o
Rejection of previous regionalist trends
o
View of poet as an outcast from bourgeois
society and as a member of an international brotherhood of the arts
o
Vision of all art as cosmopolitan; art as elite
-
Cult of the exotic
(125)
o
Way of differentiating art from the local and
common – desire for universal validity (126)
The Modernist Poets
(Pg. 126-154)
-
People on list in this section: José Asunción
Silva, Manuel Gutiérrez Nájera, Julián del Casal, Rubén Darío, Delmira Agustini
Other Modernists
-
There were innumerable Modernist poets in Latin
America (154)
-
Modernism began as a revolt against the literary
establishment, occasioned by the fact that the poets’ experience had diverged
widely from that of previous generation sand called for a new language and form
(154)
-
Theme of exploration and an entrance into an
unexplored area of experience (154)
-
Modernism was an experimental movement that
transformed into a literary establishment (154)
Modernist Prose
-
Comparison of castizo prose of Montalvo with a short extract of Darío’s “La
canción del oro” – neither of these
things is on the list (155)
-
Modernist prose writing was an instrument for
conveying horror (156-157)
o
Sense of man’s despair in a Godless universe
o
Exploration of horror and fantasy
o
Exploration of the savage side of nature
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