Introduction: How ‘Modernist’ Were Hispanic Literary and Artistic Modernities?
| Autor: | José María Rodríguez García |
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| Rok vydání: | 2012 |
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| Zdroj: | Modernist Cultures. 7:1-14 |
| ISSN: | 1753-8629 2041-1022 |
| Popis: | The rubric ‘Hispanic literary and artistic modernities’ covers geographically a wide range of linguistic and cultural expression. It refers most immediately to literatures written in Spanish and other Iberian romance languages between the last third of the nineteenth century and the aftermath of the Spanish Civil War and the nearsimultaneous attempts by some strong Latin American governments to nationalise and diversify cultural production at the same time. The best instance of these attempts at accelerated (inter)nationalisation may well be the Mexico of Lazaro Cardenas (1934–40), known for the consecration of Diego Rivera’s murals as Mexico’s national art (the artist worked at the Palacio Nacional in 1929–35) and for warmly welcoming Leon Trotsky as a refugee, Antonin Artaud as a resident, Andre Breton as a visitor, and a large number of progressive intellectuals and artists as exiles from Civil War Spain. Yet few critics, either within Hispanism or in related fields, have used the term ‘modernism’ to designate the literary and visual production from the territorial expanse and the period I have just marked out. Fewer still have conceded that Hispanic cultures may be peripheral to Englishlanguage letters at the same time that they have strengthened AngloAmerican literature by providing a foil against which the ‘modernist’ elements of Anglo-American writing could be tested and enhanced. D. H. Lawrence’s heavily ideological writings dealing with Mexico make the value of Hispanic cultural forms alternately visible and invisible. The novel The Plumed Serpent (1926) shows him as less cosmopolitan an artist than he is generally regarded and a more |
| Databáze: | OpenAIRE |
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