By Ivan A. Schulman
Studies the impact of the plastic arts at the significant writers of Latin American modernism.
Painting Modernism demonstrates the impression of portray and sculpture at the paintings of the most important writers of Latin American modernism. via his research, Ivan A. Schulman, a foundational determine within the box, deals a concise and new interpretation of works by way of José Asunción Silva, Julián del Casal, Rubén Darío, José Juan Tablada, and José Martí. conventional severe discourse on modernism has emphasised the character of this circulation by way of its self-referentiality, fragmentation, elitist/escapist innovations, and subjective notions of cultural and aesthetic authenticity. Schulman breaks from this technique and examines those works as items of subjectively generated social/artistic practices which are inseparable from socioeconomic differences and the chaotic cultural crises of the trendy world.
“…[a] hugely readable booklet … this quantity is a priceless and well timed contribution to numerous disciplines, a piece that has far-reaching implications and the capability to stimulate extra study right into a attention-grabbing epoch of literary history.” — Hispania
Ivan A. Schulman is Professor Emeritus of Spanish and Comparative Literature on the collage of Illinois at Urbana-Champaign. he's the writer and editor of many Spanish-language books on modernism.
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Shorthand explanations such as these, though, have failed to do justice both to the literary-historical speci¤city and to the oddity of Crane’s ecstatic, excessive verse. A lyric such as “Atlantis” is too hyperbolic, too exaggerated, and too uneven to have been written by Christopher Marlowe or by Percy Bysshe Shelley. Nor does “Atlantis” exhibit the depthless play of surfaces celebrated by the Tel Quel circle. The lyric is just too embarrassingly sincere in its struggle to express the ineffable.
9 This heavy- You are reading copyrighted material published by the University of Alabama Press. S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. how american 25 handedness cannot conceal the fact that, yet again, he writes nothing like his paramour. If a reader were to search for nineteenth-century analogues for this kind of verse, the pastoral setting, the energetic emphatic tone, the archaic diction, the metaphors, and the “leaping” rhythm would probably send him or her not to Whitman, but to Victorian poets writing in traditional forms.
Crane could, however, give free reign to his enthusiasm for Whitman—to whom Frank and Munson had introduced him in 1923 speci¤cally in his guise as the American Bard (O My 53, 137). One traditional interpretation of The Bridge is that Crane uses Whitman for leverage against the overly “European” T. S. 31 But near Eliot, just out of the spotlight, one can make out Swinburne’s pro¤le, too. The vexing, sentimental conclusion to “Cape Hatteras”—in which Crane goes off hand in hand with Walt Whitman—has generally been construed as Crane’s imaginative response to such lines from Leaves of Grass (1891) as the following:32 • • • Failing to fetch me at ¤rst, keep encouraged; / Missing me one place, search another; / I stop somewhere, waiting for you (WW 96) [F]ill’d with friendship, love complete, the Elder Brother found, The Younger melts in fondness in his arms (327) Whoever you are, holding me now in hand .