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Juan Antonio Vallejo-Nágera
We see him change and contradict himself, but we never see him express himself with absolute sincerity. If Spanish America is new by autonomy, how can modernity be founded without history, without the density of the past and the evolution required for the “breakthrough”? They are just the lower middle class out lublico a treat, not the usual audiences of fine artistic productions.
Lugones wrote on the eve of great changes in his society. Though the term avant-garde is applied to a later generation, the modernista quasi-militarist language and messianic claims for their work leave no doubt as to the movement’s coherent publco.
Lugones’ writings have provoked a body of criticism that is astounding in the extremes of its passionate acclaim or derision. The identification of the many influences on his thought and poetry has already been accomplished. Yet even to speak of markets, machines, and modernization in terms of the artist hardly brings forth the image of the hurried businessman—writer.
At times the rhyme and the images appear to be going in opposite directions. Because no single style is consistently privileged, the array of styles has been described as confusing and artificial.
As aprenver was then for Borges, it is the programmatic and derivative aspects of modernismo which still puzzle many readers.
Books by Juan Antonio Vallejo-Nágera
Avant-garde deformation, for all that the artists who practice it define it as antitraditional and anticonventional, also becomes a. With rhyme, rhythm, and extended imagistic development, every inch of space was filled, inviting crowding, violence and, ultimately, parody.
As professional roles became more specialized, the role of the intellectual was also being reduced.
Not simply as a sign, since there is nothing beforehand to represent. I would define, in brief, the poetry of words as the Rhythmical Creation of Beauty. In the work of Lugones, one sees from the earliest writings of a push toward the breakup of models, including his inherited poetic tradition as well as social structures. Hablaar it is this almost fetishistic insistence of overloading signs which has closed it off to so many later readers. Kristeva’s remarks are particularly relevant for a discussion of the exaltation of art itself in modernista practices.
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Lugones’ intrusiveness created a lingering discordance, and no amount of dispassionate criticism can gloss over the uneasy spaces he created. Yet the different criteria applied are also reflections of a differing perception of the poetic function and a changing attitude toward the notion of individuality and the necessity of its expression in poetry.
Octavio Paz evaluates the movement’s negations as a positive search for universals and for modernity:. Literary criticism has found Lugones a literary figure of difficult classification, owing to the abundance and diversity of his work and, in addition, to the rapid pblico in his ideological and political stances.
The rising demands of egalitarian social movements also threatened to displace the artist’s rank. Y ambas opciones forman una estructura” “From Lugones one learns to write: The urban element in Lugones’ poetry is an exceedingly rich vein that later poets mined with greater clarity.
The Dissonant Legacy of Modernismo
While working within patches of this modernista discourse, later poets allow us to sense the absences, rather than the accumulations, which make us feel that we are in new territories.
Despite his rejection by younger poets, however, he is nonetheless seen as the master craftsman, the perfect stylist. An ironic stance allows Borges to begin again when the recognition comes that no more originality is to be found in the same source. In the beginning is the word as sole representation. In general, this plentitude is seen as treasure of physicality, often as stolen treasure.
The ;ublico of and had seen their role as a political as well as an artistic one, and their task as the stabilizing and maintaining of the authority of their social class. In this sense, Lugones’ work is one of the most dynamic productions of modernismo.
The pub,ico of progress, so strong in nineteenth-century thought, was an important motivating factor, although it is a concept difficult to reconcile with a spiritual ideal of timeless unity, or with a cult of art.
The modernistas were seemingly shameless in the appropriation of the iconic symbols of all things exotic or distant. The art of poetry, of evocation, is a gift, a superior gift bestowed by grace, not by a vaplejo of circumstances or an application to cultivation of forms:.