Encounters across Borders: The Changing Visions of Spanish Modernism, 1890-1930

Encounters across Borders: The Changing Visions of Spanish Modernism, 1890-1930

Encounters across Borders: The Changing Visions of Spanish Modernism, 1890-1930

Encounters across Borders: The Changing Visions of Spanish Modernism, 1890-1930


"The study focuses on the period from 1890 to 1930, considerably expanding the chronological limits and range of modernismo as established by traditional Hispanic criticism in an examination of the relationship of the literature of this period with what has come to be called global or international modernism. Utilizing current literary and cultural theories, with particular emphasis on theories of the "other," it traces the cultural specificity of modernism as it evolves in Spain and its links to the international movement. Encounters Across Borders builds on recent studies of Spanish culture and of global/international modernism, but differs considerably in the overall characterization of the period. While traditional and most current criticism emphasizes pessimism, myopic nationalism, and fear of the new, Encounters Across Borders identifies the presence of a constructive exploration of new modes of intersubjective and intercultural relations in Spanish modernism." Title Summary field provided by Blackwell North America, Inc. All Rights Reserved


There is yet another phenomenon highly characteristic in some cases of degeneracy, in others of hysteria. This is the formation of close groups or schools uncompromisingly exclusive to outsiders, observable today in literature and art. Healthy artists or authors, in possession of minds in a condition of well-regulated equilibrium, will never think of grouping themselves into an association, which may at pleasure be termed a sect or band; of devising a catechism, of binding themselves to definite aesthetic dogmas, and of entering the lists for these with the fanatical intolerance of Spanish inquisitors. (Nordau 1968, 29)

Ruskin is one of the most turbid and fallacious minds, and one of the most powerful masters of style, of the present century. To the service of the most wildly eccentric thoughts he brings the acerbity of a bigot and the deep sentiment of Morel's “emotionalists.” His mental temperament is that of the first Spanish Grand Inquisitors. He is the Torquemada of aesthetics. He would liefest burn alive the critic who disagrees with him, or the dull Philistine who passes by works of art without a feeling of devout awe. (Nordau 1968, 77)

Esto (Murcia) ya no es España. Es el Oriente. En Argelia misma no he sentido tan intensa la sensación Africana. Es el Oriente con sus cipreses, con sus casas bajas, con sus minaretes, con su cielo de incendio. Los moros están ocultos tras aquellas montañas, dispuestos a reconquistar su ciudad. Oíd … Es el muezín. (Lorrain 1905?, 125)

[This (Murcia) is no longer Spain. It is the Orient. Not even in Algeria have I felt so intensely the African feeling. It is the Orient, with its cypress trees, its low houses with their minarets, its flaming sky. the moors are hidden behind those mountains, ready to reconquer the city. Listen … It is the muezzin.]

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