Book contents
- Frontmatter
- Contents
- Acknowledgements
- Abbreviations
- Introduction: Towards a Definition of Nuevo Romanticismo
- 1 Dialogics through Translations and Travelogues
- 2 The Novel of Consciousness: Gorky, Díaz Fernàndez, Arderíus and Benavides
- 3 Utopia and Dystopia: Factory Narratives
- 4 The New Woman and the Second Republic
- 5 Pacifist and War Prose
- Conclusion
- Works Cited
- Index
Introduction: Towards a Definition of Nuevo Romanticismo
Published online by Cambridge University Press: 05 July 2013
- Frontmatter
- Contents
- Acknowledgements
- Abbreviations
- Introduction: Towards a Definition of Nuevo Romanticismo
- 1 Dialogics through Translations and Travelogues
- 2 The Novel of Consciousness: Gorky, Díaz Fernàndez, Arderíus and Benavides
- 3 Utopia and Dystopia: Factory Narratives
- 4 The New Woman and the Second Republic
- 5 Pacifist and War Prose
- Conclusion
- Works Cited
- Index
Summary
Si hay suicidios son suicidios por amor, porque en el amor es sin duda alguna donde se encuentran las raíces màs hondas de lo humano. ¿Olvida alguien que hace poco se ha suicidado por amor Maiakowsky, el poeta màximo de la Rusia soviética?
(Díaz Fernàndez, NR, 22)[If there are suicides, they are suicides for love, because in love one undoubtedly finds the deepest roots of the human condition. Has anyone forgotten that recently Mayakovsky, the greatest poet of Soviet Russia committed suicide for love?]
This book examines Spain's reception of Russo-Soviet literature, and its relationship with Nuevo Romanticismo, through the lens of Bakhtin's theories on the novel, claiming ultimately that these writers were in dialogue with Russian models of social art. A number of unique historical circumstances made such dialogues appropriate, not the least of which were the socioeconomic similarities between pre-Revolutionary Russia and Spain and the complete reorganization of life that followed the Bolshevik Revolution of 1917. By the mid-1920s, writers such as José Díaz Fernàndez, Joaquín Arderius and César Arconada were responding to revolutionary currents in Russian literature as a means of mediating the profound rift between quotidian experience and artistic production as well as the imperative for social change. This chapter will analyze some of the relevant social and political phenomena of the early twentieth century which led to a dialogue between Spanish and Russian letters. In addition, it will define Nuevo Romanticismo, establishing José Díaz Fernàndez's El nuevo romanticismo: polémica de arte, política y literatura [The New Romanticism: Polemical Essays on Art, Politics, and Literature, 1930] as the movement's theoretical framework.
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- Spanish Reception of Russian Narratives, 1905-1939Transcultural Dialogics, pp. 1 - 8Publisher: Boydell & BrewerPrint publication year: 2013