Exemplary Ambivalence in Late Nineteenth-Century Spanish America by Austin Elisabeth L.;

Author:Austin, Elisabeth L.;
Language: eng
Format: epub
Tags: undefined
Publisher: Bucknell University Press
Published: 2012-08-15T00:00:00+00:00

Notes

1. José Asunción Silva, After-Dinner Conversation: The Diary of a Decadent, Trans., Intro., and Notes by Kelly Washbourne (Austin: University of Texas Press, 2005).

2. Silva, De sobremesa (Madrid: Ediciones Hiperión, 2003), 37.

3. Silva, After-Dinner, 55.

4. Ibid., 60.

5. Aníbal González in A Companion to Spanish American Modernismo (Woodbridge, Suffolk, UK: Tamesis, 2007), describes modernista art as

6. Alejandro Mejías-López reads this scene of an indication of “the modernista preoccupation with the creation of a new public,” in The Inverted Conquest: The Myth of Modernity and the Transatlantic Onset of Modernism (Nashville: Vanderbilt University Press, 2009), 81.

7. Silva, After-Dinner, 60.

8. Gerard Aching convincingly argues that, although elitist, modernista art was highly engaged in the politics of its time; its disengagement is an “imposed anachronism” created by critics to contrast the modernistas with more contemporary notions of art in The Politics of Spanish American Modernismo: By Exquisite Design (New York: Cambridge University Press, 1997), 3.

9. Silva’s oeuvre consists of four collections of poetry, “El libro de versos” and “Gotas amargas,” “Poesías varias,” and “Intimidades,” sometimes along with poems attributed to the poet. Most of his poetry was published after his death. He only published one novel, De sobremesa, but a collection of short prose accompanies his poetry in Héctor H. Orjuela’s edition of Silva’s Obra completa (Pittsburgh: University of Pittsburgh Press, 1990). Enrique Santos Molano has edited two collections of texts attributed to Silva, short stories entitled Cuentos negros (Santa Fe de Bogotá: Seix Barral, 1996) and Páginas nuevas: textos atribuidos a José Asunción Silva (Santa Fé de Bogotá: Planeta Colombiana Editorial, 1998). Both the short stories and the “páginas nuevas” (which consist of literary notes and criticism) were short pieces published under a variety of pseudonyms in Bogotá newspapers during the writer’s periods of most active literary production. Additionally, Fernando Vallejo has edited and transcribed a collection of Silva’s letters from 1881–1896, published under Cartas (1881–1896) (Bogotá: Fundación Casa de Poesía Silva, 1996).

10. Consider, for example, the Conde Lucanor, whose morals (written in verse at the end of each story) are often somewhat opaque. Even these most traditional exemplary forms witness debates regarding the difference between the “estoria,” the “exiemplo,” and the “viessos” that communicate the didactic moral in José Manuel Blecua, ed., intro., and nn., El Conde Lucanor; o Libro de los Enxiemplos del Conde Lucanor et de Patronio by Juan Manuel, 4 ed. (Madrid: Castalia, 1985), 60. As with all exemplary narrative, discerning the shape of the lesson is the responsibility of the reader.

11. Aníbal González argues that this dialogic form parodies Plato’s Symposium in a modernista reductio ad absurdum in “‘Estómago y cerebro’: De sobremesa, el Simposio de Platón y la indigestion cultural,” Revista Iberoamericana 63, no. 178–179 (1997): 237, 246; while Nicolás Fernández-Medina sees this structure as presenting “an array of interpretive possibilities without ever proposing the logic of synthesis,” in “The Modern Self as Subject: The Structure of Crisis in José Asunción Silva’s De sobremesa,” Latin American Literary Review 34, no. 68 (2006): 77.

12. Juan Gustavo Cobo-Borda states

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