By Leslie Bethell
A Cultural background of Latin the United States brings jointly chapters from Volumes III, IV, and X of The Cambridge historical past of Latin the US. The essays position Latin American literature, song and visible arts in old context, from the early 19th century during the past due 20th century. subject matters contain narrative fiction and poetry; indigenous literatures and tradition; the advance of song, sculpture, portray, mural paintings, and structure; and the heritage of Latin American movie. every one bankruptcy is followed by means of a bibliographical essay.
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Additional resources for A Cultural History of Latin America: Literature, Music and the Visual Arts in the 19th and 20th Centuries (Cambridge History of Latin America)
Curiously, though, as in the case of Goncalves Dias, it is for his Indianism that he is remembered today. Like Fenimore Cooper, with whom he is sometimes unconvincingly compared, he owed a large debt to Walter Scott, and as much to Chateaubriand, though he was more skilful than the latter in terms of detail and general management of action, and not inferior in his symphonic mastery of prose which is sonorous and rhythmical. Sentimental, platitudinous, but unmistakably accomplished, his works are probably the highpoint of nineteenth-century Indianism in Latin America and of the romantic novel as a whole, reminiscent of Hugo, Lamartine and Chateaubriand, with his powerful use of emotion, lyrical landscapes and high moral tone.
If romanticism, on the whole, seemed to have been a partially negative reaction to the rationalism of the Enlightenment, realism demonstrated anew the Enlightenment's decisive contribution to the shaping of the western mind, and the growth of industrialization and urbanization in Europe had reinforced the trend. The result in Latin America was a fairly unproblematical development out of the historical and costumbrist modes of romanticism into realism or, more frequently, its variant, naturalism.
If his instincts were concrete, he would turn to the cuadro de co8tumbres\ if mystical and sentimental, to the leyenda, usually a narrative in prose or poetry about the mysterious past, some local religious miracle or strange natural phenomenon. Eventually the tendency would find its classic expression in the tradition, a genre invented by the Peruvian Ricardo Palma. Although the Latin American historical novel proper derives mainly from Scott, Dumas and Sue, the cuadros de costumbres, leyendas and tradiciones, all embryonic forerunners of the short story, were modelled primarily on the works of Spanish writers like the Duke of Rivas, Larra and Zorrilla (the 1843 anthology Los espanolespintadospor si mismos was the highpoint of the movement), and only in the more accomplished cases on the critical realism inherent in the French roman de moeurs.
A Cultural History of Latin America: Literature, Music and the Visual Arts in the 19th and 20th Centuries (Cambridge History of Latin America) by Leslie Bethell