Modernismo in Spanish-american Poetry of the 20th Century

Modernismo in Spanish-american Poetry of the 20th Century Abstract This research analyses Spanish modernismo in Spanish-American poetry. The paper investigates in depth the impact of Ruben Dario and Leopoldo Lugones, the most influential modernista poets of the twentieth century, on the development and spread of modernismo in Spain. The received results demonstrate that Spanish modernismo was new for Latin America and differed much from European Modernism. Due to the spread of nationalism, modernista poets experienced rejection and criticism from the members of Spanish society that regarded their literary works as the imitation of European poetry. However, Lugones and Dario opposed the existing restrictions and implemented new forms of poetic expression. In this regard, some findings of this research are consistent with the previous studies, while other results provide new valid data to the issue of Spanish modernismo in the twentieth century.   Ã‚  Ã‚   1 Statement of the problem Spanish modernismo is considered by some researchers and critics to represent a real revolution in Spanish-American literature of the twentieth century. The fact is that by the end of the nineteenth century the poetry of Latin America began to decease, thus innovations had to be implemented to revive it. Modernismo was new for Latin America, and the poets who greatly affected the formation of this movement were Leopoldo Lugones and Ruben Dario, as they were the first persons who implemented European poetic traditions into their writings, transforming the linguistic basis of poetry. However, this viewpoint is sometimes challenged by literary scholars who make attempts to eliminate the impact of modernismo on Spanish-American poetry. Gwen Kirkpatrick suggests that such a biased vision is explained by the fact that â€Å"many discussions of modernismo are stereotypically describing a ‘rubenismo’, the hackneyed copies of Ruben Dario’s style , while forgetting the movement’s audacity and its sweeping display of subject matter and styles†1. The conducted researches aggravate the issue by drawing a parallel between Spanish modernismo and European modernism. As a result, they provide ambiguous and invalid findings in regard to modernismo in Spanish-American poetry, instead of clarifying various aspects of the twentieth-century Hispanic literature. 2 Introduction Spanish modernismo as a crucial literary trend of twentieth century Hispanic poetry was initiated by Leopoldo Lugones and Ruben Dario and achieved its peak in the years of 1888-1915. It had the major impact on Spanish poetry, but also affected other literary genres, such as short stories and novels. Modernismo appeared as a successful combination of the Symbolist and the French Parnassian literary movements and was especially widespread in Argentina, Mexico and Cuba2. Modernismo in Spain reflects various social and economic changes of the late nineteenth – early twentieth centuries. It is mainly characterized by the substitution of the former structural and thematic components for new elements that include experiments with meter and rhyme and the utilization of such themes as landscape and eroticism. Thus, modernismo possesses three principal features: 1) novelty in rhyme and meter; 2) new appreciation of poetry’s role and 3) increase in subject themes. Social changes influenced the poets’ understanding of their roles and made them adhere to the literary traditions of such European poets and writers as Edgar Allan Poe, Baudelaire and Whitman. Latin America differed from other European countries because of the fact that it made constant attempts to maintain the principles of national identity. As a result, Spanish literature used to adhere to conventional values, and any withdrawal from these particular traditions was regarded as a real danger to the issues of nationality. Modernist poets such as Dario and Lugones were usually considered as escapist s and Spanish-American poetry – as the imitation of foreign ways of expression. In view of these complex social and cultural restrictions, the rise of modernismo in Spain signified the elimination of the older stereotypes and the establishment of new models for poetry. The beginning of the twentieth century was also characterized by the spread of sciences and industries that contributed much to the formation of a rationalistic vision on life and universe. However, due to the existing restrictions, modernista poets of that period could only unite European values with traditional ideals in their literary works. In this regard, modernismo in Spain collided with more complexities than Modernism in other countries. These complexities resulted in the fact that Spanish poetry of the earlier twentieth century revealed much ambiguity and inconsistency. Various attempts of Spanish poets to utilise modernista elements in their works were regarded as the imitation of European literary sources, and modernismo in whole – as the trend of dependence. However, recent criticism on Hispanic poetry of the twentieth century challenged this viewpoint, providing valid data to prove the uniqueness and importance of Spanish modernismo. The themes and innovations of modernismo gave rise to many aesthetic and cultural tendencies of Spanish-American poetry of the twentieth century. The aim of the research is two-fold: 1) to analyse how modernismo represented a revolution in Spanish-American poetry in the 20th century; 2) to evaluate the importance of Ruben Dario and Leopoldo Lugones in the formation of modernismo. The paper is divided into sections. Chapter 1 provides a statement of the problem that uncovers the principal thesis of the dissertation. Chapter 2 conducts a general overview of modernismo through social and historical contexts. Chapter 3 observes the critical works that are written on the issue of Spanish modernismo. Chapter 4 discusses the theoretical tools that are applied for the analysis. Chapter 5 evaluates in detail the impact of Ruben Dario and Leopoldo Lugones on modernismo and the way they changed Spanish-American poetry. Chapter 6 provides a summarization of the received results, while Chapter 7 demonstrates the limitations of the research and gives the suggestions for further analysis of Spanish modernismo. 3 Review of the literature Various critical works are written on the issue of modernismo in Spain, providing rather contradictory findings. Cathy Jrade considers that modernista poets regarded the world as â€Å"a system of correspondences†3. Thus, they were in search of the ways to uncover the concealed truth about Latin America and the universe in whole. Some critical works on Spanish modernismo are aimed at analyzing modernista poetry through social contexts, including Noà © Jitriks Contradicciones del modernismo, Franà §oise Perus Literatura y sociedad en Amà ©rica Latina and Angel Ramas Rubà ©n Darà ­o y el modernismo4. According to Ricardo Gullon, â€Å"What is called modernismo is not thing of school nor of form, but of attitude†¦ That is the modernismo: a great movement of enthusiasm and freedom towards the beauty†5. Discussing Spanish modernismo and the poets who contributed to the formation of this movement, Gwen Kirpatrick points at Leopoldo Lugones as â€Å"a true precursor of what might be called the dissonant trend in Spanish American poetry†6. The researcher considers that Lugones greatly influenced other poets of the subsequent generations by rejecting the traditional poetic norms and implementing new modernista elements. Lugones’ legacy is especially obvious in the works of Cà ©sar Vallejo, Alfonsina Storni and Ramà ³n Là ³pez Velarde. Octavio Paz points at the fact that Lugones’ and Dario’s poetry is the beginning of â€Å"all experiences and experiments of modern poetry in the Spanish language†7. However, Paz also differentiates between Lugones and Dario; although he regards Dario as the initiator of modernismo, it is â€Å"Leopoldo Lugones who really initiates the second modernista revolution†8. On the other hand, some researchers criticize Lugones’ poetry and his impact on Spanish-American literature. For instance, Roberto F. Giusti claims, â€Å"What is Lugones’ literary personality? It is a difficult question to answer due to the simple fact that he lacks one†9. Amado Nervo contradicts this viewpoint by pointing at powerful aspect of Lugones’ poetry, especially Las montaà ±as del oro. Although Nervo acknowledges the impact of fo reign thinking on the works of Lugones, he nevertheless identifies many individualistic features of this modernista poet. As Nervo puts it, â€Å"Lugones’ personality is powerful, the most powerful in our America†¦ The outside influences, the variety of reminiscences, the trivial and intimate suggestions of sages, poets, anti artists clash in his soul with his own and diverse ideas†10. However, Ezequiel Martà ­nez Estrada suggests that Lugones’ poetry lacks real sincerity, he considers that â€Å"We see him [Lugones] change and contradict himself, but we never see him express himself with absolute sincerity†11. The different perception of Lugones’ poetry can be explained by the changes within Spanish society that shaped people’s understanding of poetry throughout the twentieth century. According to Manuel Pedro Gonzalez, those poets who directly succeeded Leopoldo Lugones greatly admired the poet’s excessive language and powerfu l verse12, but later generations of Spanish poets failed to rightfully perceive Lugones’ innovations, although they also borrowed some elements of his poetry. In view of such contradictory criticism on the issue of Spanish modernismo, the following analysis makes an attempt to solve this controversy and demonstrate a considerable impact of Ruben Dario and Leopoldo Lugones on Spanish-American poetry of the twentieth century.   Ã‚   4 Research methodology The research utilises two theoretical research methods – a qualitative method and a discourse analytical approach. These methods provide an opportunity to investigate the issue of Spanish modernismo through various perspectives. The qualitative method is applied to the research to observe different views on the discussed issue, while the discourse analytical approach is aimed at analyzing cultural and social contexts that contributed much to the formation of modernismo in Latin-America. The discourse analytical approach explains the reasons for regarding Spanish modernismo as a revolution in Spanish-American poetry and the qualitative method interprets literary works of modernista poets. According to Ricoeur, â€Å"interpretation†¦ is the work of thought which consists in deciphering the hidden meaning in the apparent meaning, in unfolding the levels of meaning implied in the literal meaning†13. As appropriate methods for investigation, the q ualitative method and the discourse analytical approach demonstrate Spanish poetic traditions and the ways modernismo implemented new poetic forms.     Ã‚   5 Discussion 5.1. Background In the sixteenth and seventeenth centuries Spanish-American poetry experienced its prosperity due to the occurred historical and political events. However, gradually the poetry of Latin America exhausted its potentialities and reflected only illusionary visions of reality. At the end of the nineteenth century Spanish-American poetry almost completely rejected the poetic traditions of Romanticism, because it was impossible to adhere to these traditions in view of quick changes in values and modernization of life in many places of Latin America. As Octavio Paz rightfully points out, â€Å"Modernity is our style for a century. It’s the universal style. To want to be modern seems crazy: we are condemned to be modern, since we are prohibited from the past and the future†14. It was in that period when some Latin American cities began to inherit European ideals on culture, science and art. As Kirkpatrick puts it, â€Å"New immigration, varying degrees of industrialization, and labor-oriented social movements changed the maps of Spanish American cities in the early twentieth century†15. Thus, Spanish-American poets began to gradually reject the romantic representation of reality, instead revealing their interest in certain objects such as the female body and machines. Leopoldo Lugones was one of the first poets that applied to these themes in some of his poetic works, like Las montaà ±as del oro. Overall, modernista poets demonstrated great obsession with the principles of modernity and made constant attempts to increase the role of a poet in Spanish society. They withdrew from their participation in political affairs, instead transforming writing into a profession. In view of various innovations modernismo was aimed at creating a novel reality and styles of expression. According to Gordon Brotherston, the modernista poets, such as Ruben Dario, Manuel Machado, L eopoldo Lugones, rejected the material obsession that emerged as a result of industrial and scientific achievements, instead revealing true moral and cultural values16. As Paz puts it, â€Å"it has been said that modernismo was an evasion of the American reality. It would be truer to say that it was a flight from the local present reality†¦ in search of a universal reality, the only true reality†17. Spanish modernista poets reveal an idealistic treatment of poetry, paying a particular attention to the innovations of poetic forms and themes. The values of these poets appeared in contrast with the existing social norms and were reflected in their poetry. Modernismo represented a real revolution in Spanish-American poetry, because it was aimed at destroying the isolation of Latin America and at creating a novel discourse that could uncover the concealed truth about social and political situation of the country. However, the spread of modernismo was different in various part of Latin America. In particular, in Buenos Aires and Santiago of Chile, the South regions, modernismo was developed in a fast way, while in the area of Hispanic Carribean the process was considerably slow. In general, modernista poets were in search of the ways to create a language that would reflect social and spiritual discourse, making them closer to European poets. In this regard, the language of modernista poets is ambiguous. Applying to the qualitative approach it is possible to reveal this ambiguity, because this method provides an opportunity to rightfully interpret the controversial literary texts. According to Taylor, â€Å"Interpretation†¦ is an attempt to make clear, to make sense of an object of study. It aims to bring to light an underlying coherence or sense†18. Thus, on the one hand, the language of modernista poets appears as a visionary tool that uncovers reality changed as a result of various scientific innovations, while, on the other hand, it shapes national identity. Due to the fact that these two aspects are closely connected with each other, modernismo manages not only to reveal reality, but also to change the political and social courses established in Latin America. As Gonzalez puts it, modernismo introduces various aspects of modernity and alters Spanish poetry in whole19. According to Ricardo Gullon, â€Å"t he modernist writer is in first term modern man, and as so he becomes aware of himself as a citizen and believes in the possibility of the political and social reform†20. Ruben Dario and Leopoldo Lugones were the first poets to reflect social modernity and the negative consequences of scientific innovations in their literary works. In their modernista poems they made attempts to combine national identity with foreign features. The following sections provide a more detailed discussion of Lugones’ and Dario’s impact on the formation of Spanish modernismo.   5.2. Ruben Dario as the initiator of Spanish modernismo At the end of the nineteenth century Ruben Dario (1867-1916) implemented the concept of modernismo to reflect a new period in Spanish-American poetry. Dario identified modernismo as the trend that corresponded with the essence of his time, when modernity began to influence various aspects of reality. Although Dario is regarded as a nationalistic poet, he is individual in his poetry, bringing up both social and national issues. Ruben Dario rejects the traditional elements of poetry by changing the conventional norms of verse and by introducing smooth rhythms into his poetic works. Simultaneously, Dario challenges and criticizes the reality that is presented in many literary works of Spanish-American literature of the nineteenth century. Through his poetry Dario rises against the materialization of Spanish life and against the wrong scientific ideals that prevailed in Latin America in that period of time. He also maintains individualism and independence, eternity and dream world; Dario is especially obsessed with beauty, demonstrating that beauty can be found in many displays. He moves beyond traditional portrayal of beauty, paying a particular attention to females’ sexuality as one of the principal images of beauty. For instance, in his poem Rhymes Dario claims, â€Å"Out on the sea a swift boat rowing, / rowing: the lover with his beloved, / flying to the land of dreams. / In the sunset light and the million glints / that flashed on the sea, those streaming oars / seemed made of burnished gold†21. This simple verse reveals the beauty of nature and the beauty of a loving couple; nature seems to correspond with their feelings – it is bright and clear, tender and light. However, by the end of the poem nature is changed, as Dario expresses uncertainty as to the future of these lovers: â€Å"Their fate? I do not know. I remember / that after a pallid twilight, the sky / darkened and the sea grew rough†22. Thus, nature conveys despair of Dario and the inability of lovers to change anything. Similar to nature that is exposed to constant changes, love also has the beginning and the end. This modernista poet pays much attention to language and he is in constant search of perfecting it. Musicality of Dario’s poetry and his exotic images inspire other Spanish poets, despite the fact that Dario is more interested in words than in the expressed meaning. Dario’s poetic language acquires power and symbolism; he gives new meaning to simple words and forms his unique rhetorical lexicon that reflects the spirit of Hellenism and Versailles. Applying to various poetic experiments, Dario increases the amount of metrical forms, either transforming classical forms or creating new ones. Dario’s first literary work Azul (1888) reveals musicality and sensuality of his sonnets. It was a real break in Spanish-American poetry due to the fact that Dario managed to substitute a complicated poetic verse of Spanish poets for a simplified and expressive form. In this collection Ruben Dario masterfully combines the symbols taken from ancient literary sources with his own symbols. Some of Dario’s symbols are the swan that symbolizes eroticism and chastity or centaur that embodies both human and animal features. In this regard, modernismo depends on various influences and literary trends; it manages to combine vulgarity and delicacy, reality and illusion, beauty and violence, extremes and simplicity. Ruben Dario’s modernista poetry introduces many elements into Spanish-American poetry of the twentieth century. In particular, in many poems of Blue Dario applies to the theme of escapism, that is, he escapes reality and involves his readers into the dream world. Dario’s escapism is refined and full of classical illusions. In response to various scientific inventions and reason, Dario creates poems that are closely connected with nature and passions. Although the poet usually depicts such negative feelings as sadness, disappointment, ennui and despondency, they are so expressive that they evoke powerful emotions. In the poem Melancholy Ruben Da rio states, â€Å"Brother, you that have light, please give me light / I am like a blind man. I grope about in the dark. / I am lost among the tempests, lost among torments, blinded / by fantasies, and driven mad my music. / That is my curse. To dream†23. Another element of Dario’s poetry that is widely adopted by all modernista poets is the tension between love and sexuality. In his later collection of poetry Songs of Life and Hope (1905), Dario brings up more profound issues of a man and universe, life and death, utilizing irony and bitterness. This is especially obvious in such poems as The Fatal Thing and Youth, Divine Treasure. In this regard, Dario and other modernista poets are often accused of inspiring anarchy in the country, but in reality Dario contributes to the creation of a certain ideological structure in Spanish-American poetry that is closely connected with culture. Applying to classical allusions and cultural images, Dario implicitly demonstrates his cultural tastes. Thus, Jean Franco suggests that â€Å"modernismo comes to imply not only a literary renewal under the influence of France but a certain exaltation of taste†24. In some of his poetic collections, including Songs of Life and Hope, Ruben Dario demonstrates his obsession with classical symbols and the images created by Dante in his epic poem. Dario is in constant search of combining these images with the aesthetic values of modernismo, the poetry with the whole universe. In other poems Dario, similar to Lugones, draws a parallel between natural phenomena and humans’ emotions; for instance, in the poem Nightfall in the Tropics Dario portrays nature through emotions: â€Å"Bitter and sonorous rises / The complaint from out the deeps, / And the wave the wind surprises / Weeps. / Viols there amid the gloaming / Hail the sun that dies, / And the white spray in its foaming / ‘Misere’ sighs†25. This verse reveals Dario’s experiments with language and form; and, according to Kirkpatrick, it is in these â€Å"experiments, ironies, discordance, and ambiguities, later poets will find the legacy from which they will construct new poetic languages†26. In this regard, Leopoldo Lugones borrows some modernista elements from the poetry of Dario, but he also implements many new elements of modernism o.  Ã‚      5.3. The influence of Leopoldo Lugones on Spanish-American poetry Although Leopoldo Lugones’ earlier poetic works are characterized by the adherence to romantic ideals, he gradually rejects these elements, bringing up the issues and values that are closely connected with modernismo. Despite the fact that Lugones’ patriotic tunes and concise rhyme are not the explicit features of modernismo, his changes in themes and the depiction of certain ideologies through poetry demonstrate the poet’s important role in the transformation of Spanish-American poetry of the twentieth century27. According to Kirkpatrick, simultaneously combining some genres and moving from one extreme to another in his poetic works, â€Å"Lugones dramatizes the conflict between modernismo’s formalism and the shift into the twentieth century’s more private sense of poetic language†28. Similar to Dario, Lugones maintains the idea of language perfection, but he regards language as a tool that should be refined. Lugones considers that poetic language should be as much expressive as possible, but â€Å"by directing attention to language as a technical instrument, Lugones initiates a dissonant trend in modern Spanish-American poetry†29. With the help of expressive language Lugones manages to combine various elements in his poems, such as ironical eroticism and the portrayal of landscape, colloquial speech and unromantic scenes. Lugones takes his images from outward things, depicting the changed urban and rural scenery of Spain. Simultaneously, Lugones’ modernista elements reflect his obsession with French literary poetic traditions; however, â€Å"Lugones discounts the American setting as being too primitive to allow for the development of a complex and refined expression†30. Although in his early poems Lugones only implicitly reveals modernista elements, he intensifies them in his later poetry. This especially regards Las montaà ±as del oro (1898), where Lugones makes an attempt to combine rather contradictory elements through an allegorical form. It is in this poetic collection that Lugones introduces such innovations as enormous excesses, undisguised exaggeration and bizarre humour that are utilise d in his later poems. Introducing various thematic opposites in Las montaà ±as del oro, Lugones manages to achieve integrity of expression. The structure of the book resembles Dante’s poems, revealing that Lugones applies to some classical allusions in his poetry. This is especially obvious in the following words: â€Å"I was alone / between my thoughts and eternity. I was / crossing with Dantesque steps the night†31. In the poem Metempsicosis Leopoldo Lugones combines the powerful images of landscape and animal features to reveal the opposites between two elements: â€Å"An evil moon was loosing itself – with its yellow skeleton face / in distances of dream and problem; / and there was a sea, but it was an eternal sea, / asleep in a suffocating silence / like a sick, fantastic animal†32. Metempsicosis is followed by other poems, such as A Histeria, Rosas del Calvario, Oda a la Desnudez, Antifonas, Nebulosa Thule and others that are full of erotic images and the theme of darkness. In his female images Leopoldo Lugones combines both calm beauty of a woman and fierce portrayal of femme fatale. Applying to such conventional symbols of female images as moon, apples, flowers, breast and others, Lugones demonstrates that these images are beautiful, but they embody darkness and destruction. As a result, Lugones’ female images reflect the desire for possession and desecration: â€Å"I want a golden crown to encircle / your heart†¦ and I want you to triumph, naked like a host, in the ideal Easter ceremony of my pleasures†33. Similar to Dario, Lugones’ sexual images are usually connected with various religious images and Greek mythology, the feature that is characteristic to modernismo. However, Lugones’ images are more turbulent and definite, like in the poem A Histeria: â€Å"And so your embrace was like the knot of a noose, / and like glacial floes were your lips, / and bitter wires were my tendons, / and so the enormous stallion was a black wind†34. Thus, Lugones draws a parallel between violence and females’ sexuality; this connection is evident in Los Celos del Sacerdote: â€Å"desired crucifix of the weddings / and the triumphant grace of your waist. / like an amphora filled with magnolias, / and the impenetrable iris of your sex, / iris fool of blood and anguish†35. In another poem Oceanida Lugones applies to specific sexual images of Vista that symbolize eroticism and beauty. Some poems of Lugones’ poetic collection Las montaà ±as del oro reflect the sadomasochistic components that constitute one of the most important themes of Lugones’ poetry. In particular, the poet combines the images of violence and punishment with the images of females’ sensuality: â€Å"I shall praise the affection of your embrace, / just as the lecherous ascetic in his battles pulls tight the hairshirt around his kidneys†36. The images of sexuality and violence are repeated several tines throughout the poems, thus repetition is one of the most crucial poetic tools of Lugones. These repetitions, mainly taken from Poe’s literary style, provide Lugones with an opportunity to move from one extreme to another, maintaining the necessary integrity of expression. For instance, in the poem Oda a la Desnudez Lugones constantly repeats the word ‘nakedness’: â€Å"Look at the nakedness of the stars; / the noble nakedness of the savage panthers of Nepal, the pure flesh / of the newborn; your divine nakedness which shines like a lamp†37. Leopoldo Lugones implicitly brings up the tensions between nature and scientific discoveries, between reason and myths, between people and environment. In this regard, Lugones is similar to Ruben Dario who criticizes science and material obsession of his era in his modernista poems. Lugones combines ancient elements with new discoveries of the nineteenth century, evaluating both positive and negative sides of the present. Thus, according to the discourse analytical approach, Lugones’ and Dario’s poetic language is closely connected with the components of social and political contexts38. The poem Hymn to the Moon from Lugones’ Sentimental Lunario reflects French adoptions and is characterized by irony and new metric form. The poem The Cicadas from The Book of the Landscapes is belonged to one of the most modernista poems of Leopoldo Lugones; applying to daily images, the poet portrays them through ironical vision. However, one of the best modernista poetic collections of Leopoldo Lugones is certainly Los crepà ºsculos del jardà ­n (1905), where the poet intensifies sexual and erotic elements. In this collection Lugones not only utilises many modernista structures and symbols, but he also implicitly criticizes modernismo’s technicality. As Lugones constantly experiments with his poetry, he implements new elements taken from different literary movements and classical literary sources; thus he manages to observe both strong and weak sides of modernismo. Exaggeration appears the principal tool of expression in Los crepà ºsculos del jardà ­n; as Kirkpatrick puts it, Lugones â€Å"exaggerates certain themes by extending their development too far, or points out certain techniques by explicitly commenting on their use within the poems themselves†39. Thus, the poet creates not one swan in his poems, but several swans; portraying the image of a woman, he does not restrict himself to some features, instead he describes every aspect of her appearance, even the colour of her clothes. Although Leopoldo Lugones initiates the second wave of modernismo in Latin America, he moves away from it in his later poetic works, because he feels that he has already researched this new area and continues to experiment with other literary trends40. Utilising all modernista elements in his Los crepà ºculos del jardà ­n, he begins to study the archetypal elements of Jules’ Laforgue’s poems. However, Lugones’ later withdrawal from modernismo does not minimize his crucial role in the formation of modernismo. As Kirkpatrick rightfully claims, â€Å"Although Ruben Dario is the undisputed master of the movement, many later poets have found the complex, sometimes troubling, poetic experiments of Leopoldo Lugones to signal openings for a renewed poetic practice†41. The fact is that Lugones’ constant changes of forms and styles, turbulent eroticism and the portrayal of common life attracted attention of many Spanish-American poets. Tensions and ambiguity that are slightly seen in the works of other modernista poets are considerably intensified in Lugones’ poetry42. 5.4. The Legacy of Modernismo Ruben Dario and Leopoldo Lugones as the major contributors to the formation of Spanish modernismo left a considerable legacy to other poets who began to utilise modernista elements of Lugones and Dario in their poetic works. Some of these poets are Ramà ³n Là ³pez Velarde, Cà ©sar Vallejo, Jorge Luis Borges, Octavio Paz, Alfonsina Storni, Julio Herrera y Reissig, Federico Garcis Lorca, Pablo Neruda and Vicente Huidobro. Their poetry is characterized by expressiveness and freedom, perfection of language and search of new forms, classic allusions and new themes, simplicity of syntax and musicality of words, free verse and powerful visual images. For instance, in his poetic works Ramà ³n Là ³pez Velarde follows Leopoldo Lugones, combining the elements of eroticism with various prosaic elements. Other modernista poets also utilise prosaic components in their poetry, including Baldomero Fernà ¡ndez Moreno and Enrique Banchs. These poets implicitly appl y to Lugones’ method to create opposites; however, they differ from Lugones, using simple colloquial language. Besides, the tone of their poems is quiet in contrast to excessive and exaggerated tone of Lugones. Julio Herrera y Reissig, another modernista poet, greatly resembles Lugones in his representation of sexuality and

Poverty Reduction Essay

Poverty reduction requires us to be clear about what we mean by poverty, who are the poor and what is the best way to help people escape poverty. Discuss with reference to the multi-dimensionality of poverty? Poverty is a term used to refer to the poorer people of society; local, national and global, whether this is relative poverty, where people in that society suffer due to the cost of living and lack of income or absolute poverty, where people struggle with acquiring even the most basic of needs. There is huge debate about what is regarded as poverty as within the context of multi-dimensionality of poverty, people may be regarded as relatively poor in one country but relatively wealthy in other countries. Defining who is poor and who is not poor is no easy task. (Worldpoverty, 2010) tells us that originally, everyone was poor, but with technological developments, some people gained wealth, which was not being distributed effectively, which caused a growing division between the wealthy and the poor. However, the main issue is that the countries that have the wealth, relative and absolute poverty still exist. Taking the USA as an example, it is estimated that despite being one of the richest countries in the world, up to 25% of the population are considered to be in relative poverty because they do not have the same level of wealth as others. Out of the 25%, a further 3% are estimated to be in absolute poverty, meaning they cannot afford even the most basic of goods, such as a roof over their heads or food (Worldpoverty, 2010). Those in poverty in the USA are proportionately poor to those in the same situation as people who live within less developed countries, not only because they are the poorest, but because of the cost of living in different countries differs greatly (Davis, 2008). Despite this, people who reside in the USA are still considered to be richer than people in some African countries, where people live on less than $1USD a day (UNDP, 2008). This informs us that people in absolute poverty in more developed countries are arguably better off than people in less developed countries; this adds to the varying dimensions about what people regard as poverty. Although not an official term for this situation, these people are living in True Poverty, where they are the poorest people in the world and are not better off than anyone else in the world. We can see that when comparing the poor in different countries although some may earn more than others, the cost of  living has to be taken into account, which is why it is harder to escape poverty in richer countries due to the high costs of basic goods. Nevertheless, given this variability, clearly, this is just one element of what is acknowledged as part of the multidimensionality of poverty. We already know that people in poverty do not have the means to purchase all the basic goods for a suitable lifestyle or cannot afford even the basics, but how do we actually determine the point where someone is in poverty and how is it shown. This can mainly be shown in the form of economic modelling. (Sloman & Wride, 2009) demonstrates the Lorenz curve and the Gini-Coefficient to discuss the definition of poverty on a national scale. The ideal situation would be where everyone has the same level of wealth, which would represent the perfect income distribution line (45 degrees). However, this will never be the case, as there will be some people with more wealth than others and therefore it would be highly impractical since some people will inevitably consume more than others. The Lorenz curve shows the distribution of the national income as a proportion of between the rich and the poor. Because a relatively low proportion of rich people have more of the national wealth, this makes the curve steep towards the end. This results in a smaller amount of national wealth being distributed between the poorer people. The Gini-Coefficient shows the inequality between the Lorenz curve and the perfect income distribution line. In an ideal situation to combat poverty, more of the poorer people require more of the wealth. Consequently, the lower the Gini-Coefficient, the more effective the attempt at alleviating poverty in that country will become. Since this is only a national model and it only uses national income, it cannot be used on a global scale; this is mainly due to there being too many circumstances to take into account when comparing rich and poor countries. There are believed to be many different possible ways to combat poverty, but there is no defined sing le solution as of yet. The global community define poverty as people in third world countries; within this context, the main objective and aims include charitable efforts towards alleviating the poverty within these areas. One of these aims is to help people to help themselves. Particular issues arise from fundraising and transitionary procedures, where communication issues can arise whilst providing people with the necessary  trade knowledge and skills to fend for themselves. One of the most widely considered views on tackling poverty is to train people in poverty with skills to help them fend for themselves more effectively, or even more efficiently. Many different charitable organisations aim to help with this type of poverty alleviation. (Smith, 2005) discusses the views that charitable organisers have to identify what it is that poor communities lack and then help these communities by providing the appropriate training and resources, which in turn can be used to create a better living environment that is more sustainable and potentially more environmentally friendly. In addition to this, some poor communities are being held back by ‘Local and global forces’ which hider the quality of life. By working with these particular forces, living conditions and community relations would generally improve, particularly if this involves extreme poverty cases. In one particular case study, the international charity CAFOD has overseen development operations in a town called Soweto, just outside of Kenya’s capital Nairobi. A short video clip shows how the charity has helped unify the slum town and helped to create jobs through skill development and business entrepreneurship courses. As a result, more people in the town now run their own small businesses and are slowly earning more money to help sustain their own lives (CAFOD, 2007). Additional support has been implemented in community and co-operative projects, such as the communal farm, where animals are raised by the community and the proceeds after selling these animals is shared throughout the town. The way in which the training has been incorporated into people’s lives has ensured that the townsfolk have become mor e independent. The skills that have been learned by some of the poor populations will eventually be passed down from generation to generation, which also implies that the sustainability of the development project is strong. There are many different global organisations that set out to help people to help themselves, which is a very effective way to help people out of extreme poverty. But how do we tackle the types of poverty in developed countries such as the UK or the USA? People who reside within these countries and are classed as living in poverty are classed as living on very low or no income at all and are heavily dependent on state benefits. (Atkinson, 1995) explains with references to the Lorenz curve and the Gini co-efficient that over time the distribution of wealth has become slightly  more equal. Fig.2 shows how since 1949, there have been some effective efforts to alleviate a small proportion of the poverty in the UK and how over this period, a small percentage of the wealth has been taken from the top 10% and given to the bottom 50%, thus reducing the Gini-Coefficient. (Atkinson, 1995) also explains that this has been achieved through more efficient management of collecting taxes. Despite parts of the information not being consistent, a basic analysis of this data illustrates that the Gini-Coefficient had indeed fallen by 4% over the course of the 30 years in question. However over this period of time, not all of the reduction in top earnings was being transferred to the bottom 50%. Instead a large share of the reduction was being transferred to the next 40%, which doesn’t particularly help the bottom 50% of earners. Using this example, another strategy that could be used to assist those in poverty is to increase the tax rate on high earners more, redistributing the national income more fairly. This is a scheme already in effect, however high earners are finding loopholes within these tax regulations which restrict the amount of money being redistributed. (Robin Hood Tax, 2010)There is some debate however of imposing a new tax so small (est. 0.05% on all transactions over  £10,000 GBP), it will be almost impossible to avoid. However even  £10,000 would only result in a tax bill of  £5 which is well worth paying. By adding these very small amounts together, the funds that could be generated are estimated to be over  £300Billion GBP a year. The idea is supported by well over 100 different charities and relief organisations, who would use the money generated to fund all kinds of work to relieve many different types of poverty in many different countries, both developed and developing. Using this method of relief collection will ensure the fight against poverty is well funded because the main cause of poverty ties down to money at the end. Another method to solve poverty would be to develop and implement a stronger welfare system, which could work out for both developed and developing countries. (Schiller, 2004) argues that in most cases poverty is caused by a bad upbringing, based on family morals, lack of a decent education and thus the inability to be ‘financially independent’. There is also the strong argument that poverty can be caused by people that don’t  want to work and are happy to receive welfare and be classed as in poverty, thus creating a ‘trade-off between income provision and work incentives.’ If governments wish to reduce the level of poverty in their country, they need to make jobs more appealing and financially rewarding, although with the current economic climate this is easier said than done. The real issue here is that if a solution is to be found using this strategy, it will no doubt not be in the best interests for everyone; sacrifices and compromises will have to be made at some stage. The types of welfare should depend on whether people don’t want to work or can’t work, through illness, disability or age. (Schiller, 2004) also argues that it is tough to ‘distinguish the potentially employable’ people from the rest of the poor, so these would be solved by utilising separate welfare systems, which would aim to satisfy as many people as possible. Obtaining the right welfare solutions would bring some people above the poverty line, although mismanaging these systems could see those already out of poverty falling below the line. From this, employment schemes would offer my incentives such as pay increases, additional training or even promotion prospects. Helping people out of poverty should start with correcting the right level of assistance they currently receive and helping them get into work. In conclusion, to solve poverty, and its many different dimensions, it is important to establish the nature of the poverty and how serious it actually is. For those in extreme poverty, especially in developing countries it would be appropriate to include more assistance with regards to developing skills which can be used to start trades and cooperative community projects, ensuring people help themselves out of poverty, or even the whole community. For people in developed countries however, the current welfare systems that people utilise, may need revising as some people require more help than others. The prospects of working also need to be more appealing than basically living off the welfare state to ensure people lift themselves out of poverty and hopefully stay that way but those still in poverty while working do require the extra financial assistance to escape poverty. References Atkinson, A. B. (1995). Incomes and the welfare state. Cambridge: Cambridge University Press. CAFOD. (2007). Kenya: Helping people out of poverty. Retrieved March Tuesday 2nd, 2010, from Youtube: http://www.youtube.com/watch?v=YRopnCUpwGA Robin Hood Tax. (2010). Retrieved March Tuesday 2nd, 2010, from http://robinhoodtax.org.uk/ Schiller, B. (2004). The economics of poverty and discrimination 9th edition. Pearson – Prentice Hall. Sloman, J., & Wride, A. (2009). Economics 7th edition. Harlow: Prentice Hall. Smith, S. C. (2005). Ending global Poverty. Palgrave Macmillan. UNDP. (2008). Human poverty index. Retrieved March Monday 1st, 2010, from Human development reports: http://hdr.undp.org/en/statistics/indices/hpi/ Worldpoverty. (2010). Retrieved March Monday 1st, 2010, from World Poverty: http://world-poverty.org/default.aspx Bibliography Davis, M. (2008). Dealing with Poverty. Retrieved March Monday 1st, 2010, from Hubpages: http://hubpages.com/hub/Dealing-with-Poverty Dwyer, R. (2010). Poverty, Prosperity and Place: The shape of class segregation in the age of extremes. Social Problems , 114-137. Havnevik, K. (2000). The institutional context of poverty eradication in rural Africa. Stockholm: Elanders Gotab. Qisilbash, M. (2003). On the Arbitrariness and Robustness of Multi-Dimensional Poverty Rankings. Retrieved March Monday 1st, 2010, from UIA: http://www.uia.mx/humanismocristiano/seminario_capability/pdf/17.pdf WorldBank. (2005). Poverty Lines. Retrieved March Monday 1st, 2010, from World Bank: http://siteresources.worldbank.org/PGLP/Resources/povertymanual_ch3.pdf Appendix Fig.1 Bowes, P (2010) derived from Sloman, J & Wride, A (2009) Economics 7th edition. Harlow: Prentice Hall Fig.2 Bowes, P (2010) derived from Atkinson, A B (1995) Incomes and the welfare state. Cambridge: Cambridge University press, pp17: Table 1.1

The Single Persona of Ophelia and Gertrude

Zoe Alternate Ms. Herring AP English 5 November 2013 The Single Persona of Aphelia and Gertrude According to Shakespeare, Elisions did not require more than two women, let alone two unique women. On a larger scale, the society in which Shakespeare wrote agreed that most women were indistinguishable: women in general did not hold positions of prominence and did not demand recognition. In all of Shakespearean plays, a meager 126 female characters develop; of these, Aphelia and Gertrude play minor roles in Shakespearean Hamlet, having a mere 169 lines and 128 lines respectively.Being the only two females in the play, and with Shakespearean lack of knowledge that women could have varying personalities, Aphelia and Gertrude manage to possess many similar characteristics. In fact, they are so similar that one could argue, if convinced an Oedipus-complex exists, there is no need for two separate characters. Through their relationships and circumstances, interactions and dialogue, Shakespear e portrays Aphelia and Gertrude as parallel characters. Women during the Renaissance, and even women during any time period prior to the sass, were submissive and loyal.Aphelia and Gertrude are no exceptions to this stereotype; they passively listen and, without question, obey their superiors. As Alerter accuses Hamlet of false love, Aphelia agrees saying, â€Å"l shall the effect of this good lesson keep† (1. 3. 44). Soon afterward, Polonium demands that Aphelia avoid Hamlet, and Aphelia is obedient: â€Å"l shall obey, my lord† (1. 3. 136). Even in Alerter' questioning of Hamlet's feelings, Aphelia admits that, as a woman, she should not have her own thoughts: â€Å"l do not know, my lord, what I should think† (1. . 104). She repeats this degrading fact saying, â€Å"l think nothing, my lord† (3. . 107) when Hamlet asks what she thought he meant in mentioning a virgin's legs. In 2. 2 lines 110-113, as Polonium attempts to raise his popularity among the court, he reads a personal letter from Hamlet to Aphelia, while Aphelia, surely embarrassed, sits back with no argument. The same acquiescence lies within Queen Gertrude. In 2. 2 lines 19-26, Gertrude repeats, only more succinctly, what Claudia has already said, proving her lack of original thought.When Claudia orders her to leave the court, Gertrude says, â€Å"l shall obey you† (3. 1. 38), maintaining her proper wifely status. To please her new Cubans, Gertrude endeavors to placate Hamlet's mournful mind and persuade him to â€Å"let [his] eye look like a friend on Denmark† (1. 2. 69), so that the Danish citizens may think all is well with the new political structure. Just as Aphelia holds a willingness to bow to Alerter and Polonium, Gertrude yields to Claudia every time except once right before her demise, which will be subsequently analyzed further.They are both â€Å"made malleable by [their] sense of duty and by [their] nature as well† (Magnums 1). Regard less of their wrongful obedience to their respective superiors, both Aphelia ND Gertrude truly love Hamlet. The only two women in the play have a very intimate relationship with the protagonist, one being his mother and the other his love interest. The love is made certain when Hamlet, truthfully or not, retracts his previous affection toward Aphelia; yet, she still replies, â€Å"Indeed, my lord, you made me believe so† and â€Å"l was the more deceived† (3. . 118-122), revealing her broken heart. Gertrude love, whether her relationship with Hamlet includes an Oedipus-complex or not, proves sincere as she calls to Hamlet Just before her untimely death: â€Å"O my dear Hamlet! (5. 2. 312). Neither female character can stand to have the connection between their familial and friendly bonds amputated. Aphelia can see that Hamlet's madness has generated a break between her father's wishes and Hamlet's, and, distressed by the apparent severed bonds, pleads for help,  "Heavenly powers, restore him! † (3. 1 . 142).Gertrude, in the midst of a barrage of verbal accusations, strives to conserve the filial bond; she refers to Hamlet as â€Å"sweet Hamlet† (3. 4. 98) and, in an effort to stop his attack, says, â€Å"O Hamlet, thou hast cleft my heart in twain† (3. 4. 158). She needs his approval and therefore asks, â€Å"What shall I do? † (3. 4. 184). According to David Abnegation's interpretation, the priority of Aphelia and Gertrude is familial harmony, motivating their actions throughout the play. Nonetheless, due to their blind and steadfast allegiance, Aphelia and Gertrude cannot help but act treacherously against Hamlet despite their deep love for him.Consequently, when Polonium devises a scheme to unearth the backstops of Hamlet's madness, he commands Aphelia, â€Å"Walk you here†¦ ‘ Read on this book/ That show of such an exercise may color/ Your loneliness† (3. 1. 3-47). She immediately follows alo ng so that Hamlet may suppose her alone when he happens upon her. Of course, Hamlet the keen prince he is, senses her betrayal. When Hamlet asks the whereabouts of Polonium, Aphelia answers with a lie, â€Å"At home, my lord† (3. 1 . 132). Gertrude also refuses to take sides in the war between Claudia and Hamlet. She agrees to Polonium' ploy to spy on Hamlet by saying, â€Å"I'll warrant you.Fear me not† (3. 4. 7), allowing Polonium to take cover behind her curtains. Again, Hamlet discovers the betrayal, killing Polonium in the process. Shortly after, notwithstanding Hamlet's recent attack and her ostensible promise, Gertrude defends Claudia' throne cursing the â€Å"false Danish dogs† (4. 5. 108) when the Messenger reports that the crowd wants Alerter as king. Furthermore, Claudia deduces that Gertrude will concur with Hamlet's need to be shipped to England and includes her in his plot to rid Denmark of Hamlet: â€Å"Come, Gertrude, we'll call up our friends/ And let them know†¦ Hat we mean to do† (4. 1. 38-39). She does not contend. But Gertrude even now holds onto the love for her son and begs the crowd in the cemetery to be patient, â€Å"For love of God, forbear him† (5. . 259). After Hamlet and Alerter brawl in Aphelion's grave, the fickle Gertrude endeavors to convince the multitude that Hamlet's fit, even though Hamlet clearly mourns Aphelion's death, is in reality â€Å"mere madness† (5. 1. 271-275). Aphelia and Gertrude fluctuate between their alliance to Hamlet and to the court, and, in the throes, move with duplicity against Hamlet.These innumerable and sundry breaches of faith trigger Hamlet's abandonment of the goodness in humanity, especially womankind. The ones who should love him the most are the ones contributing to Hamlet's degrading mental state. Yet, being tender of heart and still submissive, both women â€Å"are forced into uncharacteristic vices,† unaware of their evil guides(Penning ton). Hamlet's hatred goes so far as to dub frailty a woman in 1. 2. Aphelia and Gertrude are made into products of a â€Å"stereotypic wanton sexuality' (Wellness 1).Hamlet displays his disgust toward the sexuality of women in saying, â€Å"The power of beauty will†¦ Transform/honesty from what it is to a bawd† (3. 1. 113-114). Hamlet denounces women as two-faced and promiscuous saying, â€Å"God has given you one face and you make yourselves another†¦ And make our wantonness your ignorance† (3. 1 . 143-146). His anger builds until he commences separate assaults on the two female characters. During his meeting with Aphelia, he spits several insults on her. Hamlet bids Aphelia, â€Å"Get thee to a nunnery' (3. 1 . 123).He additionally advises that if Aphelia must marry, she should â€Å"marry a fool, for wise men know well enough what monsters [she] makes of them† (3. 1 . 139-140). Later, in the course of his climactic talk with his mother, Hamlet ac cuses Gertrude of â€Å"such a deed/As from the body of contraction plucks/The very soul, and sweet religion makes/ A rhapsody of words† (3. 4. 46-49). Both women are much too delicate to take on Hamlet's harsh words, and they crumble in the presence of his disgust. A final correlation between Hamlet's female characters is their closing exits.As the plays only females decay, it is evident that a factor to their degeneration is their lack of independence. Neither woman ever speaks without being prior spoken to with the exception of 4. 5. Aphelion's reason finally collapses, and her songs spill out as if they were the liquid madness sloshing in her head. After Alerter Journeys to France and Aphelia agrees to avoid Hamlet in 1. , Aphelia remains without any confidant. She is â€Å"an isolated figure in a patriarchal world† (Magnums 1), even more so in the wake of her father's slaughter. Gertrude can relate.Claudia, her only confidant, has been forbidden by Hamlet, and her own son abhors her. These women retain little strength to act of their own will. Even their own deaths occur accidentally, the fault of fated chain reactions. Aphelia, in an effort to commit suicide, falls into a body of water and drowns. Her only attempt to do something for herself is pulverize, Shakespearean way of keeping femininity helpless. As Gertrude recounts Aphelion's passing, she mentions that in falling from the branch, Aphelia continues â€Å"snatches of old lauds/As one incapable of her own distress† (4. . 176-177). Perhaps Aphelia knows how to swim, but indeed does decide for herself to let the water take her. Comparably, Gertrude is killed by a poison meant for the protagonist. Perchance she knows what Claudia has planned; some of Gertrude last words are defiant against Claudia, potentially proving her want of death to come as soon as possible and her own decision to make that happen. Claudia weakly calls on Gertrude to replace Hamlet's poisoned drink; however , Gertrude replies, â€Å"l will, my lord, I pray you, pardon me† (5. 2. 287).Their deaths can be argued as accidental or premeditated; nevertheless, Gertrude and Aphelia maintain irrefutably passive qualities throughout the play, which are conducive to their individual endings. The Queen of Denmark and a fool's daughter, although endowed with separate names and kinsmen, possess stark and tangible similarities. Both temperaments are comprised of a complaint nature, unintentional treachery, a tender heart, and dependency. Aphelia and Gertrude can effortlessly be labeled parallel characters on count of Shakespearean alacrity to conform to societal views of women.

A Formal Description For A Youth Gang - 1503 Words

Adolescence is a time of life spanning from the ages of 13 till about 25 when the brain has fully developed. It is a period of life characterized by many up and downs where the individual experiences multiple personal changes (Gladding, 2012, p. 255). In this time of turbulence young individuals may enter into groups that society often refers to as gangs. It is accurate to say that gangs contribute immensely to crime and delinquency however, to say that this is the purpose of all gangs would be misleading. Gangs should instead be seen as existing on a continuum, some ranging from groups of peers who spend time together and may get into trouble, to others who participate in more serious crimes (Gorden, 2000, p. 4). In terms of a specific definition for a gang, there really is not one that has been fully accepted by all. That being said looking at research a formal description for a youth gang perhaps would be that it is a self-formed group of individuals, consisting of three or more m embers, generally ages 13 to 25, who share a sense of identity, and may or may not take part in delinquent behaviour or crime (Preston Carr-Stewart, 2012. P. 1 2). Often time’s news stories claim that youth gangs are on the rise and must be stopped and the members disbanded. However, to pursue this would be saying that the formation of all gangs are negative and solely for the purpose of delinquent behaviour and crime, which is not always the case. For society to take an active approach onShow MoreRelatedWhat Is Labeling And Variations In Delinquency1796 Words   |  8 PagesLabeling and Variations in Delinquency In recent years, longitudinal data has been used to make comparisons between youth who are formally labeled and those who are not formally labeled. 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