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This article attempts to give a panoramic insight into the residence of Rubén Darío in Chile as well as the changes in his poetry between 1886 and 1889. All this is related with the publication of Azul in 1888, a relevant poetry book for Modernism. During this voyage, the poet finished an apprenticeship that turned him into the most important poet of a movement that transformed the continental poetic forms, and left a legacy that changed the future of Chilean poetry.
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The article examines the poet’s relationship to the English language, and the presence of linguistic loans in his works. In spite of supporting a certain distaste to the United States, nevertheless, he defends the fact that other languages contribute to one’s own culture, and puts it into practice. Moreover, he anticipates what will later happen in the case of Spanglish and Chicano languages, on the level of interchange and miscegenation of languages in contact.
EN
The gap between the knowledge related to the field of literature and to that of science begins to widen at the end of the 19th century, and this separations gets more pronounced in the 20th century. However, already in the 19th century the relationship between natural science and literary science was subject of Rubén Darío’s attention, and for some time he saw them as closely related, working with the examples offered by the works of Edgar Allan Poe, Jules Verne, and G. H. Wells, on each of whom he wrote an essay. Towards the end of his life, Darío’s youthful enthusiasm for sciences dwindled.
EN
The article examines the relationships between literature and painting in the works of Rubén Darío. The issue is seen in the context of modernis synesthesia, which was strongly present in the literary ideology of the modernist discourse, and it is analyzed with the help of the theories of ekphrasis of Murray Krieger. In Darío’s canonical works painting plays an important role, both in the form of literary references, and the so called “transpositions of art”, in its intent to create a total art.
EN
The examination of Mario Vargas Llosa’s bachelor’s thesis (1958, published in book form in 2001) reveals his background as a literary critic. Vargas Llosa’s interest in the biographical aspects of the Nicaraguan poet lets us track the emergence of his literary vocation. The other interest demonstrated in this thesis is to prove the permanence of the life and work of the naturalist writer Emile Zola in the life of Darío. In this thesis, there are some features that Mario Vargas Llosa maintained throughout his production as a literary critic, especially the biographical review as a key to understand certain codes of literary creation of an author.
EN
The author discusses the relationship between two writers, representatives of literature at the turn of the twentieth century, seen as a dialogue both human and intercontinental. The Spaniard Valle-Inclán and the Nicaraguan Darío developed the inheritance of late Romanticism and decadence, they were formed during the epoch of symbolism and French parnasism, and participated in the constitution of Hispanic modernism. The essay offers a commentary on several texts they dedicated to each other, which create an authentic intercultural dialogue.
EN
The main objective of the present study is to focus on Don Quixote’s presence in the poetic and prosaic texts of Rubén Darío, written during his residence in Europe while he was working as a correspondence clerk in Spain and then in France. The author analyzes these texts within the wider context of the Spanish literature of that time and the poet’s work in general. She contemplates the motivation of these texts and searches for the answer to the following question: What role does Cervantes and his great novel play in Darío’s work?
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