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
Conclusion
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
Lo tendencioso o no tendencioso puede ser discutido. Lo que no cabe negar es el sentido social del arte. El arte, y tanto màs el cine, que es arte de multitudes, es un reflejo de la sociedad. Cada sociedad específica tiene, crea un arte específico. La sociedad de hoy, que es una sociedad descompuesta, crea – o mejor, produce, que es palabra menos noble – un arte descompuesto, íntimo, chabacano, bajo, o, por otro lado, defensivo, útil, mercenario, tendencioso, servil.
(Arconada, “El sentido” 4)[What is tendentious or not can be argued. What one cannot deny is the social sense of art. Art, and even more cinema, which is an art of the multitudes, is a reflection of society. Each specific society has [and] creates a specific art. Today's society, which is a brazen society, creates – or better yet, produces, which is a less noble word – a brazen, intimate, vulgar, low art, or, on the other hand, a defensive, useful, mercenary, tendentious, servile art.]
In the previous chapters a pattern of novelistic dialogue has been established between Spanish and Soviet letters during the 1920s and 1930s, in which Spaniards adopted and adapted models of social art, while neglecting other aspects of Russian literature that did not suit their particular needs. Given the sociopolitical climate and the politicization of letters taking place during this period, it should come as no surprise that leftist writers in Spain looked to the Soviet Union for models of politically engaged literature. Yet these works also examined other social constructs, including gender, industrialization and war.
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- Information
- Spanish Reception of Russian Narratives, 1905-1939Transcultural Dialogics, pp. 163 - 166Publisher: Boydell & BrewerPrint publication year: 2013