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Journal articles on the topic 'Literacy – Nicaragua'

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Published: 4 June 2021
Last updated: 4 February 2022

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1

Tünnermann, Carlos. "Literacy Crusade of Nicaragua." Behavior Analysis and Social Action 6, no. 1 (May 1987): 18–22. http://dx.doi.org/10.1007/bf03406075.

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2

Paz Fernández, Xesús B. "Literacy and Adult Education in Nicaragua." Educar 7 (February 1, 1985): 131. http://dx.doi.org/10.5565/rev/educar.577.

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3

Macadam, Colin. "Towards democracy: The literacy crusade in Nicaragua." International Review of Education 30, no. 3 (1985): 359–68. http://dx.doi.org/10.1007/bf00597911.

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4

Lankshear, Colin. "DAWN OF THE PEOPLE: the Right to Literacy in Nicaragua." Discourse: Studies in the Cultural Politics of Education 7, no. 1 (October 1986): 31–45. http://dx.doi.org/10.1080/0159630860070102.

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5

Sanchez, Constantino. "Out of darkness into light: The National Literacy Museum in Nicaragua." Museum International 42, no. 1 (March 1990): 25–26. http://dx.doi.org/10.1111/j.1468-0033.1990.tb00826.x.

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6

Ulman, Jerry. "The Real Threat: An Introduction to Carlos Tünnermann’s “The National Literacy Crusade of Nicaragua”." Behavior Analysis and Social Action 6, no. 1 (May 1987): 15–17. http://dx.doi.org/10.1007/bf03406074.

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7

Moro, Diana. "Rubén Darío en el debate sobre la literatura nacional nicaragüense." (an)ecdótica 5, no. 1 (January 29, 2021): 61–82. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19784.

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The debate on literature in Nicaragua, at various moments in the country’s history, is elaborated on the figure, aesthetics, and work of Rubén Darío. Not only the birth and death of the poet on vernacular soil are central aspects in the appropriation made, but above all, the international cultural capital built through his wandering life and cosmopolitanism in his work. The appropriation of his aesthetics, as well as the distancing and debates about his contribution, persist in various moments of Nicaraguan literary history. We will explore some interventions by Nicaraguan intellectuals who are members of the Avant-garde Group, above all, their subsequent critical review and the contribution that Ventana magazine made in the 1960s. Finally, it will be observed that during the revolutionary decade, 1979-1989, the figure of Darío concentrates, at least, two simultaneous appropriations, the “anti-imperialist” and the “half-blood”. Both perspectives coincide in the conviction that, in Nicaragua, there would be no literature without the magisterium of Darío.
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8

Gullette, Margaret Morganroth. "In My Nicaraguan High School: Giving Excluded Women and Men a Second Chance." Radical Teacher 109 (September 12, 2017): 4–11. http://dx.doi.org/10.5195/rt.2017.385.

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When I went to Nicaragua for the first time during the Contra war, I had no idea that I would soon wind up helping a Nica friend start two literacy programs and then a Free High School for Adults. It opened in 2002, and now, only 15 years later, we have 1001 graduates, 54% women, 45% rural (mainly from subsistence farm families)--all of them excluded from the regular high schools for one reason or another: being pregnant, being a woman, turning eighteen, working five days a week, or living too far from town without the ability to pay bus fare. My real education came with theirs and is still going on, with no end in sight. What I wanted to know was how the teachers--all college graduates who were teaching in the high prestige regular high schools--figured out how to teach these people, many of whom had been out of school for decades and were unused to learning or scholastic discipline; many accustomed to being heads of households; some pregnant or carrying a baby to School for lack of child care or need to nurse; some drunk or exhausted early on Saturday mornings when classes began. The teachers told me their own stories, of overcoming prejudice and learning how to create a welcoming atmosphere. And the graduates told me THEIR stories, of what it took to succeed in those conditions, and how education--especially learning how to speak better-- transformed them, and they, in turn, transformed the entire culture and economy of the region.
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9

MEZA-DURIEZ, Rafael Santiago. "Lectoescritura Inicial y su Discurso Pedagógico en el Currículo Nicaragüense." INTERRITÓRIOS 6, no. 12 (December 7, 2020): 423. http://dx.doi.org/10.33052/inter.v6i12.249008.

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RESUMENEste artículo resume elementos de una investigación que se propuso inferir el discurso pedagógico que subyace al método Fonético, Analítico y Sintético (FAS), tal como se aplica en Nicaragua como elemento fundamental del currículo y la política educativa para la enseñanza de la lectura y escritura. Se determinaron los elementos conceptuales que constituyen al discurso pedagógico como constructo teórico. Estos elementos fueron identificados en el currículo vigente para reconstruir el discurso pedagógico subyacente y determinar si este último es de tipo reproductor o transformador. El estudio se realizó mediante el análisis de un cuerpo de documentos curriculares de diferentes rangos jerárquicos. Su principal contribución es que revela el carácter reproductor del FAS como método insignia de la política nacional y, por tanto, su incapacidad para cerrar las brechas históricas de equidad que han sido sostenidas en el tiempo por el sistema educativo nicaragüense. Educación básica. Sociología de la educación. Alfabetización.ABSTRACTThis article resumes the findings of a research whose aim was to identify the pedagogical discourse underlying Phonics, Analytics and Synthetic method (FAS), which is the method implemented on the Nicaraguan curriculum as an essential element of the public policy on early grades literacy instruction. The conceptual elements that constitute the pedagogical discourse as a theoretical construct were explained. Those same elements were later identified on the national curriculum in order to make visible the underlying pedagogical discourse and to determine whether or not, its nature was reproductive or transformative. A documentary analysis was carried out on a corpus of curricular documents within a specific hierarchy. As its main contribution, this research reveals the reproductive nature of FAS and its inability to close in the historical equity gaps upheld for a long time by the Nicaraguan education system. Basic education. Sociology of education. Literacy.RESUMOEste artigo sintetiza elementos de uma pesquisa que se propôs a inferir o discurso pedagógico que fundamenta o método Fonético, Analítico e Sintético (FAS), aplicado na Nicarágua como elemento fundamental do currículo e da política educacional para o ensino da leitura. e escrever. Foram determinados os elementos conceituais que constituem o discurso pedagógico como construção teórica. Esses elementos foram identificados no currículo atual para reconstruir o discurso pedagógico subjacente e determinar se este é reprodutivo ou transformador. O estudo foi realizado por meio da análise de um corpo de documentos curriculares de diferentes níveis hierárquicos. Sua principal contribuição é que revela a natureza reprodutiva da FAS como o principal método da política nacional e, portanto, sua incapacidade de fechar as lacunas históricas de eqüidade que foram sustentadas ao longo do tempo pelo sistema educacional nicaraguense.Educação Básica. Sociologia da educação. Alfabetização.
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10

Kleinbach, Russell. "Nicaraguan Literacy Campaign: Its Democratic Essence." Monthly Review 37, no. 3 (July 4, 1985): 75. http://dx.doi.org/10.14452/mr-037-03-1985-07_4.

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11

Calvert, Peter. "Umberto Belli: Breaking Faith: The Sandinista Revolution and its Impact on Freedom and Christian Faith in Nicaragua (Westchester, Ill.: Crossway Books, 1985, $8.95). Pp. xvi + 272. - Valerie Miller: Between Struggle and Hope: The Nicaraguan Literacy Crusade (Boulder, Colorado: Westview Press, 1985, cloth £35.25, paper £16.75). Pp. xxx + 258. - Pierre Vayssière (ed.): Nicaragua: les contradictions du Sandinisme (Paris: Editions du CNRS, 1985, 79F). Pp. 254." Journal of Latin American Studies 18, no. 2 (November 1986): 465–67. http://dx.doi.org/10.1017/s0022216x00012256.

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12

Lankshear, Colin. "Literacy and running your life: A nicaraguan example." Language and Education 5, no. 2 (January 1991): 95–111. http://dx.doi.org/10.1080/09500789109541303.

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13

Daniel, Patricia. "Mujer! Women, the Nicaraguan literacy crusade and beyond." Equal Opportunities International 19, no. 2/3/4 (March 2000): 17–24. http://dx.doi.org/10.1108/02610150010786229.

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14

Sandiford, Peter, Colin Lankshear, María Martha Montenegro, Germana Sánchez, and Jeffrey Cassel. "The Nicaraguan Literacy Crusade — How lasting were its benefits?" Development in Practice 4, no. 1 (January 1994): 35–49. http://dx.doi.org/10.1080/096145249100077481.

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15

Lankshear, C., P. Sandiford, M. ‐M Montenegro, G. Sanchez, C. Coldham, and J. Cassel. "Twelve years on: women's literacy in a Nicaraguan municipality." International Journal of Lifelong Education 14, no. 2 (March 1995): 162–71. http://dx.doi.org/10.1080/0260137950140205.

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16

Baracco, Luciano. "The Nicaraguan Literacy Crusade Revisited: The Teaching of Literacy as a Nation-Building Project." Bulletin of Latin American Research 23, no. 3 (July 2004): 339–54. http://dx.doi.org/10.1111/j.0261-3050.2004.00112.x.

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17

Bender-Slack, Delane. "¡Puño en Alto! The Nicaraguan Literacy Campaign and What it Means for Literacy Today." Educational Studies 54, no. 3 (January 10, 2018): 271–84. http://dx.doi.org/10.1080/00131946.2017.1411262.

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18

Rivero, Eliana S., C. Alita Kelley, and Alec Kelley. "Testimonial Literature and Conversations as Literary Discourse: Cuba and Nicaragua." Latin American Perspectives 18, no. 3 (July 1991): 69–79. http://dx.doi.org/10.1177/0094582x9101800305.

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19

Bhola, H. S. "Between Struggle and Hope: The Nicaraguan Literacy Crusade. Valerie Miller." Comparative Education Review 31, no. 3 (August 1987): 471–73. http://dx.doi.org/10.1086/446709.

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20

McGinn, Noel. "Book Review: Between Struggle and Hope: The Nicaraguan Literacy Crusade." Journal of Education 168, no. 1 (January 1986): 141–43. http://dx.doi.org/10.1177/002205748616800110.

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21

Moore, Paul. "Scenes from Nicaragua." Hudson Review 39, no. 2 (1986): 182. http://dx.doi.org/10.2307/3856806.

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22

Arellano, Jorge Eduardo. "Desarrollo del cuento en Nicaragua." Revista Iberoamericana 57, no. 157 (December 6, 1991): 999–1017. http://dx.doi.org/10.5195/reviberoamer.1991.4974.

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23

Seery, Patricia, and Helen Collinson. "Women and Revolution in Nicaragua." Agenda, no. 10 (1991): 113. http://dx.doi.org/10.2307/4065461.

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24

Chappell, Whitney. "Formality strategies in Managua, Nicaragua." Spanish in Context 12, no. 2 (September 28, 2015): 221–54. http://dx.doi.org/10.1075/sic.12.2.03cha.

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Nicaraguan Spanish is characterized by the reduction of coda /s/ to glottal frication, elision, and glottal constriction, but the latter variant has never been explored in depth. The present study fills this void by analyzing the word-final, intervocalic /s/ environment in sociolinguistic interviews, reading tasks, and image identification tasks conducted with 36 Nicaraguans with the goal of detailing the social patterning of glottal constriction. I find that glottal constriction patterns like sibilance, a hyperarticulated variant, and a statistical analysis reveals two distinct hyperarticulation strategies in formal tasks based on age and education. Given their differing responses to formality, I propose that more educated and younger speakers with more exposure to prescriptive norms apply sibilance, a global hyperarticulation strategy, to signal their education and power on an international scale, while less educated and older speakers utilize glottal constriction to construct an identity associated with regional articulateness.
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25

Hauge, Chelsey. "Does Pocahontas Count? Sites of Engaged Process for Critical Literacy." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 10, no. 2 (April 9, 2018): 29–50. http://dx.doi.org/10.29173/cjfy29388.

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This paper details my involvement as director of a media literacy program that brought together American And Nicaraguan youth to produce media about social issues. Grounded in civic engagement, youth leadership and media literacy, the program provided youth with media equipment and a series of workshops on digital literacy. Youth decided for their final project to re-create the colonial narrative Pocahontas. To me, this signaled a failure of critical media literacy programming to guide young people to tell critical stories. On further examination, I came to relate to this occurrence in a deeper way, wondering how they came to tell this story and discovering something rich and creative underneath the final product. In this paper, I explore the production process for this video, pushing at the boundaries of what constitutes both media literacy and civic engagement, and asking questions about how we understand what constitutes critical media literacy. Instead, I propose that when we focus on the product as what evidences critical literacy or civic engagement, we lose sight of the method. In this case, method was the home of powerful processes of literacy engagement around issues of class and race that were obscured by the use of the colonial narrative. This paper explores this tension, in order to both examine the challenges around producing a final product inextricably tied to colonial patterns of gender inequality and to give voice to the rich practices of critical literacy that the production process initiated.
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26

Lavoie, Sophie. "El país de las mujeres, Gioconda Belli’s (Neo)feminist Treatise: New Proposals for a Post-Sandinista Society in Nicaragua." Revista Canadiense de Estudios Hispánicos 44, no. 1 (May 23, 2021): 169–82. http://dx.doi.org/10.18192/rceh.v44i1.5907.

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This article examines the connections between the historical Sandinista past in Nicaragua (1979-1990), the controversial Sandinista return with Daniel Ortega (2007-2018), and the literary present in Gioconda Belli’s novel, El país de las mujeres. Using the concept of “trafficking history,” this article analyzes the novel and associates the two historical contexts with the innovative virtual women’s movement and its recent “real” iterations. El país de las mujeres is a work of fiction that is based on reality and includes a gendered political and social agenda.
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27

Wagner, Daniel A. "Campaigning for Literacy: Eight National Experiences of the Twentieth Century. H. S. BholaBetween Struggle and Hope: The Nicaraguan Literacy Crusade. Valerie Miller." Comparative Education Review 30, no. 3 (August 1986): 450–54. http://dx.doi.org/10.1086/446618.

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28

Kaiser-Lenoir, Claudia. "Nicaragua: Theatre in a New Society." Theatre Research International 14, no. 2 (1989): 122–31. http://dx.doi.org/10.1017/s030788330000609x.

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One of the most revealing traits of the Nicaraguan revolution is manifested in the profound changes registered in the realm of culture. If Sandinista ideology focuses not on the fate of an élite but on that of the vast majority of the Nicaraguan people, it follows that for people to become the true subject of politics they have to become the true subject of culture as well. The popular Sandinista victory of July 1979 brought about the immediate establishment of the Ministry of Culture (the first in the country's history). Its goal: to give shape and nourishment to the popular effervescence and creative energies awakened by the long struggle. Work began with the organization of theatre, poetry, music and dance workshops throughout all sectors of the Nicaraguan society (army and police included), with the inauguration of Centres of Popular Culture in all regions, the creation of cultural committees in all grass-roots organizations, the training of ‘cultural promoters’ to work with regional governments, and with the task of rescuing and revitalizing popular cultural traditions.
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Valle, Francisco. "El inventario teatral de Nicaragua, de Jorge Eduardo Arellano." Revista Iberoamericana 57, no. 157 (December 6, 1991): 1059–68. http://dx.doi.org/10.5195/reviberoamer.1991.4978.

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30

Çakır, Hilal Ezgi, and Senem Ertan. "Gender Violence in Failed and Democratic States: Besieging Perverse Masculinities." Kadın/Woman 2000, Journal for Women's Studies 19, no. 2 (October 10, 2017): 151–53. http://dx.doi.org/10.33831/jws.v19i2.281.

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In this book, Rodriguez aims to understand the roots of gender violence, more specifically men’s violence against women. For this purpose, throughout the book, she gives examples of specific cases such as Nicaragua, the U.S.S.R, Austria and the U.S.A., and examines these examples through mostly psychoanalysis and sometimes through by political science perspectives. The book is an easy read as the case studies - by utilizing newspaper articles- are used as a very useful tool to exemplify the theories behind. Moreover, some literary sources such as poems and novels, or even movies are utilized to reveal male desire and male view of violence against the women which are the true roots of gender violence against women.
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Freeland, Jane. "Can the Grass Roots Speak? The Literacy Campaign in English on Nicaragua's Atlantic Coast." International Journal of Bilingual Education and Bilingualism 2, no. 3 (October 1999): 214–32. http://dx.doi.org/10.1080/13670059908667690.

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32

Pato, Enrique. "Principales rasgos gramaticales del español de Nicaragua." Zeitschrift für romanische Philologie 134, no. 4 (November 7, 2018): 1059–92. http://dx.doi.org/10.1515/zrp-2018-0070.

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Abstract This work offers an in-depth description of the main morphosyntactic features found in present Nicaraguan Spanish, a lesser known Central American variety despite being the subject of one of the pioneering dialectological studies on Spanish (Barreto 1893). With the help of text corpora and sociolinguistic surveys, an updated grammatical overview is provided, which takes into account most categories: nouns, adjectives, verbs, adverbs, prepositions and locutions (coordinators, subordinators, among others), and illustrates with examples taken from both formal and informal settings. By comparing these features with previous grammatical descriptions, this study helps in identifying some common American features ―such as the use of medio as an agreeing adjective instead of an adverb particle― as well as some specific patterns ―such as the prominence of ‑udo/‑uda and ‑oso/‑osa suffixes― in present-day Nicaraguan Spanish, some of which remain to be incorporated in the Academy grammar.
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Pascual Battista, Rosario. "José Emilio Pacheco: lector y antólogo del modernismo." Literatura Mexicana 32, no. 1 (January 20, 2021): 163–90. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26857.

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José Emilio Pacheco (1939-2014) devoted part of his essay production to reconstruct the past of letters and, in particular, was interested in the Modernist movement. From two anthological texts: Anthology of Modernism [1884-1921] (1970) and Modernist Poetry. A General Anthology (1982), and a selection of journalistic notes that he published in the Mexican magazine Proceso, Pacheco aimed at broadening the spectrum of Modernist figures and avoiding to keep to a single figure, such as that of the Nicaraguan Rubén Darío. This article reconstructs the dialogues and reciprocities that José Emilio Pacheco traces with the literary tradition of Modernism and that are sustained, on the one hand, in connections between poets, as it is the case of Manuel Gutiérrez Nájera and José Martí and, on the other hand, in the recovering of poets less well-known by literary criticism, such as Salvador Díaz Mirón.
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34

Roof, María. "OTROS CARIBES: POSICIONES CONTESTATARIAS DESDE LA COSTA ATLÁNTICA DE NICARAGUA." Revista Iberoamericana, no. 255-2 (July 7, 2016): 421–56. http://dx.doi.org/10.5195/reviberoamer.2016.7399.

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35

Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (May 1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.

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The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and struggle’, enshrined in the titles of two Spanish American anthologies (C. W. 1967 and Gac Artigas 1973), which nicely stresses both their ‘combative’ and their ‘constructive’ aspects, while one of the best of their singers – the Uruguayan Daniel Viglietti – describes his own songs as being ‘in some measure both de protesta and de propuesta’ (i.e. as much ‘proposing’ as they are ‘protesting’). The document with which this article is chiefly concerned uses the term ‘revolutionary song’, which clearly covers both those aspects, but such songs may be seen to perform a far more complex range of tasks than any of those labels might suggest, as soon as their functions are examined ‘on the ground’ within the immediate context of the predominantly oral cultures of Latin America to which they are addressed: cultures in which traditional folksong has retained its power and currency largely undiminished by the changes of the twentieth century, and in which the oral nature of song (with the message of its lyrics reinforced by music) helps it to gain a wider popular diffusion than the more ‘literary’ but unsung texts which make up the greater part of the genre of so-called ‘committed poetry’ (‘poesía de compromiso’) to which the lyrics of such songs clearly belong (see Pring-Mill 1978, 1979).
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Mondragón, Amelia. "Una totalidad implícita, Poets of Nicaragua, a Bilingual Anthology (1918-1979)." Revista Iberoamericana 57, no. 157 (December 6, 1991): 1080–83. http://dx.doi.org/10.5195/reviberoamer.1991.4981.

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Urtecho, Alvaro. "Obra poética del Padre Azarias H. Pallais en la nueva Nicaragua." Revista Iberoamericana 57, no. 157 (December 6, 1991): 1083–85. http://dx.doi.org/10.5195/reviberoamer.1991.4982.

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38

Moro, Diana. "La construcción somocista de la figura de Rubén Darío." Anales de Literatura Hispanoamericana 46 (December 20, 2017): 183–99. http://dx.doi.org/10.5209/alhi.58454.

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Este artículo describe y analiza cómo el régimen de Anastasio Somoza García toma la figura y la obra de Rubén Darío con una intencionalidad política explícita para su propia legitimación. A partir del desarrollo de los homenajes celebrados en el año 1941, a 25 años de muerte de Darío y de la publicación de fragmentos de La vida de Rubén Darío escrita por él mismo y de El viaje a Nicaragua, se percibe la manipulación de la obra del poeta y la continuación de una disputa que comienza en el momento mismo de su muerte.
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Franklin, Kelly S. ""Nicaraguan Words": José Coronel, the Vanguardia, and Whitman's "Language Experiment"." Walt Whitman Quarterly Review 34, no. 1 (August 24, 2016): 2–34. http://dx.doi.org/10.13008/0737-0679.2220.

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40

Hood, Edward Waters, and Stephen F. White. "Modern Nicaraguan Poetry: Dialogues with France and the United States." World Literature Today 68, no. 3 (1994): 541. http://dx.doi.org/10.2307/40150403.

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41

Núñez, Marián Beltrán. "The Afro-Nicaraguans (Creoles)." Matatu 27, no. 1 (December 7, 2003): 189–98. http://dx.doi.org/10.1163/18757421-90000451.

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42

Griswold, Jay. "Unfinished Poems: For Gaspar Garcia Laviana Killed in Nicaragua, 1978." Callaloo 14, no. 3 (1991): 690. http://dx.doi.org/10.2307/2931492.

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43

Katz, Mark N., and G. W. Sand. "Soviet Aims in Central America: The Case of Nicaragua." Russian Review 49, no. 4 (October 1990): 514. http://dx.doi.org/10.2307/130552.

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44

Mattox, J. "The Mayor of San Juan del Norte? Nicaragua, Martin Delany, and the "Cotton" Americans." American Literature 81, no. 3 (January 1, 2009): 527–54. http://dx.doi.org/10.1215/00029831-2009-025.

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45

Clayton, Michelle. "Touring History: Tórtola Valencia Between Europe and the Americas." Dance Research Journal 44, no. 1 (2012): 29–49. http://dx.doi.org/10.1017/s0149767711000362.

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In 1907, the Nicaraguan poet Rubén Darío published the collectionEl canto errante[The Wandering Song], containing a poem entitled “La bailarina de los pies desnudos” [“The Barefoot Dancer”]. The title leads the reader to anticipate an aesthetic of lightness and simplicity, yet the poem is weighted down by its many cultural references: at least one per line, and barely harmonizing amongst themselves. Its space is heavily perfumed, thickly ornamented, animated by the movements of a dancer who invokes different cultural references and plastic forms with each extended limb, each trembling body part. At first sight sinuously seductive, this central figure unravels into a welter of fragments and contradictions: both animal and divine, eroticized and chaste, a lunar deity (Selene) and a literary character (Anactoria), a “constellation of examples and of objects” (constelada de casos y de cosas) whose body, as the line suggests, barely contains its referential chaos.
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46

O'Shea, Skyla. "Welcome to Managua's International Airport: Three Decades of Memory Wars in Nicaragua." Journal of Iberian and Latin American Research 14, no. 1 (July 2008): 107–24. http://dx.doi.org/10.1080/13260219.2008.9649895.

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47

Walters, Jonah. "Students of Revolution: Youth, Protest, and Coalition Building in Somoza-Era Nicaragua." Journal of Iberian and Latin American Research 26, no. 1 (January 2, 2020): 137–40. http://dx.doi.org/10.1080/13260219.2020.1771875.

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48

Gómez Sánchez, Darío. "Villafañe G. Santos, Luís Claudio. Yo pan-americanicé. Rubén Darío en Brasil. Nicaragua: Ed. Hispamer, 2018." Anales de Literatura Hispanoamericana 48 (December 4, 2019): 645–47. http://dx.doi.org/10.5209/alhi.66810.

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49

Grinberg Pla, Valeria. "Ileana Rodríguez. La prosa de la contra-insurgencia. ‘Lo político’ durante la restauración neoliberal en Nicaragua." Revista Iberoamericana 86, no. 273 (November 12, 2020): 1352–55. http://dx.doi.org/10.5195/reviberoamer.2020.8013.

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50

Ángel Feria, Miguel. "La trayectoria poética de Rubén Darío a la luz del parnasianismo. II: de París a Nicaragua." Anales de Literatura Hispanoamericana 46 (February 7, 2018): 159–81. http://dx.doi.org/10.5209/alhi.58814.

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Abstract:
La poesía de Rubén Darío puede dividirse en dos períodos bien diferenciados si se estudia a la luz de la influencia francesa: antes de 1893, fecha de la primera visita del nicaragüense a París, y luego todo el período posterior marcado por títulos capitales como Prosas profanas y Cantos de vida y esperanza. Una vez alcanzado el clímax de un primer modernismo exclusivamente parnasiano, aquel de las dos primeras ediciones de Azul…, Darío asimila en la capital francesa la literatura decadente-simbolista. Desde entonces, la obra dariana y con ella todo el modernismo poético del mundo hispánico virarán hacia la adopción de un nuevo canon que, si bien no habrá de abandonar jamás cierta filiación parnasiana, hallará en otros modelos expresivos de modernidad más plena la motivación adecuada para poner punto y final al siglo XIX en las letras españolas.
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