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Discord and Solidarity: Spain, Argentina, and Mexico in El Estudiante (Salamanca, Madrid, 1924–1926)

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Pierre Bourdieu in Hispanic Literature and Culture

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Abstract

Employing Pierre Bourdieu’s notion of the field of cultural production, this chapter examines the Spanish journal El Estudiante (Salamanca, Madrid, 1925–1926) as a “social agent” that simultaneously mapped and shaped the structure of a transnational Hispanic cultural field. A Bourdieusian lens reads journals as spaces where multiple fields (national, transnational, economic, sociopolitical, as well as aesthetic) converge and stake their positions, thereby shaping the broader field of cultural production. Despite its short-lived existence (roughly one year with interruptions), El Estudiante built a portentous network of intellectual and cultural exchange between Latin America and Spain. The journal thus transcended national boundaries to redefine Latin America’s relationship with its former empire.

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Notes

  1. 1.

    Guillermo de Torre, “Modelos de estación,” Síntesis, 14 (July 1928), 229.

  2. 2.

    De Torre, “Modelos de estación,” 231.

  3. 3.

    See Adela Eugenia Pineda Franco , Geopolíticas de la cultura finisecular en Buenos Aires, París y México: Las revistas literarias y el modernismo (Pittsburgh: IILI, 2006); Alejandro Mejías-López , The Inverted Conquest: The Myth of Modernity and the Transatlantic Onset of Modernism (Nashville: Vanderbilt University Pres, 2009); Gayle Rogers , Modernism and the New Spain: Britain, Cosmopolitan Europe, and Literary History (New York: Oxford University Press, 2012).

  4. 4.

    Bourdieu, Pierre, The Rules of Art: Genesis and Structure of the Literary Field, Trans. Susan Emanuel (Stanford: Stanford University Press, 1996), 234.

  5. 5.

    El Estudiante’s first twelve-issue series was published in Salamanca. Yet, citing access to a greater readership, the journal relocated to Madrid in December 1925.

  6. 6.

    Bourdieu, Rules of Art, 215.

  7. 7.

    Bourdieu, Rules of Art, 215.

  8. 8.

    Bourdieu, Rules of Art, 232.

  9. 9.

    Mejías-López , The Inverted Conquest, 4.

  10. 10.

    Mejías-López , The Inverted Conquest, 72.

  11. 11.

    Mejías-López , The Inverted Conquest, 53.

  12. 12.

    Mejías-López , The Inverted Conquest, 54.

  13. 13.

    Cipriano Rivas Cherif, “Alfonso Reyes: El plano oblicuo,” La Pluma, 6 (November 1920), 283. Two years later Rivas Cherif would further underscore his point. Reviewing Isaac Goldbergh’s La literatura hispanoamericana for La Pluma in 1922, he affirmed that Modernismo did not entitle Latin America to a separate literary tradition. See “Isaac Goldberg, PhD: La literatura hispanoamericana,” La Pluma, 30 (November 1922), 396–98.

  14. 14.

    Argentina’s young generation of intellectuals had adopted the banner “Nueva Generación” following a 1923 survey in the Buenos Aires journal Nosotros (1907–1943) and came together around common aesthetic and sociopolitical pursuits that entailed severing ties with the preceding generation’s ideologies. Inspired by vanguard movements such as ultraísmo, this generation sought to break with previous literary and artistic traditions. At the same time, they participated in demands for social reform such as the Reforma Universitaria movement that had begun in the Argentine city of Córdoba in 1918 and quickly spread throughout Latin America.

  15. 15.

    Marta Campomar . Ortega y Gasset en La Nación. Buenos Aires: Elefante Blanco, 2003.

  16. 16.

    “Intenciones,” Valoraciones, 1 (September 1923), 4.

  17. 17.

    These ideas are aligned with Spain’s Institución de Libre Enseñanza, founded by Francisco Giner de los Ríos in 1876.

  18. 18.

    José Ortega y Gasset, “Carta a un joven argentino que estudia filosofía,” La Nación (December 28, 1924), 3.

  19. 19.

    “Nuestra Misión,” El Estudiante, 1 (May 1925), 1.

  20. 20.

    Bourdieu, Field of Cultural Production, 58.

  21. 21.

    “América,” El Estudiante, 1 (May 1925), 8. Although “América” would only appear as a section in El Estudiante five times, four of which featured Argentina, articles centering on Latin America were published in every issue of the journal.

  22. 22.

    “Otra vez la voz de América,” El Estudiante 9 (July 1925), 10.

  23. 23.

    Bourdieu, Rules of Art, 242.

  24. 24.

    Bourdieu, Rules of Art, 243.

  25. 25.

    “De la España joven,” Valoraciones 6 (June 1925), 315.

  26. 26.

    “De la España joven,” 315.

  27. 27.

    Alfredo Palacios , “A la juventud universitaria de Iberoamérica,” La Antorcha 15 (January 10, 1925), 9.

  28. 28.

    “América,” El Estudiante, 2 (May 1925), 9.

  29. 29.

    Alfredo Palacios , “A los estudiantes españoles,” El Estudiante 2.1 (December 1925): 2.

  30. 30.

    “Saludo a Vasconcelos,” El Estudiante, 8 (June 1925), 1.

  31. 31.

    José Vasconcelos , “Vasconcelos a los estudiantes españoles,” El Estudiante 8 (June 1925), 2.

  32. 32.

    Vasconcelos , “Vasconcelos a los estudiantes españoles,” 2.

  33. 33.

    Vasconcelos , “Vasconcelos a los estudiantes españoles,” 2.

  34. 34.

    “Otra vez,” 10.

  35. 35.

    “Otra vez,” 10.

  36. 36.

    “Otra vez,” 10.

  37. 37.

    “Otra vez,” 10.

  38. 38.

    “Significación social de la Argentina,” El Estudiante, 13 (July 1925), 11.

  39. 39.

    Most likely published in either Mexico’s El Universal or Excélsior first, Torres Bodet’s “La deshumanización del arte” appeared in two Argentine journals, Nosotros (Buenos Aires, 1907–1934) and Valoraciones (La Plata, 1923–1927) in March 1926. Despite its presence in Argentine journals, Patricia Artundo underscores that Torres Bodet’s essay was grounded in a Mexican context, and did not represent an Argentine perspective on Ortega’s theory. See Patricia M. Artundo, “La flecha en el blanco: José Ortega y Gasset y La deshumanización del arte,” Estudios e investigaciones 6 (1996), 73–100. The Mexican novelist later republished “La deshumanización del arte” in his collection of essays entitled Contemporáneos (1928), which is more often cited by scholars. However, the appearance of Torres Bodet’s article in La Plata’s Valoraciones is particularly significant because this journal had a history of exchanges (1925–1926) with Madrid’s El Estudiante.

  40. 40.

    Benjamín Jarnés : “La deshumanización del arte: Carta al poeta Torres Bodet,” El Estudiante 2.14 (May 1926), 10–11.

  41. 41.

    Vicky Unruh , Latin American Vanguards: The Art of Contentious Encounters (Berkeley: University of California Press, 1994), 25.

  42. 42.

    Unruh , Latin American Vanguards, 25.

  43. 43.

    Jaime Torres Bodet , “La deshumanización del arte,” Valoraciones 9 (March 1926), 246.

  44. 44.

    Torres Bodet , “La deshumanización del arte,” 246.

  45. 45.

    Torres Bodet , “La deshumanización del arte,” 247.

  46. 46.

    “Tirano Banderas: El jueguito de la rana,” El Estudiante, 2.1 (December 1925), 6.

  47. 47.

    The title ironically recalls the Spanish conquest of the Americas.

  48. 48.

    Dru Dougherty , Guía para caminantes en Santa Fe de Tierra Firme (Valencia: Pre-Textos, 1999), 214.

  49. 49.

    Whether an avant-garde aesthetic should be sociopolitically engaged was widely debated across Spain and Latin America during the 1920s. In Mexico, for example, it emerged as a 1925 polemic over the feminization of literature, and in Spain José Díaz Fernández’s 1930 essay “El nuevo romanticismo” (Prosas, Madrid: Fundación Santander Central Hispano, 2006) would consolidate a theory in which vanguard prose should also be politically engaged. Thus in publishing Tirano Banderas, El Estudiante was assuming a clear position across a transatlantic Spanish American field and multiple national fields of cultural production.

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Author information

Authors and Affiliations

  1. Department of World Languages and Literatures, San José, CA, USA

    Vanessa Marie Fernández

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Editors and Affiliations

  1. Romance Languages and Literatures, Washington University, St. Louis, MO, USA

    Ignacio M. Sánchez Prado

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Fernández, V.M. (2018). Discord and Solidarity: Spain, Argentina, and Mexico in El Estudiante (Salamanca, Madrid, 1924–1926). In: Sánchez Prado, I. (eds) Pierre Bourdieu in Hispanic Literature and Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-71809-5_9

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