The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

Baudelaire, Daumier and the Art of Memory

This article reassesses the importance of the Baudelaire's criticism of the art of Daumier in relation to his theorization of memory. It argues that more than Guys, Daumier may represent for the poet the quintessential 'peintre de la vie moderne'.

Marvell's Latin Poetry and the Art of Punning

This chapter analyses Marvell’s linguistic ingenuity as exemplified by his Latin poetic corpus. Here, it is argued, a pseudo Lucretian sensitivity to the parallelism between the structure of Latin words and the structure of the world co-exists with a linguistic methodology that is essentially Marinesque. Close examination of the Latin poems as a whole assesses the nature and significance of etymological play, paronomasia, puns on juxtaposed Latin words, on place names, and on personal names. It is suggested that such devices demonstrate ways in which the neo-Latin poetic text can serve both as a linguistic microcosm of the literary contexts in which they are employed, and as a re-invention of the artifice, extravagant conceits, and baroque wit of Marinism. The result is a neo-Latin ‘echoing song’ that is both intra- and intertextual. Through bilingual punning and phonological wit Marvell plays with a classical language only to demonstrate its transformative potential. The chapter concludes by offering a new reading of Hortus in relation to the garden sections of Marino’s L’Adone, in which an extravagantly luscious setting confounds the senses and is mirrored linguistically by word-clusters and labyrinthine punning.

The Art of Refusal: The Experiences of Grant Makers and Grant Seekers

This research project explores the communications’ experiences and practices of
selected grant making and grant seeking organisations, at the point of grant refusal. It was funded by the Charities Aid Foundation, and undertaken through collaboration with the Association of Charitable Foundations (ACF).
The research context is the enhanced competition for funding in which many grant seeking organisations experience the disappointment of refusal; whilst grant makers also face multiple pressures, in responding to grant seekers’ needs. This is an operating environment in which subsequent organisational learning appears demanding.
The aims of the research were to:
- Increase understanding of the communications demands, challenges and
opportunities in giving, receiving and sharing news of grant refusal
- Identify opportunities for organisational learning in these situations, for grant
makers and grant seekers
- Contribute to future practice improvement and development, by drawing on
the reported experiences and practices of participating respondents.

The research focuses on private, formal grant makers (foundations and trusts); and their grant seeking organisational constituencies. It excludes study of public grant makers’ grant refusal processes and those of individuals making personal gifts, direct businesses’ grant making, and grant making by community foundations and by other operating and fundraising charities. A staged research process began in 2008, and field research completed in 2009/2011.