The Ultraist movement () was a literary movement born in Spain in 1918, with the declared intention of opposing Modernismo, which had dominated Spanish poetry since the end of the 19th century. The movement was launched in the tertulias of Madrid's Café Colonial, presided by Rafael Cansinos Assens. The Ultraist core was formed, among others, by Guillermo de Torre, Juan Larrea, Gerardo Diego and the Argentine Jorge Luis Borges, who lived in Madrid at the time. In the trend of Russian and Italian futurism, Dadaism and French surrealism, the Ultraist movement, which ended in 1922 with the cessation of the journal Ultra (though some authors, such as Borges, continued writing in the Ultraist style for nearly a decade afterwards), proposed an aesthetic change, less ambitious than that of surrealism, trying to extend to all arts and to daily life itself.
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The Ultraists departed completely from the mannerisms and opulence of Modernismo. Ultraist poetry is characterized by evocative imagery, references to the modern world and new technologies, elimination of rhyme, and creative graphic treatment of the layout of poetry in print, in an attempt to fuse the plastic arts and poetry. Ultraism was influenced in part by Symbolism and by the Parnassians. In a manifesto published by Nosotros magazine (Buenos Aires, 1922), Borges summarized Ultraist goals thus: # Reduction of the lyric element to its primordial element, metaphor # Deletion of useless middle sentences, linking particles and adjectives.
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During the 1830s, the Smiths deemphasized their Calvinist theology and began exploring the perfectionist and ultraist beliefs common in the Christian Union movement. This led to their founding Free Churches at Oswego and Peterboro, New York in 1839 and 1843 respectively.
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Eduardo González Lanuza Eduardo González Lanuza (July 11, 1900 - July 17, 1984) was an Argentine poet born in Santander, Spain. One of his best known work is "Poem for Being Recorded in a Phonograph Disc" (1932). He also was part of the Ultraist movement and one of the founders of Prisma and Proa magazines as well as contributor in Martín Fierro magazine.
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This movement followed the path that the panidas had begun in Medellín and that was a representation of modernismo in Colombia much like the ultraist movement in Spain. Influenced by Vicente Huidobro, de Greiff followed creacionismos standards of poetry, reinventing himself to make each poem unique, translatable, and truly poetic. His poetry is sometimes criticized as standoffish and intricate. He was devoted to the artistic form of poetry.
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After World War I, the family spent three years living in various cities: Lugano, Barcelona, Majorca, Seville, and Madrid. They remained in Europe until 1921. At that time, Borges discovered the writings of Arthur Schopenhauer and Gustav Meyrink's The Golem (1915) which became influential to his work. In Spain, Borges fell in with and became a member of the avant-garde, anti-Modernismo Ultraist literary movement, inspired by Guillaume Apollinaire and Filippo Tommaso Marinetti, close to the Imagists.
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In 1910, he obtained the position of public prosecutor in the Juzgado Letrado de Posadas, which he held for several years. His wife died in 1920, and their children were left in the care of grandparents and aunts. Macedonio abandoned the profession of a lawyer. On the return of the Borges family from Europe in 1921, he renewed his friendship with his old friend, and also began a friendship with Jorge Luis Borges, at this time a young ultraist poet.
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A member of the Florida group, which also included figures such as Oliverio Girondo (whom she married in 1943) and Jorge Luis Borges (who dedicated an article to her in his first book of prose, Inquisiciones), she published in the "ultraist" magazines Prisma, Proa, and Martín Fierro. Her ultramodernist poetry influenced other well-known Argentine writers such as Nydia Lamarque, Maria Elena Walsh, Maria Dhialma Tiberti, and Ines Malinow. Her 1950 novel Personas en la sala, was published in the English as People in the Room (trans. Charlotte Whittle) by And Other Stories in 2018.
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In 1926, she displayed 75 works (oils, woodcarvings, drawings, water-colorings, and tapestries) in the Asociacion Amigos del Arte exhibition. In 1928, she married the writer and art critic Guillermo de Torre, a student of the Ultraist movement and an expert on Avant- Garde art and literature, whom she had met in Spain when she was 19 years old. They had two children. In the Second World War, she became a vocal supporter of la Junta de la Victoria, an association of anti-fascist feminists in Argentina directed by Cora Ratto de Sadosky and Ana Rosa Schlieper de Martínez Guerrero.
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His next collection, Cal y canto (1926-8), is a big departure. He rejects some of the folkloric influences of the previous two works and picks up again the baroque forms, such as the sonnets and tercets, and also the Ultraist thematic material of Marinero. He had been placed in charge of collecting the poems dedicated to Góngora as part of the Tercentenary celebrationsAlberti p 234 and there are many signs of Góngora's influence on this work. Alberti's technical versatility comes to the fore as he writes sonnets, ballads, tercets and even a pastiche of the intricate style of the Soledades.
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To prepare women for leadership roles in the anarchist movement, they organized schools, women-only social groups and a women-only newspaper so that women could gain self-esteem and confidence in their abilities and network with one another to develop their political consciousness. Lucía Sánchez Saornil was a main founder of the Spanish anarcha-feminist federation Mujeres Libres who was open about her lesbianism. At a young age she began writing poetry and associated herself with the emerging Ultraist literary movement. By 1919, she had been published in a variety of journals, including Los Quijotes, Tableros, Plural, Manantial and La Gaceta Literaria.
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In March 1921, Borges returned by boat to Buenos Aires. As a young painter, she aligned herself with the vanguard artists of the Florida group. Her work in Prisma (1921) reflects the ultraist (anti- modernist) ideas of the group, but her illustrations for magazines such as Mural, Proa (1924-1926) and Martín Fierro, and her illustrations in the first edition of the poetry book Fervor de Buenos Aires by Jorge Luis Borges (1923) reveal the influence of the Cubism that she had begun to assimilate with her French contacts in Spain. In 1923, the French surrealist magazine Manomètre, and, in 1924, Martín Fierro published her paintings.
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Although does not explicitly identify its setting as early twentieth-century Guatemala, the novel's title character was inspired by the 1898–1920 presidency of Manuel Estrada Cabrera. Asturias began writing the novel in the 1920s and finished it in 1933, but the strict censorship policies of Guatemalan dictatorial governments delayed its publication for thirteen years. The character of the President rarely appears in the story but Asturias creates a number of other characters to show the terrible effects of living under a dictatorship. His use of dream imagery, onomatopoeia, simile, and repetition of particular phrases, combined with a discontinuous structure, which consists of abrupt changes of style and viewpoint, springs from surrealist and ultraist influences.
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In 1921, he was diagnosed with tuberculosis and he spent many months recuperating in a sanatorium in the Sierra de Guadarrama where he read avidly among the works of Antonio Machado and Juan Ramón Jiménez,Alberti p 144 as well as various Ultraist and Vanguardista writers. At this time, he also met Dámaso Alonso,Alberti p 150 at that time a poet rather than the formidable critic he would become, and it was he who introduced Alberti to the works of Gil Vicente and other Golden Age writers. He began to write poetry in earnest and submitted a few, successfully, to various avant-garde magazines. The book that resulted from this activity, Marinero en tierra (‘Sailor on Dry Land’), submitted at the last minute, won the Premio Nacional de Literatura for poetry in 1924.
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As a young man, living under his birthname, he was a professional telegraph operator. He studied music with the Italian Giovachini. In 1921, he debuted as a singer in Tannhäuser, at the Teatre Principal in Palma. That year, along with a group of Majorcan intellectuals and Jorge Luis Borges (who was briefly living in Majorca with his parents and sister), he signed the Ultraist Manifesto, using the name Fortunio Bonanova. Also in 1921, he appeared in a silent film of Don Juan Tenorio by the brothers Baños, which was shown the following year in New York City and Hollywood. He later directed his own Don Juan in 1924. In 1927, he acted in Love of Sonya, directed by Albert Parker and starring Gloria Swanson. In 1932 he had small parts in Hollywood productions featuring Joan Bennett and Mary Astor.
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Girondo was contemporary to Jorge Luis Borges, Raúl González Tuñón and Macedonio Fernández and Norah Lange (whom he married in 1943) whom he met at a lunch banquet in 1926 held in honor of Ricardo Güiraldes. Of these authors, all also involved in the vanguardia (avant gardism) of Argentina, most identified with the Florida group in the somewhat farcical literary hostility between that group and another called Grupo Boedo. Girondo was one of the most enthusiastic animators of the ultraist movement, exerting influence over many poets of the next generation, among them Enrique Molina with whom he translated the work of Arthur Rimbaud “Una temporada en el infierno.” Other notable peers include Pablo Neruda and Federico García Lorca with whom he began lasting friendships in 1934, era when both were to be found in Buenos Aires, capital city of Argentina.
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The Generation of '27 cannot be neatly categorized stylistically because of the wide variety of genres and styles cultivated by its members. Some members, such as Jorge Guillén, wrote in a style that has been loosely called jubilant and joyous and celebrated the instant, others, such as Rafael Alberti, underwent a poetic evolution that led him from youthful poetry of a more romantic vein to later politically-engaged verses. The group tried to bridge the gap between Spanish popular culture and folklore, classical literary tradition and European avant- gardes. It evolved from pure poetry, which emphasized music in poetry, in the vein of Baudelaire, to Futurism, Cubism, Ultraist and Creationism, to become influenced by Surrealism and finally to disperse in interior and exterior exile following the Civil War and World War II, which are sometimes gathered by historians under the term of the "European Civil War".
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