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José Juan Tablada, Un Ciudadano Del Mundo EN LA DIALÉCTICA CULTURAL MEXICANA

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José Juan Tablada, Un Ciudadano Del Mundo EN LA DIALÉCTICA CULTURAL MEXICANA UNIVERSALISMO vs. NACIONALISMO José Juan Tablada, un ciudadano del mundo EN LA DIALÉCTICA CULTURAL MEXICANA José Juan Tablada, un ciudadano del mundo UNIVERSALISMO vs. NACIONALISMO SILVIA NOVELO Y URDANIVIA EN LA DIALÉCTICA CULTURAL MEXICANA José Juan Tablada, un ciudadano del mundo UNIVERSALISMO vs. NACIONALISMO SILVIA NOVELO Y URDANIVIA EN LA DIALÉCTICA CULTURAL MEXICANA UNIVERSALISMO vs. NACIONALISMO José Juan Tablada, un ciudadano del mundo UNIVERSALISMO vs. NACIONALISMO ENEN LA LA DIALÉCTICA DIALÉCTICA CULTURALCULTURAL MEXICANA MEXICANA José Juan Tablada, un ciudadano del mundo José Juan Tablada, un ciudadano del mundo SILVIA NOVELO Y URDANIVIA SILVIA NOVELO Y URDANIVIA SILVIA NOVELO Y URDANIVIA SILVIA NOVELO Y URDANIVIA UNIVERSALISMO VS. NACIONALISMO EN LA DIALÉCTICA CULTURAL MEXICANA • José Juan Tablada, un ciudadano del mundo • 0011 uuniversalismo.inddniversalismo.indd 1 006/12/20116/12/2011 006:31:546:31:54 pp.m..m. 0011 uuniversalismo.inddniversalismo.indd 2 006/12/20116/12/2011 006:32:326:32:32 pp.m..m. SILVIA NOVELO Y URDANIVIA UNIVERSALISMO VS. NACIONALISMO EN LA DIALÉCTICA CULTURAL MEXICANA • José Juan Tablada, un ciudadano del mundo • UNIVERSIDAD DE GUADALAJARA 0011 uuniversalismo.inddniversalismo.indd 3 006/12/20116/12/2011 006:32:326:32:32 pp.m..m. Este libro fue sometido a un proceso de dictaminación a doble ciego de acuerdo con las normas establecidas por el Comité Editorial del centro Universitario de Ciencias Económico Administrativas de la Universidad de Guadalajara. Primera edición, 2011 D.R. © UNIVERSIDAD DE GUADALAJARA Centro Universitario de Ciencias Económico Administrativas Periférico norte 799 45100, Zapopan, Jalisco, México http://www.cucea.udg.mx ISBN: 978-607-450-455-2 Impreso y hecho en México Printed and made in Mexico 0011 uuniversalismo.inddniversalismo.indd 4 006/12/20116/12/2011 006:32:326:32:32 pp.m..m. A Mariana, obviamente; sol de amor y entendimiento. 0011 uuniversalismo.inddniversalismo.indd 5 006/12/20116/12/2011 006:32:326:32:32 pp.m..m. 0011 uuniversalismo.inddniversalismo.indd 6 006/12/20116/12/2011 006:32:326:32:32 pp.m..m. Índice INTRODUCCIÓN 9 1. MODERNIZACIÓN E IDEOLOGÍA MODERNISTA. PROLEGÓMENOS 13 EN CAMINO AL MODERNISMO 30 LA SOCIEDAD MODERNA EN AMÉRICA LATINA 52 CONCLUSIONES CAPITULARES 60 2. CONSTRUCCIÓN IDEOLÓGICA EN AMÉRICA LATINA 63 EL MODERNISMO COMO SOLUCIÓN 69 LA CRÓNICA MODERNISTA 97 CONCLUSIONES CAPITULARES 105 3. EL MODERNISMO EN LA MODERNIZACIÓN DE TABLADA 107 POR QUÉ LA CRÓNICA PERIODÍSTICA 110 POR QUÉ TABLADA 116 MÉXICO DE DÍA Y DE NOCHE 119 ¿DUALIDAD O INTERDEPENDENCIA? 135 CONCLUSIONES CAPITULARES 162 4. TABLADA Y LAS CONTRADICCIONES DE LA MEXICANIDAD 165 EL HOMBRE, EL ESCRITOR, EL DIPLOMÁTICO 171 EL SER MEXICANO 204 0011 uuniversalismo.inddniversalismo.indd 7 006/12/20116/12/2011 006:32:326:32:32 pp.m..m. LOS ENIGMAS DE LA MEXICANIDAD 208 CONCLUSIONES CAPITULARES 209 5. EL CONCEPTO DE UTOPÍA EN LA REALIDAD LATINOAMERICANA 211 LA UTOPÍA DE AMÉRICA LATINA 212 LA UTOPÍA MEXICANA 237 CONCLUSIONES CAPITULARES 266 CONCLUSIONES FINALES 269 HEMEROBIBLIOGRAFÍA 277 ANEXOS ANEXO I EL PROGRAMA POLÍTICO DE LA DICTADURA 293 ANEXO II CRÓNICAS DE TRES AÑOS 294 ANEXO III BIBLIOGRAFÍA DE LAS OBRAS DE Y SOBRE JOSÉ JUAN TABLADA 311 ANEXO IV LOS INTELECTUALES DEL PORFIRIATO 324 ANEXO V LA INDIGNACIÓN INTELECTUAL COMO EXCUSA 328 0011 uuniversalismo.inddniversalismo.indd 8 006/12/20116/12/2011 006:32:326:32:32 pp.m..m. INTRODUCCIÓN “Cuando el pasado deja de iluminar el futuro, el espíritu avanza a oscuras”. 1 TOCQUEVILLE Si es cierto que la memoria es un recurso para la forja de la identidad, idea que transmite Carlos Fuentes a lo largo de El espejo enterrado,2 parecería que tal ejercicio hubiese sido olvidado en algún momento del proceso histórico cul- tural de México, olvido del que proviene el rechazo a su identidad sincrética, el aparente desconocimiento de que la identidad de su pueblo ha sido forjada por la fusión de dos culturas: la indígena y la española. Durante los últimos años, de los más de quince dedicados al estudio de los trabajos de Tablada, y a medida que he continuado con la lectura y refl exión acerca de este autor y de lo que sobre él y su obra ha sido escrito, se ha desperta- do en mí una inquietud provocada principalmente por la ausencia de un análisis profundo de los contenidos y de lo no dicho pero en ellos implícito; conforme han aparecido, he venido descubriendo que los muchos trabajos acerca de las distintas etapas que José Juan Tablada vivió –con sus correspondientes pro- ducciones–, no han tocado facetas relevantes que de muchas maneras tienen que ver con el ser mexicano. Entre 1936 y 1939 José Juan Tablada escribió su última serie de crónicas, titulada “México de día y de noche”, y en ellas se refl eja un México incorporado al proceso de modernización que desde fi nales del siglo XIX se gestaba a nivel mundial. Proceso que generó reacciones de carácter social, cultural, político y económico palpables en distintas obras literarias, artísticas y políticas de la 1 Citado en Gilles Lipovetsky y Jean Serroy, La cultura-mundo. Respuesta a una sociedad desorientada, Anagrama, Barcelona, 2010, p. 23. 2 El espejo enterrado. Imágenes de América Latina, Cap. “La mirada, la palabra”, México, FCE, 1992. [9] 0011 uuniversalismo.inddniversalismo.indd 9 006/12/20116/12/2011 006:32:336:32:33 pp.m..m. 10 UNIVERSALISMO VS. NACIONALISMO EN LA DIALÉCTICA CULTURAL MEXICANA época. Como muchos otros escritores latinoamericanos de su tiempo, Tablada acabó haciendo lo nuevo con lo viejo, y ha legado en estos textos una serie de conceptos en los que puede leerse la crisis identitaria mexicana, revelada en la inquietud por hacer corresponder la realidad social de su país con la realidad internacional, con sus periodizaciones históricas y las discordancias que su encuentro originaba. Las aproximaciones al tema de la modernización latinoamericana por especialistas nacionales y extranjeros han sido muchas y muy diversas. No obstante, no se ha intentado todavía pensar esa modernización a través de la obra periodística de un autor que, por añadidura, no refl eja la realidad, insta- lando con esa negación un impedimento al desarrollo de la fi losofía mexicana. Así pues, el instrumento para entender y discutir la particular moder- nización latinoamericana es aquí la obra de José Juan Tablada, a partir del presupuesto de que en ella la modernización se expresa en la ‘crisis identitaria mexicana’, comprendiendo siempre los textos en tanto expresiones de un clima cultural, como manifestaciones de la producción literaria latinoamericana y no de una vida individual. A la luz del ideal universalista de la modernidad, de lo que se trataba era de deshacerse de particularismos para hacerse de un enfoque con valor universal. Para evidenciar esta crisis, se recorre aquí la citada producción periodís- tica reinterpretando el enlace entre el tránsito a la modernización de fi nales del siglo XIX a principios del XX y el modernismo latinoamericano en ella manifi estos. Con el propósito de delimitar la respuesta que este hecho produjo en América Latina y particularmente en México, se emprende el análisis de contenido cualitativo y cuantitativo de la información textual, con sustento en el desarrollo relativo a la consecuente carencia de una fi losofía. Se argumenta aquí que las crónicas de Tablada, por un lado, dejan ver esa contradicción entre ser mexicano y al mismo tiempo no serlo y, por el otro, resumen una relación dialéctica entre lo representado: la realidad mexicana, y su representación: la realidad vista por el autor, que sin embargo muestra la transformación del país durante su proyecto modernizante. A través de sus imágenes, Tablada describe dos caras de una misma sociedad: la de la moder- nización, como civilización mundial, y la del modernismo, como la aspiración modernizante latinoamericana. Caras que se presentan como tensiones entre 0011 uuniversalismo.inddniversalismo.indd 1100 006/12/20116/12/2011 006:32:336:32:33 pp.m..m. INTRODUCCIÓN 11 mundos aparentemente contradictorios: el indígena y el novohispano; el espiri- tual y el material; la fe y la razón; lo viejo y lo nuevo; la cultura y la civilización; el ayer y el hoy; lo real y lo utópico; la tradición y la ruptura. En este sentido, también es posible decir que la crónica se convierte en la contraparte necesaria de su intimidad poética, de la que requiere para poder defi nirse. Más que espa- cios opuestos y separados, como ha sido visto por algunos otros estudiosos de la obra de Tablada,3 en estas tensiones lo que subsiste son interdependencias; su relación es simbiótica. Dentro de la prolífi ca obra de Tablada, las crónicas periodísticas, escri- tas en su totalidad entre 1928 y 1944, ocupan un sitio de importancia porque permiten reconstruir la multiplicidad de una producción que pergeñó todos los géneros literarios y abarcó distintos momentos del desarrollo cultural del mundo, de Latinoamérica y de México. La columna “México de día y de noche” en especial, que suma doscientas sesenta y dos entregas publicadas en el periódico Excélsior entre agosto de 1936 y diciembre de 1939, reviste una particular trascendencia no por haber sido los últimos escritos seriales de Tablada ni los últimos aparecidos bajo un mismo título como unidad periodística; estos textos –en su representación de México– son contradictorias y diferentes respuestas de un mismo sujeto- urbano-moderno frente a la experiencia de la inminente modernización; sujeto cuya palabra literaria tuvo que integrarse a la estructura social imperante en su país a través de la ciudad, el ethos. El interés general de esta investigación es hacer una aportación teórica a la discusión sobre la utopía de México, a la que se llega tras la revisión de la utopía latinoamericana. Demostrar que las condiciones primarias e imprescin- dibles en la formación de una sociedad moderna, entre fi nales del siglo XIX y las primeras décadas del XX, no se resumen en la mera ruptura con el pasado y la constitución de una élite esencialmente capitalista, como algunos teóricos del modernismo han propuesto.
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