1. Carlos Blanco-Aguinaga offers a reading of "consumerism" in modernista aesthetics in "Crítica marxista y poesía: Lectura de un poema de Julián del Casal," The Analysis of Hispanic Texts: Current continue

Trends in Methodology, ed. Mary Ann Beck et al. (New York: Bilingual Press, 1976), 191-205.

2. For a discussion of the role of the spectator in the visual arts, see John Berger, Ways of Seeing (London: British Broadcasting Corporation and Penguin Books, 1978); and Roland Barthes, Images, Music, Text, trans. Stephen Heath (New York: Hill & Wang, 1977).

3. César Vallejo, Obras completas, 3 vols. (Lima: Mosca Azul Editores, 1973-1974), vol. 3, Obra poética completa, 243 (hereafter referred to in text as CV with page number).

4. For a discussion of the influence of Leopoldo Lugones and Julio Herrera y Reissig in the work of Vallejo, see the following: André Coyné, César Vallejo (Buenos Aires: Ediciones Nueva Visión, 1968), 51; Luis Monguió, César Vallejo: vida y obra (New York: Hispanic Institute, 1952), 49-50; and Saúl Yurkiévich, Fundadores de la nueva poesía latinaomericana: Vallejo, Huidobro, Borges, Neruda, Paz (Barcelona: Barral Editores, 1971), 16.

5. For a discussion of these factors in Vallejo's work, see Jean Franco, César Vallejo: The Dialectics of Poetry and Silence (Cambridge: Cambridge University Press, 1976).

6. For a discussion of the concept of fetish used in this sense, see n. 1, chap. 1; Baudrillard, For a Critique, 92; and Benjamin, Charles Baudelaire, 104-105, 166.

7. Roberto Fernández Retamar, "Prólogo," César Vallejo: obras poéticas completas (La Habana: Casa de las Américas, 1965), xii.

8. Paz, "El camino de la pasión (Ramón López Velarde)," Cuadrivio, 67-130.

9. Pablo Neruda, "Ramón López Velarde," Para nacer he nacido (Barcelona: Editorial Bruguera, 1978), 185-186.

10. Neruda, "Ramón López Velarde," 185.

11. Ramón López Velarde, Poesías completas y el minutero (México: Editorial Porrúa, 1971), 234, hereafter cited in text as LV with page number.

12. Xavier Villarrutia, "La poesía de Ramón López Velarde," El leóny la virgen (México: Ediciones de La UNAM, 1942), xxii.

13. Ramón López Velarde, "José Juan Tablada," Obras, ed. José Luis Martínez (México: Fondo de Cultura Económica, 1971), 507-508.

14. López Velarde, Obras, 476.

15. A discussion of the presence of Fuensanta in López Velarde's work is found in Otto Olivera, "El ideal femenino en la obra de López Velarde," in Honor of Boyd G. Carter, ed. Catherine Vera and G. Mc- soft

Murray (Laramie, Wyo.: The University of Wyoming Press, 1981), 77-83.

16. See chap. 1, n. 7, on Baudrillard.

17. López Velarde, Obras, 449-512.

18. Neruda, "Ramón López Velarde," 185.

19. Alfonsina Storni, Obras completas (Buenos Aires: Sociedad Editora Latinoamericana, 1976), 1: 108 (hereafter cited in text as AS with page number).

20. John Freccero examines the Medusa image in Dante's allegory as a basis for a discussion of a poetics of reification versus transcendence in "Medusa: The Letter and the Spirit," Yearbook of Italian Studies (Florence: A Publication of Italian Cultural Institute, 1972), 1-18.

21. Claudine Herrmann, from Les Voleuses de langue, trans. M. R. Schuster, in New French Feminisms: An Anthology, ed. Elaine Marks and Isabelle de Courtivon (Amherst, Mass.: University of Massachusetts Press, 1980), 170, 171.

22. Rachel Phillips, Alfonsina Storni: From Poetress to Poet (London: Tamesis, 1975), 118, n. 36. Here Phillips cites other critics' objections to the obscurity of Storni's reference.

23. In "Exámenes" from Analecta del reloj, José Lezama Lima explores the Cassandra myth "a fin de aislar el devaneo que provoca experiencias en la poesía" ("in order to isolate the delirium that provokes experiences in poetry"), from which follows a series of questionings about the origins of poetry. Although not in reference to any work by Storni, Lezama's questionings evoke possibilities that can be significant in a study of the transformations in her work, for example: "El sueño aprovechada también por la sierpe, aprovechado allí donde mejor testifica, calmándose en un oída que se la brinda como espiral, inalcanzable sucesivo que devora en cuanto testifica y aguarda esa lenta destrucción de lo sagrado" ("The dream also used by the serpent, used where it best testifies, sounding in an ear that is offered to it like an unreachable, successive spiral that devours as soon as it testifies and awaits that slow destruction of the sacred). Lezama Lima, Obras completas, 2:214-227.

24. Susan Sontag, On Photography (New York: Farrar, Strauss and Giroux, 1977). break