The Eastern Edge of the Rio De La Plata Craton: A History of Tangential Collisions

1999 ◽  
pp. 33-48 ◽  
Author(s):  
N. Campal ◽  
A. Schipilov
Keyword(s):  
Rio De La Plata ◽  
Río De La Plata ◽  
La Plata ◽  
History Of ◽  
Eastern Edge

scholarly journals El abordaje de la conquista del Río de la Plata en la obra de Ruy Díaz de Guzmán

2019 ◽  
Author(s):  
Pedro Ramón Caballero Cáceres
Keyword(s):  
Rio De La Plata ◽  
Colonial History ◽  
Río De La Plata ◽  
La Plata ◽  
History Of ◽  
Del Rio ◽  
The Way

Ruy Díaz de Guzmán marked a milestone in the colonial history of the Río de la Plata, being the first in this region of America to narrate with historical and evocative sense the events that occurred in the so-called Giant Province of the Indies. In the work Annals of Discovery, Population and Conquest of the Río de la Plata, one can observe the idealisation of the conqueror archetype, permanently extolling the ‘heroic’ work of the Spanish in the process of conquest, as opposed to the indigenous, always presented as unruly and treacherous. The article seeks to address the way in which Ruy Díaz de Guzmán presents the conquest of the Río de la Plata through the analysis of the discourse exhibited in the aforementioned work.

From Colonial Performers to Actors of ‘American Liberty’: Black Artists in Bourbon and Revolutionary Río de la Plata

2018 ◽  
Vol 75 (2) ◽  
pp. 261-289
Author(s):  
Alex Borucki
Keyword(s):  
Buenos Aires ◽  
Rio De La Plata ◽  
Popular Entertainment ◽  
Río De La Plata ◽  
Black Artists ◽  
La Plata ◽  
Military Conflicts ◽  
Two Cities ◽  
History Of ◽  
The Military

From the late eighteenth century through most of the nineteenth, Buenos Aires and Montevideo were hosts to a joint theatrical circuit characterized by the regular comings and goings of impresarios, artisans, musicians, and actors between the two cities. The military conflicts that shaped this period actually encouraged these connections, as they stimulated both exile and repatriation between one locale and the other. Africans, and particularly their Rioplatense descendants, were an integral part of popular entertainment circuits in Buenos Aires and Montevideo. Some of the first Argentinean historians of theater and music, among them Vicente Gesualdo and Teodoro Klein, were aware of this connection and included in their initial scholarship links that connect the history of free and enslaved Afro-descendants to the early theater of Río de la Plata.

The Rural Woman Enters the Frame: A Visual History of Gender, Nation, and the Goodbye Mate in the Postcolonial Río de la Plata

2020 ◽  
Author(s):  
Rebekah E Pite
Keyword(s):  
National Identities ◽  
Rural Woman ◽  
Rio De La Plata ◽  
Early Nineteenth Century ◽  
Río De La Plata ◽  
La Plata ◽  
The Social ◽  
History Of ◽  
The One ◽  
Visual History

Abstract Around the turn of the twentieth century, the image of a rural woman handing a gaucho on horseback a drink before he trotted away began to circulate with increasing frequency in the Río de la Plata region. The drink the woman passed the man was the local infusion yerba mate, and, in earlier illustrations, it had been served by another man. This gendered shift occurred alongside a dramatic expansion of common peoples’ access to images via photographs and postcards. Tracing the social and visual history of the goodbye mate ritual from the early nineteenth century through the mid-twentieth reveals the quotidian manner in which locals in this region constructed, consumed, and circulated overlapping visions of their nations. As the gaucho become a popular and contested national symbol in Argentina and Uruguay alike, the rural woman (then referred to as la china, but now largely unnamed) became a local one whose faithfulness to the gaucho and, by extension, the nation, was coveted by men across the sociopolitical divide. This article is, on the one hand, a microhistory of the goodbye mate ritual and, on the other, an argument about how centering visual sources and marginal figures, like the china, allows us to better understand the historical and hierarchical construction of national identities and icons.

Phylogeography and Pleistocene demographic history of the endangered marsh deer (Blastocerus dichotomus) from the Río de la Plata Basin

2006 ◽  
Vol 7 (4) ◽  
pp. 563-575 ◽  
Author(s):  
Alejandro Márquez ◽  
J. E. Maldonado ◽  
S. González ◽  
M. D. Beccaceci ◽  
J. E. Garcia ◽  
...  
Keyword(s):  
Demographic History ◽  
Rio De La Plata ◽  
Río De La Plata ◽  
La Plata ◽  
La Plata Basin ◽  
History Of ◽  
Blastocerus Dichotomus

scholarly journals La casa y su dimensión fantástica en “El cuarto de vidrio”, de Norah Lange = The house and its fantastic dimension in “El cuarto de vidrio” by Norah Lange

2018 ◽  
pp. 101
Author(s):  
María Cecilia Ferreira Prado
Keyword(s):  
Literary Criticism ◽  
Jorge Luis Borges ◽  
Rio De La Plata ◽  
Río De La Plata ◽  
Fantastic Literature ◽  
La Plata ◽  
History Of ◽  
The Fantastic

<p class="Pa15"><em>El cuarto de vidrio </em>(póstuma-2006) es la última novela de la escritora argentina Norah Lange. En ella se privilegia el espacio de la casa, la cual aparece aquí profundamente personificada, lo que tiñe el total del relato del sello fantástico que caracteriza a los escritores del <em>boom</em>. Lange reanuda, en esta novela, la estética de lo increíble que se había iniciado en <em>Antes que mueran </em>(1944)<em>, </em>había conocido el éxito y el reconocimiento con <em>Personas en la sala </em>(1950)<em>, </em>y había llegado a <em>Los dos retratos </em>(1956)<em>, </em>sin que la crítica literaria se hubiera percatado de que estábamos ante una literatura plenamente fantástica o, dicho de otro modo, que sin descifrar ese elemento fantástico no se podía interpretar el sentido último de la na­rrativa de Lange; una estética que se inserta en la línea de la literatura fantástica promocionada por su primo político Jorge Luis Borges y que tuvo amplia repercusión en Hispanoamérica, especialmente en el Río de la Plata.</p><p><em>El cuarto de vidrio </em>(posthumous work-2006) is the last novel of the Argentine writer Norah Lange. In it is privileged the space of the house, which appears here deeply personified, which dyes the history of the fantastic seal that characterizes the writers of the Boom. In this novel, Lange reiterates the aesthetics of the incredible stories, that had begun in <em>Antes que mueran </em>(1944), had known success and recognition with <em>Personas en la sala </em>(1950), and had come to <em>Los dos retratos </em>(1956), without the literary criticism having realized that we were in front of a totally fantastic literature or, in other words, that without deciphering that fantastic element could not be interpreted the ultimate meaning of Lange’s narrative an aesthetic that is inserted in the line of fantastic literature promoted by his cousin in-law, Jorge Luis Borges, and that had wide repercussion in Hispanic America, mainly in the Río de la Plata.</p>

«Un Américain (imaginaire) à Paris » Réponse à Carmen Bernand

2003 ◽  
Vol 58 (2) ◽  
pp. 497-512
Author(s):  
Stuart B. Schwartz ◽  
Frank Salomon
Keyword(s):  
South America ◽  
Nous Avons ◽  
Rio De La Plata ◽  
Río De La Plata ◽  
Native Peoples ◽  
La Plata ◽  
History Of ◽  
Hautes Terres

Deux notes critiquesdeThe Cambridge History of the Native Peoples of the Americas, vol. III,South America[CHNPA] ont été publiées dans lesAnnales:l’une, de Luiz Felipe de Alencastro, relative à l’histoire des peuples natifs du Brésil; l’autre, de Carmen Bernand, portant sur les hautes terres d’Amérique du Sud et le Rio de la Plata. Nous ne dirons (quasiment) rien des commentaires de L. F. de Alencastro : ses critiques et remarques offrent une autre interprétation que celle présentée dans les chapitres consacrés au Brésil. Ainsi notre propos s’adressera-t-il uniquement au point de vue critique de C. Bernand, puisque son article conteste les orientations de l’entreprise éditoriale que nous avons dirigée, offrant une vision alternative de l’américanisme qui y est présenté, qu’elle complète par des perspectives de recherche.

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