An Imaginary Plague in Turn-of-the-Century Buenos Aires

Turn-of-the century Argentine political leaders were deeply influenced by new ideas about the origin and treatment of criminality developed by the Italian positivist school of criminology. According to this school, crime was not the fruit of the criminal's wickedness, as classic penology had claimed, but was rather the result of a complex web of social and psycho-biological determinations of which the criminal had been a victim. This pathology called “crime” could be corrected if its origin was scientifically determined and if the new methods of rehabilitation prescribed for criminals and potential criminals were enforced. Although not all of the premises of the criminological school led by Lombroso, Ferri, and Garofalo were accepted uncritically in Argentina, the basic principles of the new science were widely adopted by jurists, doctors, hygienists and psychiatrists. These ideas were received in the context of massive European immigration, accelerated urbanization, and the emergence of a large working class.

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An Imaginary Plague in Turn-of-the-Century Buenos Aires:

Disease in the History of Modern Latin America ◽

10.2307/j.ctv11smx34.6 ◽

2003 ◽

pp. 51-75

Author(s):

GABRIELA NOUZEILLES

Keyword(s):

Buenos Aires ◽

Turn Of The Century

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Dancing Argentine Modernity: Imagined Indigenous Bodies on the Buenos Aires Concert Stage (1915–1966)

Dance Research Journal ◽

10.1017/s0149767716000206 ◽

2016 ◽

Vol 48 (2) ◽

pp. 44-60 ◽

Cited By ~ 2

Author(s):

Victoria Fortuna

Keyword(s):

Latin American ◽

Racial Difference ◽

Buenos Aires ◽

Modern Dance ◽

Turn Of The Century ◽

Rite Of Spring ◽

Concert Dance ◽

Vaslav Nijinsky ◽

A Site

This article argues that the unrealized balletCaaporá(1915), conceived for choreography by Vaslav Nijinsky, and Oscar Araiz'sLa consagración de la primavera(1966,The Rite of Spring) fundamentally shaped the establishment and reimagination of concert dance as a site of modernity in Argentina. Both works danced modernity through imagined pre-Columbian indigenous myths choreographed in Euro-American concert dance forms. In Argentina, “unmarked” ballet and modern dance forms signaled a universalized cultural advancement aligned with the West, while indigenous myths staged “marked” Latin American origins that held racial difference at a distance from the modern present.CaaporáandConsagraciónnegotiated the “marked” and the “unmarked” toward different ends. WhileCaaporástrove to “Argentinize” European ballet at the turn of the century,Consagraciónmarked the move to claim concert dance as Argentine at midcentury. By focusing on the role of indigenism in these two works, this article contributes to scholarship on the modernist negotiation of the marked and unmarked in Latin American concert dance as a strategy for staging—and transcending—the nation.

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The Housing Issue in the Historiography of Turn-of-the-Century Buenos Aires

Journal of Urban History ◽

10.1177/009614429802400305 ◽

1998 ◽

Vol 24 (3) ◽

pp. 416-428

Author(s):

Diego Armus ◽

Juan Suriano

Keyword(s):

Buenos Aires ◽

Turn Of The Century ◽

Housing Issue

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Tucuman Sugar Politics and the Generation of Eighty

The Americas A Quarterly Review of Latin American History ◽

10.1017/s0003161500071923 ◽

1976 ◽

Vol 32 (4) ◽

pp. 566-584

Author(s):

Donna J. Guy

Keyword(s):

Twentieth Century ◽

Civil Wars ◽

Economic Integration ◽

Buenos Aires ◽

Turn Of The Century ◽

The Poor ◽

Economic Stagnation ◽

National Capital ◽

Political Compromise ◽

Surrounding Areas

One of the major obstacles preventing Argentine national unificacation in the 1870s was the hostility of the poor interior provinces, victims of the ravages of civil wars and economic stagnation, toward the richer and more powerful coastal area dominated by export-oriented merchants and cattlemen. From 1874 until the first decade of the twentieth century, a major attempt was made to resolve longstanding grievances. A definitive political compromise and program of economic integration emerged in 1880 when a group of politicians, representing both the interior and the littoral, joined together and made their slogan a reality: Peace and administration. This group, known as the Generation of Eighty, brought a national capital and a modicum of peace to Argentina in 1880. Eventually they helped create a new Argentina linked by networks of transportation, communication, banking facilities and other trappings of modernity. They courted regional industries with protective tariffs and political favors in hopes of providing an economic stimulus to the interior which would complement rapid growth in the littoral. But even though Buenos Aires and surrounding areas flourished, by the turn of the century most interior provinces remained as destitute as they had been thirty years earlier.

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Displaced Italies and Immigrant “Delinquent” Spaces in Pariani’s Argentinian Conventillos and Lakhous’s Roman Palazzo

Pre-Occupied Spaces ◽

10.5422/fordham/9780823274321.003.0006 ◽

2017 ◽

Author(s):

Teresa Fiore

Keyword(s):

Social Norms ◽

Buenos Aires ◽

Residential Building ◽

Narrative Structure ◽

Turn Of The Century ◽

Clash Of Civilizations ◽

Time Periods ◽

Detective Genre

In addressing residential spaces through the lens of de Certeau’s concept of “delinquent space,” that is, a space that creatively defies social norms and stereotypes, Chapter 3 looks at the conventillos as described by Laura Pariani in her novel Dio non ama i bambini (2007) and at a residential building (palazzo) inhabited by locals and immigrants in the same Vittorio Square, as depicted by Amara Lakhous in his novel Clash of Civilizations Over an Elevator in Piazza Vittorio (2006). Despite the different locations of these buildings and the different time periods of the stories (turn-of-the-century Buenos Aires versus contemporary Rome), the two novels successfully render the challenges and possibilities presented by the co-existence of people from different backgrounds. In part for their captivating employment of the detective genre, in part for their innovative narrative structure, the novels suggest the need to investigate immigrant societies with new questions in order to find new answers that challenge the norm.

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