Mario Vargas Llosa, Euclides da Cunha, and the Strategy of Intertextuality

PMLA ◽  
1993 ◽  
Vol 108 (3) ◽  
pp. 460-473
Author(s):  
Renata R. Mautner Wasserman
Keyword(s):  
Latin American ◽  
Physical Environment ◽  
Mario Vargas Llosa ◽  
Historical Event ◽  
South American ◽  
European Culture ◽  
Latin American Culture ◽  
History Of ◽  
Os Sertoes ◽  
Euclides Da Cunha

When revisiting Euclides da Cunha's Os sertões with La guerra del fin del mundo, Mario Vargas Llosa constructs an intertextual sequence analogous to that constituted by literary and other texts within European culture, the sphere against which Latin American writings are usually measured. As the two books examine a complex historical event, they consider the composition, physical environment, and history of South American populations, attempting to define a characteristically Latin American culture and to question the relevance of European explanatory schemes for such a definition. The relation between the two texts suggests that intertextuality can be a tool in the service of shaping a national — or continental — consciousness. (RRMW)

scholarly journals O sertão e a guerra de canudos em diálogo: percepções ficcionais em José de Alencar, Euclides da Cunha e Vargas Llosa

2019 ◽  
Vol 9 (1) ◽  
pp. 124
Author(s):  
Francisco Lima Baca ◽  
Claudio Cledson Novaes
Keyword(s):  
Mario Vargas Llosa ◽  
Jose De Alencar ◽  
Os Sertoes ◽  
Euclides Da Cunha

Neste artigo estabelecemos um diálogo sobre a categoria narrativa de sertão, problematizando algumas teorias críticas da formação de identidades literárias; analisamos aspectos do romance de José de Alencar, O sertanejo, como transfiguração da natureza da região e uma idealização do espaço físico e geográfico do sertão no século XIX; em contraponto com a descrição desta mesma realidade na crônica positivista do jornalista Euclides da Cunha, Os sertões, como transição para o século XX; por fim, cotejando estas transfigurações narrativas com o romance histórico de Mario Vargas Llosa, La guerra del fin del mundo, escrito final do século XX, a partir de perspectivas literárias que enfocam a complexidade cultural contemporânea em movimentos sociais que reverberam uma política identitária latino americana a partir da literatura.

scholarly journals TANGO AS THE EPISTEME OF LATIN AMERICAN CULTURAL UNIVERSUM IN THE POETIC FANTASY OF THE RUSSIAN EMIGRANT POET ANDREI SHIRIAEV

2020 ◽  
Author(s):  
Svetlana Fokina ◽  
Keyword(s):  
Latin American ◽  
American Culture ◽  
Close Attention ◽  
Search For Self ◽  
Open Process ◽  
Latin American Culture ◽  
History Of ◽  
The Subject ◽  
Under Construction

The relevance of the lifted problem is caused as the interest of a modern philological thought in a phenomenon of the writer emigrant, and attention in aspects of Dionysian attitudes of literary artists. In the article research search is directed to studying of A. Shiryaev's interpretation of the tango phenomenon as the semiosis of passion and the epistem of Argentine culture. The open process represents at this stage the knowledge of the poetic heritage of the modern emigrant poet A. Shiryaev and requires close attention. The subject of analysis was the process of a mythologization by poetic consciousness of the poet emigrant of history of tragic death of the legendary performer of a tango Carlos Gardel. A. Shiryaev is creates the author's version of the myth about an idol of Argentina. The novelty of the presented material is due to the lack of study of strategies for identifying the author's consciousness of A. Shiryaev as an emigrant poet in the framework of the mastery of mythology and epistles of Latin American culture. The methodology of the study was the establishment of the poet's author's myth about the search for self-identification. The purpose of article is to reveal as in poem by A. Shiryaev «The Creole Thrush Sings Better and Better Every Day …» under construction as paraphrases of the glorified and tragic biography of Carlos Gardel. Reading of author's connotations is presented to interpretations of an image of the female phantom – madam Ivonne. The emphasized sexuality of Madame Ivonne is supplemented by the transformation of erotic codes into gastronomic codes. This subtext level is something like the author's comment. In the Shiryaev poetic fantasy, the metaphor of cannibalism is realized almost literally as an opportunity to eat Madame Ivonne the "flesh" of the burned Gardel. This aspect highlights demonic connotations in heroin, emphasizing the theme of vampirism. The study made it possible to draw the following conclusions. Pronounced metaphorical potential of lyrics of A. Shiryaev is the evidence of proximity author's consciousness of the poet emigrant of elements mysteriological Dionysian a discourse. The poetic myth by A. Shiryaev is characterized by proximity to Dionysian type of attitude and the transgressive nature of author's consciousness of the poet emigrant.

“They Look Like They’re Trying to Pull Up Nails with Their Heels”: Ricardo Güiraldes’s Response to Cultural Appropriation in Don Segundo Sombra

2021 ◽  
pp. 117-129
Author(s):  
Susan Savage Lee
Keyword(s):  
Cultural Identity ◽  
Latin American ◽  
Cultural Appropriation ◽  
White Americans ◽  
Latin Americans ◽  
Indigenous Cultures ◽  
The Past ◽  
Ricardo Guiraldes ◽  
Latin American Culture ◽  
History Of

Cultural appropriation has often been linked to American treatment of indigenous cultures. In Playing Indian, for example, Philip J. Deloria investigates how images of Indianness, however inauthentic, stereotypical, or completely ethnocentric, work to help white Americans come to terms with their history of conquest and possession. While the term cultural appropriation has been linked to the conflict between dominant and indigenous cultures as Deloria suggests, it is used far less frequently with respect to American and Latin American cultural identities. Yet, the preponderance of movies and literary works in which Americans follow the same rubric – use Latin American culture to define American cultural identity – evoke the same sense of loss on the part of Latin Americans, in this case, Argentines. For over a century, for example, the gaucho has been examined, evaluated, and reevaluated by Argentines within gauchesque literature to make sense of modernization, notions of civilization versus barbarism, and what creates argentinidad, or what it means to be Argentine. Ricardo Güiraldes sought to respond to the cultural appropriation and misrepresentation of the gaucho, specifically that gaucho culture could be taken up by anyone and used for any purpose, no matter how benign; and that gauchos were a part of the past, eschewing modernization in forms such as industrial ranching and technology when, in fact, they embraced it. In Don Segundo Sombra, Güiraldes addresses these issues. Rather than permit cultural appropriation and ethnocentrism to remain unremarked upon, Güiraldes demonstrates that gaucho culture has remarkable qualities that cannot be imitated by novices, both foreign and native. He then examines gaucho culture, particularly the link between frontier life and economic displacement, in order to champion the gaucho and argentinidad as the models for Argentines to follow.

The Sociopolitical Discourse of Violeta Parra and Víctor Jara - The Culture of People's Power

2017 ◽  
pp. 109-126
Author(s):  
Elena Maria De Costa
Keyword(s):  
Human Rights ◽  
Central America ◽  
Latin American ◽  
Social Space ◽  
Social Commentary ◽  
Human Rights Abuses ◽  
Military Regimes ◽  
The World ◽  
Latin American Culture ◽  
History Of

While its roots lie deep in Latin American culture and history, the New Song music was first brought to the attention of the world when totalitarian military regimes seized power in South America during the 1970s. Torture, death, persecution, or disappearance became the tragic fate of thousands of citizens including Violeta Parra and Victor Jara of Chile, popular and talented singer-songwriters (cantautores), the latter executed for his songs of justice and freedom. Other New Song artists were driven into exile to avoid a similar fate. Later, during the 1980s, a second, deadlier wave of terror swept through Central America in genocidal proportions. Again, New Song artists urgently sang about these horrific human rights violations, denouncing the perpetrators of this violence and telling the story of the struggle of people resisting. Beyond the desired social space in which to talk about horrific human rights abuses, there is a deep history of social commentary in musical and other performative traditions in Latin America.

‘Always Returning from It’: Neoliberal Capitalism, Retrospect, and Marlon James's A Brief History of Seven Killings

CounterText ◽  
2018 ◽  
Vol 4 (2) ◽  
pp. 169-191
Author(s):  
Sharae Deckard
Keyword(s):  
Latin American ◽  
Structural Adjustment ◽  
State Violence ◽  
Historical Event ◽  
The Novel ◽  
Neoliberal Capitalism ◽  
History Of ◽  
Social Totality ◽  
The Individual ◽  
Structural Adjustment Programmes

This article contemplates the question of the afterwardly through a reading of Marlon James's A Brief History of Seven Killings (2014). I argue that in Brief History, anxieties about the inability to summon a future beyond the present – to know a world beyond neoliberal capitalism – are formally generative, providing the literary and cultural material for experimentation. Far from having exhausted the potential of the literary, the novel instead insists on the vitality of counter-hegemonic representation of the rise of the neoliberal world-system, and the capacity to resurrect the ‘not-known’ social totality of an earlier historical event even as it simultaneously struggles to imagine potentialities of collective agency in the present. James constructs a retrospective history of the aftermath of the 1976 attempted assassination of Bob Marley, reinterpreted from the standpoint of the twenty-first century in order to narrate not only the individual traumas incurred by the event, but in order to rematerialise a collective history of the social, systemic, and inter-state violence perpetrated by the neoliberal turn of capitalist accumulation in the Caribbean. In particular, the novel offers a hemispheric view of the complex historical causality of the political destabilisation of Caribbean and Latin American states through CIA-sponsored drug and arms trafficking, the exploitation of extractivist resource regimes, and the economic imposition of structural adjustment programmes.

The Eastern Andean Frontier (Bolivia and Argentina) and Latin American Frontiers: Comparative Contexts (19th and 20th Centuries)

2002 ◽  
Vol 59 (1) ◽  
pp. 33-63 ◽  
Author(s):  
Erick D. Langer
Keyword(s):  
Latin America ◽  
Latin American ◽  
Spanish Empire ◽  
South American ◽  
Secondary Sources ◽  
Frontier Region ◽  
History Of ◽  
Frontier Studies ◽  
The Mind ◽  
South American Continent

The epic struggles between Mexicans and the Apaches and Comanches in the far northern reaches of the Spanish empire and the conflict between gauchos and Araucanians in the pampas in the far south are the images the mind conjures up when thinking of Latin American frontiers. We must now add for the twentieth century the dense Amazon jungle as one of the last frontiers in popular (and scholarly) minds. However, these images ignore the eastern Andean and Chaco frontier area, one of the most vital and important frontier regions in Latin America since colonial times, today divided up into three different countries (Argentina, Bolivia, Paraguay) in the heart of the South American continent. This frontier region has not received sufficient attention from scholars despite its importance in at least three different aspects: First, the indigenous peoples were able to remain independent of the Creole states much longer than elsewhere other than the Amazon. Secondly, indigenous labor proved to be vitally important to the economic development along the fringes, and thirdly, a disastrous war was fought over the region in the 1930s by Bolivia and Paraguay. This essay provides an overview based on primary and secondary sources of the history of the eastern Andean frontier and compares it to other frontiers in Latin America. It thus endeavors to contribute to frontier studies by creating categories of analysis that make possible the comparisons between different frontiers in Latin America and placing within the scholarly discussion the eastern Andean region during the nineteenth and early twentieth centuries.

scholarly journals Vladimir Nabokov and Transatlantic Contexts in Saint-Petersburg University

2021 ◽  
pp. 450-455
Author(s):  
Andrey A. Astvatsaturov ◽  
Larisa E. Muravieva
Keyword(s):  
Latin American ◽  
Cultural Context ◽  
Vladimir Nabokov ◽  
Transatlantic Relations ◽  
State University ◽  
Global Context ◽  
Saint Petersburg ◽  
International Conference ◽  
European Culture ◽  
History Of

The review traces papers of the International conference V. Nabokov and Transatlantic Relations in American and European culture hosted at Saint Petersburg State University on May14–16, 2021. Scholars in various fields of humanities traced the routes of intercontinental cultural contacts of the XX-th century to construct a global context to understand Vladimir Nabokov as a paradigmatic transatlantic figure. The main direction which was discussed in papers of D. Ioffe, T. Venediktova, G. Kruzhkov, O. Panova, A. Astvatsaturov, O. Antsyferova, I. Golovacheva, A. Shvets, O. Sokolova, traditionally turned out to be American and British. The Russian cultural context viewed through the transatlantic prism was outlined by E. Penskaya, V. Feshchenko, A. Rodionova, A. Masalov, Y. Probstein, C. Bernstein and by Marjorie Perloff. The issues of transatlantic transfer in Romanesque literatures were presented in the papers of L. Muravieva, A. Petrova, V. Popova and I. Khohlova. The speakers discussed Franco-American autofiction, the images of Americans in the works of G. Apollinaire and the history of Soviet-Latin American and Portuguese-American poetic contacts, German and Scandinavian contexts viewed the in light of transatlantic problems. Discussion of Vladimir Nabokov works summed up a kind of outcome of the conference that brought together linguists (A. Kretov, Zh. Gracheva), historians of literature and culture (D. Tokarev, A. Bolshev, N. Shcherbak, A. Stepanova, N.A. Karpov ), scholars of poetics and narratology (F. Dvinyatin, V. Schmid, E. Kazartsev, D.Yu. Dovzhenko, N.I. Emelyanova).

scholarly journals Una ráfaga de oro

2019 ◽  
Author(s):  
Margara Russotto
Keyword(s):  
Latin American ◽  
American Culture ◽  
Multiple Identities ◽  
Small Island ◽  
Latin American Culture ◽  
History Of ◽  
Canonical Text

Cubagua, published in Paris in 1931 by the Venezuelan historian and writer Enrique Bernardo Núñez (Caracas, 1895-1964), is still well-known in his native country decades later, and today it is considered a canonical text. A novel of multiple identities – historical, meta-historical, colonial, postcolonial and postmodern –, its author writes and rewrites the history of that small island of the Venezuelan Caribbean, a centre for pearl exploitation during colonial times. The analysis of this novel explores some aspects of its aesthetic and cultural singularity, such as the fluctuating discourse between Myth and History, among others, in order to demonstrate its vibrant currency as a foundational text of Latin American culture.

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