scholarly journals ¿Un cronista provinciano? Dos textos desconocidos de Rubén Darío en El Orden de Tucumán

(an)ecdótica ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 83-100
Author(s):  
Rodrigo Javier Caresani ◽  
Keyword(s):  
Buenos Aires ◽  
The Other ◽  
Fin De Siecle ◽  
Literary Studies ◽  
Spanish American ◽  
Ruben Dario ◽  
Critical Perspective ◽  
American Modernism ◽  
Local Newspaper ◽  
Other Hand

Hand in hand with recent theoretical and empirical developments related to the notion of archive, the field of Spanish American Modernism Studies is currently undergoing a stage of profound transformation. The validity in Literary Studies of a “new” philology not only highlights problems in the editions of classical texts from the fin de siècle period, but also invites researchers to review the clichés associated with this movement. In this sense, the case of Rubén Darío (1867-1916), whose texts remain in a state of notable precariousness, is exemplary. This article comments and recovers two unknown chronicles published in El Orden, a local newspaper in the Argentine province of Tucumán, that were written by this author. Besides their evident documental value, these texts, which were conceived at the farewell to his residence in Buenos Aires in 1898, acquire relevance if they are connected to the concerns that Darío will cultivate on his imminent trip to Europe. On one hand, they can be read as yet another episode of Buenosairean “calibanism”; on the other hand, they can be understood as an anticipation of a critical perspective towards the mythification of the concept of progress in the Parisian Universal Exhibition of 1900.

Poe and Modern(ist) Poetry

2018 ◽  
pp. 617-640
Author(s):  
Margarida Vale de Gato
Keyword(s):  
The Other ◽  
Spanish American ◽  
Prose Poem ◽  
American Modernism ◽  
Concrete Poetry ◽  
Other Hand ◽  
High Modernism ◽  
Latin Language ◽  
Beat Poetry

This chapter considers not only how Poe’s impact on European symbolism prompted US poets—both expatriates (Eliot, Pound) and the natively grounded (Williams)—to rehash Poe’s literary import but also how the influence of ambivalent perceptions of Poe (the visionary, the ratiocinative hoaxer, the antididactic) extended to poet(ic)s of the Americas, eventually transcending their borders with a radiance that invites thinking of “phosphorescence” as a poetical category. From Baudelaire’s seminal reception to Mallarmé’s shift into the prose poem, from Pessoa’s elaborations on rhythmical versions of the original to Jakobson’s emphasis on paranomasia in “The Raven,” Poe was a cornerstone of the development of modern(ist) poetry on a transnational scale. Translational negotiation, along with defamiliarization and varied understandings of the “legitimate province of the poem,” would inform emerging poetics of the modern lyrical genre. T. S. Eliot’s reading of Poe as the unwitting but productive initiator of a continuous detachment of poetry from meaning, leading up to the French symbolist tenet of “la poésie pure” and culminating in Valéry, had the merit of placing Poe in the context that facilitated high modernism. On the other hand, this reading disregarded the significance of Poe for early Spanish American modernism(o)s, which this essay will recuperate, along with other Latin language proposals for the relation of poetry with aesthetic and cultural inventiveness. It also addresses the effacement of the erudite and popular in language and media, and the echoes of Poe in countercultural movements such as surrealism, concrete poetry, and beat poetry.

Ultraísmo

2018 ◽  
Author(s):  
Dagmar Vanderbosch
Keyword(s):  
Buenos Aires ◽  
Cultural Distance ◽  
Jorge Luis Borges ◽  
Spanish America ◽  
Spanish American ◽  
American Modernism ◽  
Avant Garde ◽  
Vicente Huidobro ◽  
Short Period ◽  
Guillermo De Torre

Ultraísmo is an early twentieth-century art movement which developed in Spain around 1920 and was introduced to Argentina by Jorge Luis Borges in 1921. It was strongly influenced by European avant-garde movements, particularly Cubism and Dadaism, and by the Chilean poet Vicente Huidobro’s Creationism. The poets of Ultraísmo rejected the fin de siècle aesthetics of Spanish and Spanish-American modernism and experimented with the graphic and acoustic dimensions of poetry, emphasising rhythm over rhyme. The origins of Ultraísmo go back to late 1918, when Vicente Huidobro visited Madrid for a short period, and Rafael Cansinos Assens, host of a literary circle in the Café Colonial, wrote the first Ultraist Manifesto, published in the magazine Grecia in January 1919 (Videla 1963: p. 27). Other founding texts of the movement are El movimiento ultraísta español and Manifiesto Vertical, both written by Guillermo de Torre in 1920. The movement of Ultraísmo was oriented both toward Europe and Spanish America. Ultraísmo adopted ideas from different European avant-garde movements in an effort to reduce the cultural distance between Spain and the rest of Europe, rather than develop an original programme. Their poetry gives importance to images and metaphors, experiments with typography and calligrams, rejects punctuation and often rhyme, and focuses on poetic rhythm. Ultraísmo developed in Spanish America when Jorge Luis Borges, who had spent several years in Spain and had published poems in Ultraist magazines, introduced the movement in the literary circles of Buenos Aires upon his return to Argentina in 1921.

Slave Spectacles and Tragic Octoroons: A Cultural Genealogy of Antebellum Performance

1992 ◽  
Vol 33 (2) ◽  
pp. 167-187 ◽  
Author(s):  
Joseph R. Roach
Keyword(s):  
Critical Theory ◽  
Armed Conflict ◽  
The Other ◽  
Special Topic ◽  
Modern Language Association ◽  
Critical Perspective ◽  
Mixed Emotions ◽  
Modern Language ◽  
Other Hand ◽  
Political Intervention

In recent critical theory, the word performance has undergone a significant expansion, some would say an inflation. As the Editor's Note to the May issue of PMLA (“Special Topic: Performance”) observes, “What once was an event has become a critical category, now applied to everything from a play to a war to a meal. The performative … is a cultural act, a critical perspective, a political intervention.” Theatre historians will perhaps greet such pronouncements with mixed emotions. On one hand, they may welcome the acknowledgment by the principal organ of the Modern Language Association that performance (as opposed to drama merely) can count for so much. On the other hand, they may wonder what exactly is intended by the conceptual leap that takes performance beyond the established theatrical genres to encompass armed conflict and comestibles.

From a Literary Work to a Movie and Back. Literary and Literary Studies Contexts for the Art of Screenplay

Tekstualia ◽  
2020 ◽  
Vol 1 (60) ◽  
pp. 43-54
Author(s):  
Rafał Koschany
Keyword(s):  
Literary Work ◽  
The Other ◽  
Literary Studies ◽  
Literary Genre ◽  
Other Hand ◽  
The One ◽  
Literary Phenomenon

Screenplays are a paradoxical and ambivalent phenomenon. On the one hand, a screenplay is a literary genre and its development attests to the process of its emancipation from the power of fi lm and fi lm theory. On the other hand, however, the screenplay read as the text „is becoming a movie” already during the act of reading. The screenplay – as a quasi-literary phenomenon – can be a useful and inspiring tool in fi lm interpretation, as it opens up a variety of methodological possibilities.

scholarly journals Geopolítica, (de)colonialidad e identidad: la conciencia dividida de Rubén Darío / Geopolitics, (De)coloniality and Identity: the Divided Consciousness of Rubén Darío

2017 ◽  
pp. 47
Author(s):  
Jared List
Keyword(s):  
United States ◽  
The United States ◽  
The Other ◽  
Ruben Dario ◽  
Other Hand ◽  
East West ◽  
Newspaper Articles

Resumen: En este artículo, analizo los ensayos, crónicas y artículos periodísticos de Rubén Darío a través del marco de la colonialidad del poder y la colonialidad del saber desarrollado por Aníbal Quijano entre otros. Argumento que leyendo sus escritos políticos, observamos a un sujeto con una conciencia dividida. Por un lado, Darío reproduce el pensamiento eurocéntrico que caracteriza la colonialidad y por otro lado, critica y cuestiona tal paradigma. Para apoyar mi argumento, empleo las divisiones geopolíticas ‘Este/Oeste’ y ‘Norte/Sur’ para trazar las preocupaciones y pensamientos del poeta nicaragüense sobre los Estados Unidos y Europa. En otras palabras, examino desde dónde piensa Darío y cómo sus posiciones alinean con o se desvían de la colonialidad y/o la de-colonialidad.Palabras clave: Rubén Darío, colonialidad del poder, de-colonialidad, geopolítica, conciencia dividida.Abstract: In this article, I analyze Rubén Darío’s essays, chronicles, and newspaper articles through the framework of the coloniality of power and the coloniality of knowledge developed by Aníbal Quijano among others. I argue that reading his political writings, we observe a subject with a divided consciousness. On one hand, Darío repro-duces Eurocentric thinking that characterizes coloniality and, on the other hand, he criticizes and questions such paradigm. To support my argument, I use the geopolitical divisions ‘East/West’ and ‘North/South’ in order to trace the Nicaraguan poet’s concerns and thoughts regarding Europe and the United States. In other words, I examine from where Darío thinks and how his positions align with or deviate from coloniality and de-coloniality.Keywords: Rubén Darío, Coloniality of Power, Coloniality of Knowledge, De-coloniality, Geopolitics, Divided Consciousness

scholarly journals СВОЄ / ЧУЖЕ: ПРОБЛЕМА ОКРЕСЛЕННЯ ІДЕНТИЧНОСТІ В ПРОЗІ НАТАЛІ КОБРИНСЬКОЇ

2020 ◽  
Vol 8 (2) ◽  
pp. 83-96
Author(s):  
Ірина Борисюк
Keyword(s):  
Identity Construction ◽  
Social Relations ◽  
The Other ◽  
Fin De Siecle ◽  
Literary Canon ◽  
Development Path ◽  
Identity Studies ◽  
Other Hand ◽  
Fin De Siècle ◽  
The One

The relevance of the article stems from the demand for rethinking Natalia Kobrynska’s prose and therefore her position in the Ukrainian literary canon. On the one hand, Kobrynska’s artistic searches reflect the development path of fin de siècle Ukrainian literature (realistic and modernist writing). On the other hand, some issues and themes in Kobrynska`s prose are actually ahead of her time (conceptualizing the Other, identity construction through power discourses, interrelation of power and knowledge, Kobrynska`s writing ecological impulses and so on). The paper was written within the framework of identity studies; the key issue is the tension between a construction and a choice. The aim of the paper is to demonstrate that Kobrynska’s characters’ identity is the result of their choices rather than their belonging to society. To conclude, Kobrynska has discovered the most appropriate ways of representation of society’s members at the time in which social relations collapse and emergence.

scholarly journals Dinámica y cautiva: la cultura material de la casa. Una mirada etnográfica sobre el habitar en Haedo, Provincia de Buenos Aires

2020 ◽  
pp. 165-182
Author(s):  
María Florencia Blanco Esmoris ◽  
Keyword(s):  
Material Culture ◽  
Buenos Aires ◽  
The Other ◽  
Know How ◽  
Other Hand ◽  
The Family ◽  
The One ◽  
The Relationship

This article aims to problematize, on the one hand, the relationship that people establishes with their homes in the daily dynamics. That is, how they occupy, decorate, use and organize the environments of the house. On the other hand, the objective is to know how this living is produced in relation to the locality where they live: Haedo. The material culture is appealed to in two senses: of the house and of the objects that compose the inhabitant. The data comes from the ethnography I made between 2015 and 2019 with the family of Gloria, a resident of Haedo.

"Sterben, wenn Sterben das Richtige ist"

2021 ◽  
Author(s):  
Derrik H. Sabau
Keyword(s):  
The Other ◽  
Literary Studies ◽  
Social Phenomenon ◽  
Semantic Consistency ◽  
Other Hand ◽  
Controversial Topic

On one hand, this work serves a deeper understanding about suicide as a social phenomenon by highlighting its different philosophical and sociological movements, while, on the other hand, a detailed acquisition of the semantic consistency of suicide in literature is using eight prosaic works to structurally analyze. Through an interdisciplinary structure, which is embedding theories from Durkheim, Freud, Foucault, Kant, Schopenhauer, Augustinus and others in the context of literary studies, a unique and transparent insight in the controversial topic of an intercultural suicide ethic is offered.

Argentina's Train Diplomacy

2020 ◽  
pp. 1-27
Author(s):  
Pablo Alberto Baisotti
Keyword(s):  
Latin America ◽  
National Economy ◽  
Buenos Aires ◽  
The Other ◽  
Primary Products ◽  
Secondary Role ◽  
Other Hand ◽  
Economic Relationship ◽  
The Impact

The objective of this study is to analyze the impact of the OBOR initiative for Argentina, starting from the premises that Latin America is not considered fundamental for the OBOR initiative and that Argentina played a secondary role in its economic relationship with China. In other words, could Argentina be considered to be on the periphery of the periphery for China and the OBOR initiative? And a more important question, could Argentina escape from that position to which it seems to be historically condemned? To answer these questions, a case study has been selected, the railroad Belgrano Cargas (FBC), because of the importance it represents for Argentine and Chinese interests. Argentina considers it a fundamental means to strengthen the national economy and connect, above all, the interior of the country (Central and Northwest) with Buenos Aires; China, on the other hand, sees in the FBC another means to create a bi-oceanic corridor capable of transporting primary products from Argentina to Chile and from there to China.

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