scholarly journals Fernando Copello, Marina Letourneur y Lucie Valverde (comps.), 3 poetas 3. Ensayos sobre la infancia en la obra de Juan Gelman, Alejandra Pizarnik y María Elena Walsh. Buenos Aires, Dedalus, 2020, 122 páginas

Orbis Tertius ◽  
2021 ◽  
Vol 26 (34) ◽  
pp. e221
Author(s):  
Virginia Bonatto
Keyword(s):  
Buenos Aires ◽  
Alejandra Pizarnik

Revisión del libro 3 poetas 3. Ensayos sobre la infancia en la obra de Juan Gelman, Alejandra Pizarnik y María Elena Walsh por F. Copello, M. Letourneur y L. Valverde (comps.).

scholarly journals Axolotl/Bichos Raros Crónica

2012 ◽  
Vol 9 (2) ◽  
Author(s):  
Susana Chávez-Silverman
Keyword(s):  
Buenos Aires ◽  
Time Travel ◽  
Gender And Sexuality ◽  
Julio Cortazar ◽  
Personal Connection ◽  
Alejandra Pizarnik ◽  
Julio Cortázar

In this crónica, I pay homage (and talk back to!) one of my favourite authors, Julio Cortázar, who I had the great privilege and pleasure of befriending in 1980, when he was a visiting professor at UC-Berkeley. I have been obsessed with time-travel, doubling, and interstitiality since I was very young; even the most casual Cortázar reader (if such a thing is possible) will immediately recognise these as recurrent themes in his work. Here, faced with several actual axolotl in a Buenos Aires aquarium, I explore and comment on Cortázar’s strangely mesmerising meditation on identity and transformation. My personal connection is (as in much of my writing) concerned with aspects of gender and sexuality suppressed or (more likely) ignored in Cortázar’s version. I identify, too, with a poignant in-betweenness and ambiguity I read in the figure of the axolotl—and in the work of Cortázar and Alejandra Pizarnik.

Open discussion

1982 ◽  
Vol 99 ◽  
pp. 605-613
Author(s):  
P. S. Conti
Keyword(s):  
Buenos Aires ◽  
Large Mass ◽  
List Type ◽  
Common Phenomenon ◽  
Open Discussion ◽  
The Stability ◽  
Ring Nebulae

Conti: One of the main conclusions of the Wolf-Rayet symposium in Buenos Aires was that Wolf-Rayet stars are evolutionary products of massive objects. Some questions:–Do hot helium-rich stars, that are not Wolf-Rayet stars, exist?–What about the stability of helium rich stars of large mass? We know a helium rich star of ∼40 MO. Has the stability something to do with the wind?–Ring nebulae and bubbles : this seems to be a much more common phenomenon than we thought of some years age.–What is the origin of the subtypes? This is important to find a possible matching of scenarios to subtypes.

El Acuerdo de Buenos Aires

1998 ◽  
Vol 26 (152) ◽  
pp. 576
Author(s):  
Oscar H. del Brutto Perrone ◽  
José Antonio Bueri ◽  
Antonio Culebras ◽  
Jordi Matías-Guiu Guía ◽  
Marco Tulio Medina Hernández ◽  
...  
Keyword(s):  
Buenos Aires

Rebellious Wallflowers and QueerTangueras: The Rise of Female Leaders in Buenos Aires’ Tango Scene

2018 ◽  
Vol 36 (2) ◽  
pp. 173-197
Author(s):  
Juliet McMains
Keyword(s):  
Social Norms ◽  
Buenos Aires ◽  
Female Leaders ◽  
Same Sex ◽  
Overlapping Communities ◽  
Heterosexual Women ◽  
Bisexual And Transgender ◽  
History Of

This paper interrogates the history of same-sex dancing among women in Buenos Aires' tango scene, focusing on its increasing visibility since 2005. Two overlapping communities of women are invoked. Queer tangueras are queer-identified female tango dancers and their allies who dance tango in a way that attempts to de-link tango's two roles from gender. Rebellious wallflowers are women who practice, teach, perform, and dance with other women in predominantly straight environments. It is argued that the growing acceptance of same-sex dancing in Argentina is due to the confluence of four developments: 1) the rise of tango commerce, 2) innovations of tango nuevo, 3) changing laws and social norms around lesbian, gay, bisexual, and transgender rights, and 4) synergy between queer tango dancers and heterosexual women who are frustrated by the limits of tango's gender matrix. The author advocates for increased alliances between rebellious wallflowers and queer tangueras, who are often segregated from each other in Buenos Aires' commercial tango industry.

Pablo Neruda's Transnational Modernist Networks: Colombo-Madrid-London-Buenos Aires (1927–1933)

2017 ◽  
Vol 12 (2) ◽  
pp. 198-225
Author(s):  
Patricia Novillo-Corvalán
Keyword(s):  
Chamber Music ◽  
Latin American ◽  
Buenos Aires ◽  
Cultural Institutions ◽  
Complex Composition ◽  
British Colonial ◽  
The One ◽  
Composition Process ◽  
In Transit ◽  
Standing Question

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

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