Pub Date : 2019-09-18DOI: 10.5294/pacla.2019.22.4.7
Lisa A. Ubelaker Andrade
Conectados en imprenta: Selecciones del Reader’s Digest, relaciones culturales de Estados Unidos y la construccion de una clase media global Conectados em publicacao: Selecoes do Reader’s Digest, relacoes culturais dos Estados Unidos e a construcao de uma classe media global This article traces the early history of the Reader’s Digest’s global editions, and in particular its Latin American magazine, Selecciones del Reader’s Digest, viewing this popularly consumed text as a window into transnational government and media initiatives to forge a “global middle class.” It contends that the magazine, rather than merely idealizing life in the United States, asserted that readers could use media to join an imagined community of likeminded “professionals” and “free peoples” around the world. Using documents from the U.S. National Archives, the magazine, as well as a variety of other press sources, the paper untangles the connections between the first truly-global U.S. consumer magazine and the U.S. geopolitical project. First, it describes the relationship between the launch of Reader’s Digest’s Latin American edition and the U.S. cultural campaign’s wartime initiatives; second, it examines the magazine’s content, illustrating how the notion of a global connection was depicted in its pages. Taken together, these sections illustrate how the transnational mass media not only normalized the notion of a righteous middle class but also narrated that group’s globality, seeking to implicate the reader in its scope. To reference this paper / para citar este articulo / para citar este artigo Ubelaker Andrade, L. (2019). Connected in print: Selecciones del Reader’s Digest, U.S. cultural relations, and the construction of a global middle class. Palabra Clave, 22(4), e2247. DOI: https://doi.org/10.5294/pacla.2019.22.4.7 Recibido: 01/03/2019 Aceptado: 08/06/2019 Publicado en linea: 02/10/2019 * This article stems from the authors dissertation research (though she wrote the article independent from the dissertation), which was financed by the Social Science Research Council, Mellon Mays Foundation, and Fulbright.
Conectados en impnta：读者文摘选集，Estados Unidos的文化关系和全球一流媒体的构建Conectadoos em publicacao：读者文摘选集，Estado Unidos的历史关系和全球顶级媒体的构建本文追溯了《读者文摘》全球版的早期历史，尤其是其拉丁美洲杂志《读者文摘》（Selecciones del Reader’s Digest），将这本广受欢迎的文本视为了解跨国政府和媒体打造“全球中产阶级”举措的窗口，断言读者可以利用媒体加入世界各地志同道合的“专业人士”和“自由人民”的想象社区。该报利用美国国家档案馆、该杂志以及其他各种新闻来源的文件，解开了第一本真正全球性的美国消费者杂志与美国地缘政治项目之间的联系。首先，它描述了《读者文摘》拉丁美洲版的推出与美国文化运动战时倡议之间的关系；其次，它考察了该杂志的内容，说明了全球联系的概念是如何在其页面中描述的。总之，这些部分说明了跨国大众媒体如何不仅规范了正义中产阶级的概念，而且讲述了这个群体的全球性，试图将读者纳入其范围。参考本文/引用文献/引用文献Ubelaker Andrade，L.（2019）。印刷版：读者文摘选集、美国文化关系和全球中产阶级的建设。Palabra Clave，22（4），e2247。DOI：https://doi.org/10.5294/pacla.2019.22.4.7Recibido:2019年3月1日Aceptado:2019年6月8日Publicado en linea:2019年10月2日*本文源于作者的论文研究（尽管她是独立于论文撰写的文章），该研究由社会科学研究委员会、梅隆·梅斯基金会和富布赖特资助。
{"title":"Connected in Print: Selecciones del Reader’s Digest, U.S. Cultural\u0000 Relations, and the Construction of a Global Middle Class, 1940-1960","authors":"Lisa A. Ubelaker Andrade","doi":"10.5294/pacla.2019.22.4.7","DOIUrl":"https://doi.org/10.5294/pacla.2019.22.4.7","url":null,"abstract":"Conectados en imprenta: Selecciones del Reader’s Digest, relaciones culturales de Estados Unidos y la construccion de una clase media global Conectados em publicacao: Selecoes do Reader’s Digest, relacoes culturais dos Estados Unidos e a construcao de uma classe media global This article traces the early history of the Reader’s Digest’s global editions, and in particular its Latin American magazine, Selecciones del Reader’s Digest, viewing this popularly consumed text as a window into transnational government and media initiatives to forge a “global middle class.” It contends that the magazine, rather than merely idealizing life in the United States, asserted that readers could use media to join an imagined community of likeminded “professionals” and “free peoples” around the world. Using documents from the U.S. National Archives, the magazine, as well as a variety of other press sources, the paper untangles the connections between the first truly-global U.S. consumer magazine and the U.S. geopolitical project. First, it describes the relationship between the launch of Reader’s Digest’s Latin American edition and the U.S. cultural campaign’s wartime initiatives; second, it examines the magazine’s content, illustrating how the notion of a global connection was depicted in its pages. Taken together, these sections illustrate how the transnational mass media not only normalized the notion of a righteous middle class but also narrated that group’s globality, seeking to implicate the reader in its scope. To reference this paper / para citar este articulo / para citar este artigo Ubelaker Andrade, L. (2019). Connected in print: Selecciones del Reader’s Digest, U.S. cultural relations, and the construction of a global middle class. Palabra Clave, 22(4), e2247. DOI: https://doi.org/10.5294/pacla.2019.22.4.7 Recibido: 01/03/2019 Aceptado: 08/06/2019 Publicado en linea: 02/10/2019 * This article stems from the authors dissertation research (though she wrote the article independent from the dissertation), which was financed by the Social Science Research Council, Mellon Mays Foundation, and Fulbright.","PeriodicalId":45002,"journal":{"name":"Palabra Clave","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48054280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-18DOI: 10.5294/pacla.2019.22.4.4
O. Aponte
La creacion de un periodico moderno: El Tiempo en Colombia, 1911-1940 Criacao de um jornal moderno: El Tiempo na Colombia, 1911-1940 In this article I examine the first three decades of operation of the Colombian newspaper El Tiempo as a critical moment to understand the influential position the newspaper held in the country during a large portion of the twentieth century. In particular, I analyze the history of El Tiempo as a business, a topic usually unexplored by the history of the press and the public sphere in Colombia. In the first part, I explore the revenue and expenses of El Tiempo. I argue that facing the imported paper crisis generated by World War I, El Tiempo developed an effective commercial strategy that led the newspaper to become financially independent. In the second part, I analyze the internal organization of El Tiempo and the state of journalism as a profession in Colombia. I argue that the rationalization of tasks and the creation of a workers’ union at El Tiempo anticipated some aspects of what would characterize the professionalization of national journalism. In the third part, I explore the printing technologies and means of transportation used by El Tiempo to print and distribute newspaper issues. I argue that faster printing technologies and means of transportation enabled El Tiempo to expand its format and enlarge its circulation. In the conclusion, I suggest that the modernization of the press in Colombia led by El Tiempo had as a particularity that newspapers became modern while being the organ of a political party, in contrast to other Latin American countries where modern newspaper were independent from political parties. Para citar este articulo / to reference this article / para citar este artigo Aponte, O. (2019). The making of a modern newspaper: El Tiempo in Colombia, 1911– 1940. Palabra Clave, 22(4), e2244. DOI: https://doi.org/10.5294/pacla.2019.22.4.4 Recibido: 23/02/2019 Aceptado: 10/06/2019 Publicado en linea: 18/09/2019
现代期刊:哥伦比亚时代报，1911-1940在这篇文章中，我考察了哥伦比亚报纸《时代报》经营的前三十年，作为了解该报在20世纪大部分时间里在该国占据的重要地位的关键时刻。我特别分析了《时代报》作为一家企业的历史，这是哥伦比亚新闻界和公共领域的历史中通常未探讨的话题。在第一部分中，我探讨了El Tiempo的收入和支出。我认为，面对第一次世界大战造成的进口报纸危机，《时代报》制定了一项有效的商业战略，使报纸在财务上独立。在第二部分，我分析了《时代报》的内部组织和新闻业在哥伦比亚的现状。我认为，《时代报》的任务合理化和工人工会的建立，预示着国家新闻专业化的某些方面。在第三部分中，我探讨了《时代报》印刷和发行报纸时使用的印刷技术和运输工具。我认为，更快的印刷技术和交通工具使《时代报》能够扩大其形式和发行量。在结论中，我认为以《时代报》为首的哥伦比亚新闻界的现代化具有一个特点，即报纸在成为政党机关的同时也变得现代化，而其他拉丁美洲国家的现代报纸则独立于政党。Para citar este articulo /引用本文/ Para citar este artigo Aponte, O.(2019)。现代报纸的制作:1911 - 1940年哥伦比亚《时代报》。植物学报，22(4)，e2244。DOI: https://doi.org/10.5294/pacla.2019.22.4.4 Recibido: 23/02/2019 acceptado: 10/06/2019 Publicado en lineea: 18/09/2019
{"title":"The Making of a Modern Newspaper: El Tiempo in Colombia, 1911-1940","authors":"O. Aponte","doi":"10.5294/pacla.2019.22.4.4","DOIUrl":"https://doi.org/10.5294/pacla.2019.22.4.4","url":null,"abstract":"La creacion de un periodico moderno: El Tiempo en Colombia, 1911-1940 Criacao de um jornal moderno: El Tiempo na Colombia, 1911-1940 In this article I examine the first three decades of operation of the Colombian newspaper El Tiempo as a critical moment to understand the influential position the newspaper held in the country during a large portion of the twentieth century. In particular, I analyze the history of El Tiempo as a business, a topic usually unexplored by the history of the press and the public sphere in Colombia. In the first part, I explore the revenue and expenses of El Tiempo. I argue that facing the imported paper crisis generated by World War I, El Tiempo developed an effective commercial strategy that led the newspaper to become financially independent. In the second part, I analyze the internal organization of El Tiempo and the state of journalism as a profession in Colombia. I argue that the rationalization of tasks and the creation of a workers’ union at El Tiempo anticipated some aspects of what would characterize the professionalization of national journalism. In the third part, I explore the printing technologies and means of transportation used by El Tiempo to print and distribute newspaper issues. I argue that faster printing technologies and means of transportation enabled El Tiempo to expand its format and enlarge its circulation. In the conclusion, I suggest that the modernization of the press in Colombia led by El Tiempo had as a particularity that newspapers became modern while being the organ of a political party, in contrast to other Latin American countries where modern newspaper were independent from political parties. Para citar este articulo / to reference this article / para citar este artigo Aponte, O. (2019). The making of a modern newspaper: El Tiempo in Colombia, 1911– 1940. Palabra Clave, 22(4), e2244. DOI: https://doi.org/10.5294/pacla.2019.22.4.4 Recibido: 23/02/2019 Aceptado: 10/06/2019 Publicado en linea: 18/09/2019","PeriodicalId":45002,"journal":{"name":"Palabra Clave","volume":"1 1","pages":""},"PeriodicalIF":0.9,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71158269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-18DOI: 10.5294/pacla.2019.22.4.1
Gilberto Eduardo Gutiérrez, Gisela Cramer
The full expansion and consolidation of History of Communication as a field started at the onset of the 21 st century. The fruitful relationship between history and communication provides a series of insights that problematize the reading of socio-political and cultural changes beyond the specific history of media. Latin America plays a role in this transition with its contribution from the point of view of communication culture. Some advances in the relationship map are presented through examples and different entries in this dossier. Para citar este editorial / to reference this editorial / para citar este editorial Gutierrez, E. y Cramer, G. (2019). Conversaciones con Clio: un campo, muchas historias. Palabra Clave, 22 (4), e2241. DOI: https://doi.org/10.5294/ pacla.2019.22.4.1 Publicado en linea : 18/09/2019
{"title":"Conversaciones con Clío: un campo, muchas historias","authors":"Gilberto Eduardo Gutiérrez, Gisela Cramer","doi":"10.5294/pacla.2019.22.4.1","DOIUrl":"https://doi.org/10.5294/pacla.2019.22.4.1","url":null,"abstract":"The full expansion and consolidation of History of Communication as a field started at the onset of the 21 st century. The fruitful relationship between history and communication provides a series of insights that problematize the reading of socio-political and cultural changes beyond the specific history of media. Latin America plays a role in this transition with its contribution from the point of view of communication culture. Some advances in the relationship map are presented through examples and different entries in this dossier. Para citar este editorial / to reference this editorial / para citar este editorial Gutierrez, E. y Cramer, G. (2019). Conversaciones con Clio: un campo, muchas historias. Palabra Clave, 22 (4), e2241. DOI: https://doi.org/10.5294/ pacla.2019.22.4.1 Publicado en linea : 18/09/2019","PeriodicalId":45002,"journal":{"name":"Palabra Clave","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42801093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-18DOI: 10.5294/pacla.2019.22.4.9
M. Varela
The State Reproduces the Children’s Fantasy Sonemos by Luis Cesar Amadori, Argentina, 1951 O Estado reproduz a fantasia infantil: Sonemos , de Luis Cesar Amadori, Argentina, 1951 During the early administrations of Juan Domingo Peron (1946-1952), the Press and Dissemination Secretariat made films to praise projects promoted by the Government. As part of this communication policy, Luis Cesar Amadori directed the medium-length film Sonemos (1951) that shows the facilities of Ciudad Infantil, a children’s home inaugurated by the Eva Peron Foundation in 1948. This paper intends to describe and analyze the aesthetic choices of this film, based on the hypothesis that the main features of state communication in the period are condensed in this audiovisual piece, due to the scale-down used for presenting this miniature society. From the methodological point of view, we focused on two rhetorical features, understood as a formal correlative of ideological features: miniaturization and imitation. The article concludes that scale-down made it possible to materialize an urban utopia but also showed its limits: a temporary boundary for the containment of children and a spatial one for the city whose production sources were excluded. Furthermore, imitation is outlined as an aesthetic preference of the poor represented by Peronism. It was about giving them the same luxury that the rich enjoyed and not a new lifestyle, as the avant-garde proposed. Both the autonomy of geopolitical blocs proposed by Peronism and the ability to reproduce this model in the future remain unresolved. Para citar este articulo / to reference this article / para citar este artigo Varela, M. (2019). El Estado reproduce la fantasia infantil: “Sonemos”, de Luis Cesar Amadori, Argentina, 1951. Palabra Clave, 22(4), e2249. DOI: https://doi.org/10.5294/pacla.2019.22.4.9 Recibido: 21/02/2019 Aceptado: 04/06/2019 Publicado en linea: 18/09/2019
《国家再现儿童幻想Sonemos》，路易斯·塞萨尔·阿马多里著，阿根廷，1951年。作为这一传播政策的一部分，路易斯·塞萨尔·阿马多里执导了中长电影《Sonemos》（1951年），该片展示了1948年伊娃·庇隆基金会成立的儿童之家Ciudad Infantil的设施。本文试图描述和分析这部电影的美学选择，基于这样一种假设，即由于呈现这个微型社会的尺度缩小，这一时期国家传播的主要特征浓缩在这部视听作品中。从方法论的角度来看，我们关注两个修辞特征，即小型化和模仿性，这两个特征被理解为意识形态特征的形式关联。这篇文章的结论是，缩小规模使城市乌托邦成为可能，但也显示了它的局限性：遏制儿童的临时边界和生产来源被排除在外的城市的空间边界。此外，模仿被概括为以庇隆主义为代表的穷人的一种审美偏好。这是为了给他们富人所享受的奢华，而不是先锋派所提议的新生活方式。庇隆主义提出的地缘政治集团的自主性和未来复制这种模式的能力都尚未解决。引用本文/引用artigo Varela，M.（2019）。El Estado再现了婴儿幻想曲：“Sonemos”，de Luis Cesar Amadori，阿根廷，1951年。Palabra Clave，22（4），e2249。DOI：https://doi.org/10.5294/pacla.2019.22.4.9Recibido:21/02/2019 Aceptado:04/06/2019 Publicado en linea:18/09/2019
{"title":"El Estado reproduce la fantasía infantil: “Soñemos”, de Luis César Amadori, Argentina, 1951","authors":"M. Varela","doi":"10.5294/pacla.2019.22.4.9","DOIUrl":"https://doi.org/10.5294/pacla.2019.22.4.9","url":null,"abstract":"The State Reproduces the Children’s Fantasy Sonemos by Luis Cesar Amadori, Argentina, 1951 O Estado reproduz a fantasia infantil: Sonemos , de Luis Cesar Amadori, Argentina, 1951 During the early administrations of Juan Domingo Peron (1946-1952), the Press and Dissemination Secretariat made films to praise projects promoted by the Government. As part of this communication policy, Luis Cesar Amadori directed the medium-length film Sonemos (1951) that shows the facilities of Ciudad Infantil, a children’s home inaugurated by the Eva Peron Foundation in 1948. This paper intends to describe and analyze the aesthetic choices of this film, based on the hypothesis that the main features of state communication in the period are condensed in this audiovisual piece, due to the scale-down used for presenting this miniature society. From the methodological point of view, we focused on two rhetorical features, understood as a formal correlative of ideological features: miniaturization and imitation. The article concludes that scale-down made it possible to materialize an urban utopia but also showed its limits: a temporary boundary for the containment of children and a spatial one for the city whose production sources were excluded. Furthermore, imitation is outlined as an aesthetic preference of the poor represented by Peronism. It was about giving them the same luxury that the rich enjoyed and not a new lifestyle, as the avant-garde proposed. Both the autonomy of geopolitical blocs proposed by Peronism and the ability to reproduce this model in the future remain unresolved. Para citar este articulo / to reference this article / para citar este artigo Varela, M. (2019). El Estado reproduce la fantasia infantil: “Sonemos”, de Luis Cesar Amadori, Argentina, 1951. Palabra Clave, 22(4), e2249. DOI: https://doi.org/10.5294/pacla.2019.22.4.9 Recibido: 21/02/2019 Aceptado: 04/06/2019 Publicado en linea: 18/09/2019","PeriodicalId":45002,"journal":{"name":"Palabra Clave","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47405218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-16DOI: 10.5294/pacla.2019.22.4.8
Paula Orozco Espinel
espanolEn este articulo, hago un analisis del personaje que Carmen Miranda —famosa actriz y cantante aun hoy recordada como la bombshell brasilena— interpreto entre 1939 y 1945. Me propongo explorar como su presencia en pantalla da cuenta de los deseos y miedos estadounidenses, asociados en parte a la Segunda Guerra Mundial, pero sobre todo en dialogo con imaginarios sobre raza y genero. Para ello, hago un analisis de las comedias musicales en que aparecio la actriz y me concentrare en su rol en las narrativas. Evidencio que, si bien los personajes representados por Miranda son centrales en los numeros musicales, aparecen poco en escena durante el resto de las peliculas y no llevan a cabo acciones que permitan el desarrollo de las historias. Asimismo, demuestro que Miranda no satisfizo los estandares de integracion hemisferica propuestos por la Oficina de Asuntos Interamericanos —organismo gubernamental estadounidense creado para afianzar la cooperacion interamericana durante la guerra— en tanto perpetuaba estereotipos negativos sobre America Latina. De lo anterior, sostengo que la funcion de la actriz estuvo relacionada con atraer y complacer al publico estadounidense. Ella hizo uso de su capacidad para ser comica y sexi al mismo tiempo, que, sostengo, se derivaba del lugar que ocupaba en la jerarquia racial de la epoca. Mi trabajo es novedoso en tanto da por sentado algunos aspectos sobre los que se ha llamado la atencion, tales como el vestuario y el acento de Carmen Miranda, y se concentra en la narrativa de sus peliculas, punto hasta ahora inexplorado. portuguesNeste artigo, faco uma analise da personagem que Carmen Miranda — famosa atriz e cantora ainda hoje lembrada como a bombshell brasileira — interpretou entre 1939 e 1945. Proponho explorar como sua presenca na tela grande evidencia os desejos e os medos estadunidenses, associados, em parte, a Segunda Guerra Mundial, mas, principalmente, em dialogo com imaginarios sobre raca e genero. Para isso, analiso as comedias musicais em que a atriz apareceu e concentro-me em seu papel nas narrativas. Evidencio que, embora as personagens representadas por Carmen Miranda sejam centrais nos numeros musicais, aparecem pouco em cena durante os filmes e nao realizam acoes que permitam o desenvolvimento das historias. Alem disso, demonstro que a atriz nao satisfez os padroes de integracao hemisferica propostos pelo Escritorio de Assuntos Interamericanos — organismo governamental estadunidense criado para consolidar a cooperacao interamericana durante a Guerra —, pois perpetuava estereotipos negativos sobre a America Latina. Com base nisso, defendo que a funcao da atriz esteve relacionada com atrair e agradar o publico estadunidense. Ela fez uso de sua capacidade comica e sexy que, argumento, era derivada do lugar que ocupava na hierarquia racial da epoca. Meu trabalho e novo, visto que aborda alguns aspectos sobre os quais se chama a atencao, como o figurino e o sotaque de Carmen Miranda, e concentra-se
在这篇文章中，我分析了卡门·米兰达在1939年至1945年间扮演的角色，她是著名的女演员和歌手，至今仍被人们铭记为巴西性感炸弹。我打算探索他在屏幕上的出现是如何实现美国人的愿望和恐惧的，这些愿望和恐惧部分与第二次世界大战有关，但主要是在关于种族和性别的想象对话中。因此，我将分析这位女演员在其中出现的音乐喜剧，并关注她在叙事中的角色。在这篇文章中，我分析了米兰达在电影中所扮演的角色，以及她在电影中所扮演的角色，以及她在电影中所扮演的角色。我还指出，米兰达没有达到美洲事务办公室提出的半球一体化标准，这是美国政府为在战争期间加强美洲间合作而设立的一个机构，同时使对拉丁美洲的负面刻板印象长期存在。因此，我认为这位女演员的角色与吸引和取悦美国观众有关。她利用自己既滑稽又性感的能力，我认为这源于她在当时种族等级制度中的地位。我的作品是新颖的，因为它假定了一些引起注意的方面，如卡门·米兰达的服装和口音，并集中在她的电影叙事，这一点到目前为止还没有探索。在这篇文章中，我分析了卡门·米兰达在1939年至1945年间扮演的角色，她是著名的女演员和歌手，至今仍被称为巴西性感炸弹。我建议探讨他在大屏幕上的出现如何突出美国人的欲望和恐惧，部分与第二次世界大战有关，但主要是在与关于raca和性别的想象对话中。为此，我分析了女演员出现的音乐喜剧，并关注她在叙事中的角色。这表明，尽管卡门·米兰达所代表的人物是音乐数字的中心，但他们在电影中很少出现，也没有采取任何行动来发展故事。此外，我还证明，这位女演员并没有达到美洲事务局(美国政府机构，旨在巩固战争期间美洲间的合作)提出的半球一体化标准，因为她延续了对拉丁美洲的负面刻板印象。基于此，我认为女演员的角色与吸引和取悦美国观众有关。她利用她的喜剧和性感能力，她认为这是由于她在当时的种族等级制度中的地位。我的作品是新的，因为它涉及了一些值得注意的方面，如卡门·米兰达的服装和口音，并集中在她的电影叙事，这一点到目前为止还没有探索。在这篇文章中，我分析了卡门·米兰达——一位著名的女演员和歌手——在1939年至1945年间的表演。我想探讨一下她在银幕上的出现如何解释美国人的欲望和恐惧，部分与第二次世界大战有关，但特别与种族和性别想象有关。为此，我研究了这位女演员出现的音乐喜剧，并关注她在叙事中的角色。我说明,而the characters方面by Miranda, they are in musicals中央行为争取小on the缺失for the rest of the actions and do not carry out that的电影the plot。我还指出，米兰达没有遵守美洲事务办公室提出的半球一体化标准，因为她使拉丁美洲的消极陈规定型观念永久化。美洲事务办公室是美国政府为在战争期间加强美洲间合作而设立的机构。因此，我认为她的角色是吸引和取悦美国公众。她用她的能力来做一个有趣和性感的同时，我不知道，我不知道，我不知道，我不知道，我不知道，我不知道。我的论文是新的，因为它提供了一些已经引起注意的方面，比如卡门·米兰达的服装和口音，以及她的电影的叙事，到目前为止还没有探索过。
{"title":"Carmen Miranda en Hollywood (1939-1945): En el centro de la pantalla, al borde de la historia","authors":"Paula Orozco Espinel","doi":"10.5294/pacla.2019.22.4.8","DOIUrl":"https://doi.org/10.5294/pacla.2019.22.4.8","url":null,"abstract":"espanolEn este articulo, hago un analisis del personaje que Carmen Miranda —famosa actriz y cantante aun hoy recordada como la bombshell brasilena— interpreto entre 1939 y 1945. Me propongo explorar como su presencia en pantalla da cuenta de los deseos y miedos estadounidenses, asociados en parte a la Segunda Guerra Mundial, pero sobre todo en dialogo con imaginarios sobre raza y genero. Para ello, hago un analisis de las comedias musicales en que aparecio la actriz y me concentrare en su rol en las narrativas. Evidencio que, si bien los personajes representados por Miranda son centrales en los numeros musicales, aparecen poco en escena durante el resto de las peliculas y no llevan a cabo acciones que permitan el desarrollo de las historias. Asimismo, demuestro que Miranda no satisfizo los estandares de integracion hemisferica propuestos por la Oficina de Asuntos Interamericanos —organismo gubernamental estadounidense creado para afianzar la cooperacion interamericana durante la guerra— en tanto perpetuaba estereotipos negativos sobre America Latina. De lo anterior, sostengo que la funcion de la actriz estuvo relacionada con atraer y complacer al publico estadounidense. Ella hizo uso de su capacidad para ser comica y sexi al mismo tiempo, que, sostengo, se derivaba del lugar que ocupaba en la jerarquia racial de la epoca. Mi trabajo es novedoso en tanto da por sentado algunos aspectos sobre los que se ha llamado la atencion, tales como el vestuario y el acento de Carmen Miranda, y se concentra en la narrativa de sus peliculas, punto hasta ahora inexplorado. portuguesNeste artigo, faco uma analise da personagem que Carmen Miranda — famosa atriz e cantora ainda hoje lembrada como a bombshell brasileira — interpretou entre 1939 e 1945. Proponho explorar como sua presenca na tela grande evidencia os desejos e os medos estadunidenses, associados, em parte, a Segunda Guerra Mundial, mas, principalmente, em dialogo com imaginarios sobre raca e genero. Para isso, analiso as comedias musicais em que a atriz apareceu e concentro-me em seu papel nas narrativas. Evidencio que, embora as personagens representadas por Carmen Miranda sejam centrais nos numeros musicais, aparecem pouco em cena durante os filmes e nao realizam acoes que permitam o desenvolvimento das historias. Alem disso, demonstro que a atriz nao satisfez os padroes de integracao hemisferica propostos pelo Escritorio de Assuntos Interamericanos — organismo governamental estadunidense criado para consolidar a cooperacao interamericana durante a Guerra —, pois perpetuava estereotipos negativos sobre a America Latina. Com base nisso, defendo que a funcao da atriz esteve relacionada com atrair e agradar o publico estadunidense. Ela fez uso de sua capacidade comica e sexy que, argumento, era derivada do lugar que ocupava na hierarquia racial da epoca. Meu trabalho e novo, visto que aborda alguns aspectos sobre os quais se chama a atencao, como o figurino e o sotaque de Carmen Miranda, e concentra-se","PeriodicalId":45002,"journal":{"name":"Palabra Clave","volume":"1 1","pages":""},"PeriodicalIF":0.9,"publicationDate":"2019-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41861983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-16DOI: 10.5294/pacla.2019.22.4.3
Andrea Cadelo
This article explores some representations of Simón Bolívar, on the occasion of the centenary of his death, contained in a special issue that Cromos magazine dedicated to this commemoration on December 13, 1930. From the analysis of fifteen writings authored mostly by members of the Colombian Academy of History, the implications of heroizing Bolívar for the symbolic building of the nation and, more broadly, the American continent are discussed regarding time, space and population. Emphasizing the role that Spain and America play in the representation of the hero, it is noted how an ovation to Bolívar becomes an ode to Spain from the historical, cultural and racial point of view, while his Americanism stands out geographically and politically. It is shown that the praise for the Liberator’s epic abilities is accompanied by genealogical efforts to prove that he belonged to the European white race and to present the process of independence led by him as another phase of the civilizing mission that, since the Conquest, Spain had started in America. In short, the heroization of Bolívar entails disregard for the pre-Hispanic past and ignorance of the history prior to 1492, as well as a denigrating representation of his contemporaries. It is also concluded that, in line with the republicanism of the magazine, Cromos’s Bolívar is generally a republican Bolívar.
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Pub Date : 2019-09-16DOI: 10.5294/pacla.2019.22.4.5
M. Vallejo
Pedro Sondereguer’s Colombia from the Buenos Aires Vantage Point of La Nacion A Colombia de Pedro Sondereguer a partir da atalaia bonaerense de La Nacion Pedro Sondereguer (Villanueva, Bolivar, 1884–Buenos Aires, 1964) made his “Argentine dream” come true in the prestigious newspaper La Nacion in the first half of the 20th century. From there he conceived an Americanist and Colombianist project that he failed to bring to life, but was noticeable in his journalistic work —forgotten both in his home and adoptive countries— and in multiple interviews he gave to the Colombian and foreign press. Why did Sondereguer not return to Colombia when the Liberal Republic was established and his name was mentioned for high positions in Enrique Olaya Herrera’s administration, if he had all the credentials to practice politics and journalism? It is the question underpinning this article inspired by F. Dosse’s theory of the event with its enigmas and constant reinterpretations of the biography of an intellectual. After outlining the editorial line of La Nacion, founded by Bartolome Miter in 1870, the writer and journalist’s career is reconstructed from scarce biographical notes and testimonies of his peers and relatives. Finally, his political ideas are construed, specifically his statesman projects that sought to boost economic development in Colombia, and his actions are analyzed in the context of the time to attempt to answer the question posed. In reviving this author, a contribution is made not only to the history of Colombian and Argentine journalism, but also to Colombian political history at the dawn of the so-called Liberal Republic marked by the war with Peru and the outbreaks of partisan violence. Para citar este articulo / to reference this article / para citar este artigo Vallejo, M. (2019). La Colombia de Pedro Sondereguer desde la atalaya bonaerense de La Nacion. Palabra Clave, 22(4), e2245. DOI: https://doi.org/10.5294/pacla.2019.22.4.5 Recibido: 04/03/2019 Aceptado: 26/07/2019 Publicado en linea: 27/08/2019
Pedro Sondereguer(1884 - 1964年，玻利瓦尔维拉纽瓦)在20世纪上半叶的著名报纸《La Nacion》上实现了他的“阿根廷梦”。从那时起，他构思了一个美国主义和哥伦比亚主义的项目，但他未能将其变为现实，但在他的新闻工作中——在他的家乡和收养国都被遗忘了——以及他接受哥伦比亚和外国媒体的多次采访中，他都引人注目。如果Sondereguer拥有从事政治和新闻工作的所有资格，为什么当哥伦比亚自由共和国成立时，他的名字在恩里克·奥拉亚·埃雷拉(Enrique Olaya Herrera)政府的高层职位上被提及，他没有回到哥伦比亚?这是支撑这篇文章的问题，它的灵感来自于F. Dosse关于这个事件的理论，以及它的谜题和对知识分子传记的不断重新解释。在概述了1870年由Bartolome Miter创立的La Nacion的编辑路线之后，作者和记者的职业生涯从他的同龄人和亲戚的稀少的传记笔记和证词中重建。最后，他的政治思想被解释，特别是他的政治家项目，试图促进哥伦比亚的经济发展，他的行动被分析在时间的背景下，试图回答所提出的问题。在复兴这位作者的过程中，不仅对哥伦比亚和阿根廷新闻业的历史作出了贡献，而且对以与秘鲁的战争和党派暴力爆发为标志的所谓自由共和国成立之初的哥伦比亚政治史作出了贡献。Para citar este articulo /引用本文/ Para citar este artigo Vallejo, M.(2019)。哥伦比亚的Pedro Sondereguer de La atalaya bonaerense de La Nacion。植物学报，22(4)，e2245。DOI: https://doi.org/10.5294/pacla.2019.22.4.5 Recibido: 04/03/2019 acceptado: 26/07/2019 Publicado en lineea: 27/08/2019
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{"title":"Historia(s) de la Comunicación","authors":"","doi":"10.5294/pacla.2019.22.4","DOIUrl":"https://doi.org/10.5294/pacla.2019.22.4","url":null,"abstract":"","PeriodicalId":45002,"journal":{"name":"Palabra Clave","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2019-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46289200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-21DOI: 10.5294/PACLA.2019.22.3.5
Lucila Hinojosa Córdova
Este trabajo tiene como propósito destacar la recuperación que ha tenido el cine mexicano del tercer milenio, en el contexto de las condiciones de producción, exhibición y asistencia a las salas de cine comercial que en el periodo de 2010 a 2017 han prevalecido en el país, luego de recuperarse de una etapa de gran crisis que en la década de los noventa casi lo hizo desaparecer. El estudio forma parte de una línea de investigación que se ha venido realizando sobre la economía política del cine mexicano mediante la aplicación de una metodología mixta, en que se combinan la investigación documental, el análisis de contenido, la encuesta y la entrevista. Los resultados que aquí se muestran señalan que a partir de 2000 la industria cinematográfica mexicana empezó a recuperar sus indicadores de producción, asistencia y recaudación en taquilla; no obstante, esta recuperación no se ve en la exhibición de películas nacionales en las salas de cine comercial, que está condicionada por una legislación inequitativa para el sector que se modificó para integrarse a las demandas del capitalismo global. Los resultados también se comparan con los indicadores de otros países iberoamericanos y se complementan con datos empíricos obtenidos de estudios locales sobre los públicos que asisten a las salas de cine comercial de una importante ciudad del noreste de México. Con este estudio, se busca aportar conocimiento al campo de las industrias culturales en América Latina.
{"title":"Nueva época de oro para el cine mexicano: una mirada local en el horizonte mundial del mercado cinematográfico","authors":"Lucila Hinojosa Córdova","doi":"10.5294/PACLA.2019.22.3.5","DOIUrl":"https://doi.org/10.5294/PACLA.2019.22.3.5","url":null,"abstract":"Este trabajo tiene como propósito destacar la recuperación que ha tenido el cine mexicano del tercer milenio, en el contexto de las condiciones de producción, exhibición y asistencia a las salas de cine comercial que en el periodo de 2010 a 2017 han prevalecido en el país, luego de recuperarse de una etapa de gran crisis que en la década de los noventa casi lo hizo desaparecer. El estudio forma parte de una línea de investigación que se ha venido realizando sobre la economía política del cine mexicano mediante la aplicación de una metodología mixta, en que se combinan la investigación documental, el análisis de contenido, la encuesta y la entrevista. Los resultados que aquí se muestran señalan que a partir de 2000 la industria cinematográfica mexicana empezó a recuperar sus indicadores de producción, asistencia y recaudación en taquilla; no obstante, esta recuperación no se ve en la exhibición de películas nacionales en las salas de cine comercial, que está condicionada por una legislación inequitativa para el sector que se modificó para integrarse a las demandas del capitalismo global. Los resultados también se comparan con los indicadores de otros países iberoamericanos y se complementan con datos empíricos obtenidos de estudios locales sobre los públicos que asisten a las salas de cine comercial de una importante ciudad del noreste de México. Con este estudio, se busca aportar conocimiento al campo de las industrias culturales en América Latina.","PeriodicalId":45002,"journal":{"name":"Palabra Clave","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2019-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44937308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-21DOI: 10.5294/PACLA.2019.22.3.10
Monika Jimenez-Morales, Mireia Montaña, M. Vázquez
Los niños españoles ven una media de 9000 campañas publicitarias en televisión al año. La mayoría de ellas corresponden a alimentos de bajo valor nutricional. Dados los índices de obesidad infantil, la estrecha relación entre la publicidad dirigida a ese colectivo y el consumo de este tipo de alimentos, España aprobó en 2005 el Código de Autorregulación de la Publicidad de Alimentos Dirigida a Menores (PAOS). Este artículo tiene como objetivo analizar las estrategias discursivas utilizadas en las campañas de alimentos de bajo valor nutricional, poniéndolas en relación con el contenido del Código PAOS. Utiliza para ello una metodología mixta que integra técnicas cuantitativas para el análisis de audiencias y cualitativas para el estudio del discurso publicitario. La investigación concluye que, a diferencia de otro tipo de alimentos, la publicidad de productos de bajo valor nutricional centra su estrategia discursiva en palabras y campos semánticos vinculados a la felicidad, la acción y la diversión, entre otros. Las conclusiones apuntan asimismo a la necesidad de revisar el contenido del Código PAOS, de una mayor implicación por parte de la industria alimentaria española, de agencias y de anunciantes, con el objetivo de que la autorregulación de los contenidos publicitarios resulte realmente efectiva. La contribución original del artículo radica en la aportación teórica y empírica que toma como punto de partida la obesidad infantil en España y la interrelaciona con las estrategias discursivas de la publicidad de productos de bajo valor nutricional dirigida a los menores y el marco normativo existente.
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