Abstract:This essay seeks to revise the periodization of corridos dealing with the consumption of drugs. While it is commonly assumed that corridos depicting the use of drugs first appeared in the last decades of the twentieth century, in this essay I present several samples of corridos and popular songs depicting use of drugs (sometimes in a very explicit and crude manner) that seriously problematizes the notion of narcocultura (narcoculture) as a product of late twentieth-century Mexico. One of these early lyrics, "¿A poco picas?" ("Do you shoot up?"), which narrates in a very crude way the process of preparing heroin, boiling it in a spoon and then injecting it, precedes in some cases over half a century some graphic corridos of the 1990s such as "Líneas de a metro" (Meter-long cocaine lines), "Me gusta ponerle al polvo" ("I like snorting dust"), and "El nariz de a gramo" ("One gram nostril").
摘要：本文试图修正与药物消费有关的corridos的分期。虽然人们普遍认为描述毒品使用的corridos最早出现在20世纪的最后几十年，但在这篇文章中，我展示了几首描述毒品使用（有时以非常明确和粗鲁的方式）的Corrido和流行歌曲的样本，这严重质疑了毒品文化（毒品文化）作为20世纪末墨西哥产物的概念。其中一首早期的歌词“A poco picas？”（“你会开枪吗？”，和“一克鼻孔”。
{"title":"Narcocultura temprana: El consumo de drogas en la corridística de la primera mitad del siglo XX","authors":"Juan Carlos Ramírez-Pimienta","doi":"10.7560/slapc3710","DOIUrl":"https://doi.org/10.7560/slapc3710","url":null,"abstract":"Abstract:This essay seeks to revise the periodization of corridos dealing with the consumption of drugs. While it is commonly assumed that corridos depicting the use of drugs first appeared in the last decades of the twentieth century, in this essay I present several samples of corridos and popular songs depicting use of drugs (sometimes in a very explicit and crude manner) that seriously problematizes the notion of narcocultura (narcoculture) as a product of late twentieth-century Mexico. One of these early lyrics, \"¿A poco picas?\" (\"Do you shoot up?\"), which narrates in a very crude way the process of preparing heroin, boiling it in a spoon and then injecting it, precedes in some cases over half a century some graphic corridos of the 1990s such as \"Líneas de a metro\" (Meter-long cocaine lines), \"Me gusta ponerle al polvo\" (\"I like snorting dust\"), and \"El nariz de a gramo\" (\"One gram nostril\").","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"37 1","pages":"201 - 216"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44175468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:"Gracias a la vida" ("Thanks Be to Life"), composed by Chilean folk singer-songwriter Violeta Parra (1917–1967), is arguably the most recognizable Chilean song in folk and popular music. It has been covered by numerous artists in several languages and countries. This article focuses on the November 2, 2012, cover by Korean female pop duo Davichi (다비치), at a 20,000-capacity crammed Quinta Vergara Amphitheater in Viña del Mar, Chile. Through my analysis of this performance, I offer a postcolonial reading on K-pop rise in Chile, in light of both Chile's and South Korea's neoliberal transformation. By focusing on this particular spectacle as a meta-reference of Parra's life and covers of her song, we can reflect on the ongoing ideological tensions across the Pacific. Employing theoretical frameworks provided by cultural theorist Nelly Richard and sociologist Tomás Moulián, I will address the topics of spectacle, solidarity, and consumerism in the context of Chilean and Korean cases of neoliberal post-dictatorial and post-colonial "neo-hegemonies."
摘要:智利民歌创作歌手维奥莱塔·帕拉(Violeta Parra, 1917-1967)创作的《感谢生命》(Gracias a la vida)可以说是智利民谣和流行音乐中最知名的歌曲。它已经被许多艺术家用不同的语言和国家所覆盖。本文聚焦于2012年11月2日，在智利Viña del Mar的Quinta Vergara圆形剧场，由韩国流行女歌手组合Davichi担任封面人物。通过对这一表现的分析，我结合智利和韩国的新自由主义转型，对韩国流行音乐在智利的崛起提供了一种后殖民的解读。通过关注这一特殊的奇观，作为帕拉生活的元参考和她歌曲的翻唱，我们可以反思太平洋两岸持续不断的意识形态紧张局势。利用文化理论家Nelly Richard和社会学家Tomás Moulián提供的理论框架，我将在智利和韩国的新自由主义后独裁和后殖民“新霸权”案例的背景下讨论景观、团结和消费主义的主题。
{"title":"\"Gracias a la vida\": Violeta Went to Heaven and Came Back Wearing a K-Pop Miniskirt","authors":"Moisés Park","doi":"10.7560/slapc3702","DOIUrl":"https://doi.org/10.7560/slapc3702","url":null,"abstract":"Abstract:\"Gracias a la vida\" (\"Thanks Be to Life\"), composed by Chilean folk singer-songwriter Violeta Parra (1917–1967), is arguably the most recognizable Chilean song in folk and popular music. It has been covered by numerous artists in several languages and countries. This article focuses on the November 2, 2012, cover by Korean female pop duo Davichi (다비치), at a 20,000-capacity crammed Quinta Vergara Amphitheater in Viña del Mar, Chile. Through my analysis of this performance, I offer a postcolonial reading on K-pop rise in Chile, in light of both Chile's and South Korea's neoliberal transformation. By focusing on this particular spectacle as a meta-reference of Parra's life and covers of her song, we can reflect on the ongoing ideological tensions across the Pacific. Employing theoretical frameworks provided by cultural theorist Nelly Richard and sociologist Tomás Moulián, I will address the topics of spectacle, solidarity, and consumerism in the context of Chilean and Korean cases of neoliberal post-dictatorial and post-colonial \"neo-hegemonies.\"","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"37 1","pages":"25 - 50"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41968167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article illuminates the extent to which Chilean Boy Scouting has functioned not merely as a recreational program, but also as a literary project. I call this project scoutismo. Upon textual terrain, Chilean Boy Scout authors have constructed theories of gender and nationality, while Chilean boy scouts, as readers, have found themselves addressed as subjects whose masculinity and Chileanness appear to be in crisis. Through a close reading of short stories published in Chilean Boy Scout magazines from the 1910s to the early 1940s, I attend to the discursive complexity with which editors, authors, and readers have curated, produced, and consumed literature to train one another in the meanings of gender and nationality. Furthermore, I suggest that the Boy Scout magazine medium serves as the literary counterpart of a specific Scout practice: the campfire gathering, which a prominent scoutista author has described as a beautiful sharing of brief literary pieces. Not only around the flames, but also in the pages of magazines, boy scouts and their adult leaders use the short narrative genre to work out their masculinities and nationality.
{"title":"Chilean Boy Scout Magazines as Literary Campfires: Masculinities and Nationality through Scoutista Short Stories","authors":"Parker T. Shaw","doi":"10.7560/slapc3701","DOIUrl":"https://doi.org/10.7560/slapc3701","url":null,"abstract":"Abstract:This article illuminates the extent to which Chilean Boy Scouting has functioned not merely as a recreational program, but also as a literary project. I call this project scoutismo. Upon textual terrain, Chilean Boy Scout authors have constructed theories of gender and nationality, while Chilean boy scouts, as readers, have found themselves addressed as subjects whose masculinity and Chileanness appear to be in crisis. Through a close reading of short stories published in Chilean Boy Scout magazines from the 1910s to the early 1940s, I attend to the discursive complexity with which editors, authors, and readers have curated, produced, and consumed literature to train one another in the meanings of gender and nationality. Furthermore, I suggest that the Boy Scout magazine medium serves as the literary counterpart of a specific Scout practice: the campfire gathering, which a prominent scoutista author has described as a beautiful sharing of brief literary pieces. Not only around the flames, but also in the pages of magazines, boy scouts and their adult leaders use the short narrative genre to work out their masculinities and nationality.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"37 1","pages":"1 - 24"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45278646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Based on historical documents, press, museum collections, and academic publications, the early introduction of the phonograph in Mexico and its late incorporation into anthropology is the starting point to reconstruct the Mexican and American network cobuilt by this technology and the symmetrical and asymmetrical relational modes it helped reproduce and extend that built their respective social-science programs. We will address the question of why a technology is successful in one place and a failure in another through the reconstruction of the early attempts of the phonograph's transference to Mexico during the last decades of the nineteenth century and the process of its stabilization in Mexican anthropology until the 1940s. Based on Latour's technical mediation approach, the agentive role of this technological object renders visible the internal conflicts and intellectual traditions that assigned a specific role to Amerindian societies in Mexican anthropology, thus confronting the universal ambitions of the scientific program designed by the agents engaged in the process.
{"title":"Grabar la alteridad: Transferencias y mediaciones técnicas en la antropología mexicana","authors":"R. Lira","doi":"10.7560/slapc3708","DOIUrl":"https://doi.org/10.7560/slapc3708","url":null,"abstract":"Abstract:Based on historical documents, press, museum collections, and academic publications, the early introduction of the phonograph in Mexico and its late incorporation into anthropology is the starting point to reconstruct the Mexican and American network cobuilt by this technology and the symmetrical and asymmetrical relational modes it helped reproduce and extend that built their respective social-science programs. We will address the question of why a technology is successful in one place and a failure in another through the reconstruction of the early attempts of the phonograph's transference to Mexico during the last decades of the nineteenth century and the process of its stabilization in Mexican anthropology until the 1940s. Based on Latour's technical mediation approach, the agentive role of this technological object renders visible the internal conflicts and intellectual traditions that assigned a specific role to Amerindian societies in Mexican anthropology, thus confronting the universal ambitions of the scientific program designed by the agents engaged in the process.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"37 1","pages":"155 - 177"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46917196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Crafted as posters to promote solidarity gatherings, a series of illustrations of Augusto C. Sandino circulated in San Francisco between 1978 and 1979. Later modified as postcards, these images became part of the iconography of the Mission Cultural Center. A reading of these graphics reveals a visual imagery of resistance that weaves local and transnational aesthetics and praxis. A consideration of their changing form and circulation unveil some of the histories of Central American-Mexican-Chicanx collaborations in California, while introducing us to a network of artists and activists that forged a new cultural platform and practices of alliances. A formal analysis of these images and their transformations suggests that they anticipate the ideological trajectory of Sandino's legacy and depict the historical processes therein. In their changes and re-creations, these renderings of Sandino document the dynamics of a Latinx collaboration, specifically between Mexican/Americans and Central Americans in Northern California, while reflecting the gentrification of the Mission District and the San Francisco Bay Area.
摘要:1978年至1979年间，奥古斯托·c·桑迪诺(Augusto C. Sandino)的一系列插画在旧金山流传，这些插画是为了促进团结集会而制作的海报。这些图像后来被修改为明信片，成为教会文化中心的一部分。对这些图形的解读揭示了一种交织着本地和跨国美学与实践的抵抗视觉意象。考虑到它们不断变化的形式和循环，揭示了中美洲-墨西哥-墨西哥裔美国人在加利福尼亚合作的一些历史，同时向我们介绍了一个由艺术家和活动家组成的网络，他们建立了一个新的文化平台和联盟的实践。对这些图像及其转变的形式分析表明，它们预测了桑迪诺遗产的意识形态轨迹，并描绘了其中的历史进程。在他们的变化和再创造中，桑迪诺的这些效果图记录了拉丁裔合作的动态，特别是墨西哥/美国人和北加州中美洲人之间的合作，同时反映了教会区和旧金山湾区的士绅化。
{"title":"Portraits of Transnational Collaboration: Retracing and Remaking the Image of Augusto C. Sandino in San Francisco","authors":"J. M. Medina","doi":"10.7560/slapc3705","DOIUrl":"https://doi.org/10.7560/slapc3705","url":null,"abstract":"Abstract:Crafted as posters to promote solidarity gatherings, a series of illustrations of Augusto C. Sandino circulated in San Francisco between 1978 and 1979. Later modified as postcards, these images became part of the iconography of the Mission Cultural Center. A reading of these graphics reveals a visual imagery of resistance that weaves local and transnational aesthetics and praxis. A consideration of their changing form and circulation unveil some of the histories of Central American-Mexican-Chicanx collaborations in California, while introducing us to a network of artists and activists that forged a new cultural platform and practices of alliances. A formal analysis of these images and their transformations suggests that they anticipate the ideological trajectory of Sandino's legacy and depict the historical processes therein. In their changes and re-creations, these renderings of Sandino document the dynamics of a Latinx collaboration, specifically between Mexican/Americans and Central Americans in Northern California, while reflecting the gentrification of the Mission District and the San Francisco Bay Area.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"37 1","pages":"112 - 88"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45261898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Manuel Mujica Lainez was a prolific writer whose work spanned for more than fifty years. Even though he is better known for his novels and short stories, he has also dedicated his efforts to other genres, for example travel chronicles. This research, which is inserted in a line of work already begun in previous studies, proposes to study the travel chronicles written by the author in 1935 and 1945 when visiting Germany. The chronicles put into tension aspects related to the circumstances of production of each series, its context of publication, the writer's ideology, and his aesthetic interests. In addition to this, it is interesting to consider the reasons that could have taken the author to exclude most of these texts from the anthology he published before passing and the way in which some of these anecdotes are introduced in Cecil (1972).
{"title":"Viaje al corazón de las tinieblas: Crónicas, ficciones y ambigüedades sobre la Alemania nazi en Manuel Mujica Lainez","authors":"D. Niemetz","doi":"10.7560/slapc3704","DOIUrl":"https://doi.org/10.7560/slapc3704","url":null,"abstract":"Abstract:Manuel Mujica Lainez was a prolific writer whose work spanned for more than fifty years. Even though he is better known for his novels and short stories, he has also dedicated his efforts to other genres, for example travel chronicles. This research, which is inserted in a line of work already begun in previous studies, proposes to study the travel chronicles written by the author in 1935 and 1945 when visiting Germany. The chronicles put into tension aspects related to the circumstances of production of each series, its context of publication, the writer's ideology, and his aesthetic interests. In addition to this, it is interesting to consider the reasons that could have taken the author to exclude most of these texts from the anthology he published before passing and the way in which some of these anecdotes are introduced in Cecil (1972).","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"37 1","pages":"66 - 87"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45420125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Entrevista a Alex Schlenker, cineasta alemán que hace cine en Ecuador","authors":"Alex Schlenker, Traci Roberts-Camps","doi":"10.7560/slapc3711","DOIUrl":"https://doi.org/10.7560/slapc3711","url":null,"abstract":"","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"37 1","pages":"217 - 228"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48068779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Through an analysis of the transformation of Pavones, Costa Rica, from rural village to booming tourist destination, this article examines the interactions between entrepreneurial capitalists and peasant smallholders, and how these relations and roles shifted as a result of sudden economic and social change in the region. It also explores how a nation-state in economic crisis that increasingly relied on the tourist industry responded to conflicts among expats and rural residents. More broadly, this article is about the practice and politics of development in the contemporary rural Global South. It traces the archival trail of Daniel Fowlie, a US surfer, developer, and business executive who played a central role in the transformation of Pavones into a famed international surfing destination and who, in the process, was imprisoned for international drug trafficking. Building on scholarship about travel and exploration literature, the article examines Fowlie's discursive representation of Pavones and Costa Ricans and connects it to larger, dominant discourses in surf and travel media about narratives of discovery and development that often embody an imperialist nostalgia to inculcate a particular idea about time and industriousness as part of development.
{"title":"Paving the Way to Pavones: Property Wars, Narratives of Discovery, and the Fantasy of Surfing Paradise","authors":"A. Eastman","doi":"10.7560/SLAPC3602","DOIUrl":"https://doi.org/10.7560/SLAPC3602","url":null,"abstract":"Abstract:Through an analysis of the transformation of Pavones, Costa Rica, from rural village to booming tourist destination, this article examines the interactions between entrepreneurial capitalists and peasant smallholders, and how these relations and roles shifted as a result of sudden economic and social change in the region. It also explores how a nation-state in economic crisis that increasingly relied on the tourist industry responded to conflicts among expats and rural residents. More broadly, this article is about the practice and politics of development in the contemporary rural Global South. It traces the archival trail of Daniel Fowlie, a US surfer, developer, and business executive who played a central role in the transformation of Pavones into a famed international surfing destination and who, in the process, was imprisoned for international drug trafficking. Building on scholarship about travel and exploration literature, the article examines Fowlie's discursive representation of Pavones and Costa Ricans and connects it to larger, dominant discourses in surf and travel media about narratives of discovery and development that often embody an imperialist nostalgia to inculcate a particular idea about time and industriousness as part of development.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"36 1","pages":"2 - 29"},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45676727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In the twentieth century, traditional practices and popular culture in Chile went into decline. The situation was compounded by the fact that in the plastic arts, there was already an established hierarchy in which art based on traditional culture and crafts (artesanía) occupied a subordinate position. The Chilean artist and folklorist Violeta Parra sought to disrupt this paradigm. In this article I explore the way Parra sought to defend popular culture through her visual art by creating paintings that were based on traditional culture but were also extremely modern. There is a paradox inherent in the modernism of Violeta Parra's art and the way it sought to reposition popular culture. On the one hand, Parra's work was indigenous. It counteracted the demise of traditional culture that was brought about by modernism. On the other hand, her work was utterly hybrid. Violeta Parra's art enacted a revival of traditional culture through the fusion of a modernist aesthetics with motifs and narratives from Chilean popular culture. To explore the way Parra sought to redefine popular culture, I deconstruct the subjects and visual syntax of the paintings Machitún, Las tres Pascualas, and Casamiento de negros. I look at the resonance of her work, which arises from the popular subjects she presents and the way her work disrupts hierarchies in the field of cultural production.
摘要：二十世纪，智利的传统习俗和流行文化走向衰落。在造型艺术中，已经有了一个既定的等级制度，以传统文化和工艺为基础的艺术（artesanía）占据了从属地位，这一事实加剧了这种情况。智利艺术家和民俗学家Violeta Parra试图打破这种范式。在这篇文章中，我探讨了帕拉如何通过她的视觉艺术来捍卫流行文化，她创作的绘画既基于传统文化，又极具现代感。维奥莱塔·帕拉艺术的现代主义及其试图重新定位流行文化的方式中存在着一个内在的悖论。一方面，帕拉的作品是本土的。它抵消了现代主义所带来的传统文化的消亡。另一方面，她的作品是完全混合的。维奥莱塔·帕拉的艺术通过现代主义美学与智利流行文化的主题和叙事的融合，实现了传统文化的复兴。为了探索帕拉试图重新定义流行文化的方式，我解构了《Machitún》、《Las tres Pascualas》和《Casamiento de negros》画作的主题和视觉句法。我看到了她的作品的共鸣，这源于她所呈现的流行主题，以及她的作品颠覆文化生产领域等级制度的方式。
{"title":"Repositioning the Popular: The Hybrid Aesthetics of Violeta Parra's Paintings Machitún, Las tres Pascualas, and Casamiento de negros","authors":"Lorna Dillon","doi":"10.7560/SLAPC3609","DOIUrl":"https://doi.org/10.7560/SLAPC3609","url":null,"abstract":"Abstract:In the twentieth century, traditional practices and popular culture in Chile went into decline. The situation was compounded by the fact that in the plastic arts, there was already an established hierarchy in which art based on traditional culture and crafts (artesanía) occupied a subordinate position. The Chilean artist and folklorist Violeta Parra sought to disrupt this paradigm. In this article I explore the way Parra sought to defend popular culture through her visual art by creating paintings that were based on traditional culture but were also extremely modern. There is a paradox inherent in the modernism of Violeta Parra's art and the way it sought to reposition popular culture. On the one hand, Parra's work was indigenous. It counteracted the demise of traditional culture that was brought about by modernism. On the other hand, her work was utterly hybrid. Violeta Parra's art enacted a revival of traditional culture through the fusion of a modernist aesthetics with motifs and narratives from Chilean popular culture. To explore the way Parra sought to redefine popular culture, I deconstruct the subjects and visual syntax of the paintings Machitún, Las tres Pascualas, and Casamiento de negros. I look at the resonance of her work, which arises from the popular subjects she presents and the way her work disrupts hierarchies in the field of cultural production.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"36 1","pages":"145 - 160"},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44831880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:A genre within the genre of Mexican telenovelas is the rurally set production that establishes a feudal-like context for characters whose attitudes and behaviors are anachronistic and might best be described as a rejection of modernity. One aspect of this rejection is seen in the treatment of women who do not conform to traditional, that is, Marianist, standards of womanhood. The "wild woman" of these telenovelas initially pushes the boundaries of gender roles, but before the final chapter, romantic love and motherhood tame her. Because telenovelas have been shown to have a didactic effect on the viewing audience, the investigation at hand not only analyzes the representation of these women and their eventual taming but also considers the potential impact of such portrayals on the viewing audience. The telenovelas that I point to in this study aired on Mexico's national channel, Televisa, and later on Univisión: Apuesta por un amor (Gambling on Love) (2004–2005), Fuego en la sangre (Burning for Revenge) (2008), Soy tu dueña (A Woman of Steel) (2010), and La que no podía amar (The One Who Couldn't Love) (2011–2012).
摘要：墨西哥电视小说类型中的一种类型是以乡村为背景的作品，它为那些态度和行为不合时宜的人物建立了一个封建式的背景，最好用对现代性的拒绝来形容。这种排斥的一个方面体现在对不符合传统，即玛丽安主义女性标准的女性的对待上。这些电视小说中的“狂野女人”最初突破了性别角色的界限，但在最后一章之前，浪漫的爱情和母性驯服了她。由于电视小说已被证明对观众有说教的效果，手头的调查不仅分析了这些女性的形象及其最终的驯服，还考虑了这些形象对观众的潜在影响。我在这项研究中提到的电视中篇小说在墨西哥国家频道Televisa播出，后来在Univisión播出：Apuesta por un amor（《爱的赌博》）（2004年至2005年）、Fuego en la sangre（《为复仇而燃烧》）（2008年）、Soy tu dueña（《钢铁女人》）（2010年）和la que no podía amar（《不能爱的人》）（2011年至2012年）。
{"title":"Taming the Wild Woman in Twenty-First-Century Mexican Telenovelas","authors":"J. Tate","doi":"10.7560/SLAPC3610","DOIUrl":"https://doi.org/10.7560/SLAPC3610","url":null,"abstract":"Abstract:A genre within the genre of Mexican telenovelas is the rurally set production that establishes a feudal-like context for characters whose attitudes and behaviors are anachronistic and might best be described as a rejection of modernity. One aspect of this rejection is seen in the treatment of women who do not conform to traditional, that is, Marianist, standards of womanhood. The \"wild woman\" of these telenovelas initially pushes the boundaries of gender roles, but before the final chapter, romantic love and motherhood tame her. Because telenovelas have been shown to have a didactic effect on the viewing audience, the investigation at hand not only analyzes the representation of these women and their eventual taming but also considers the potential impact of such portrayals on the viewing audience. The telenovelas that I point to in this study aired on Mexico's national channel, Televisa, and later on Univisión: Apuesta por un amor (Gambling on Love) (2004–2005), Fuego en la sangre (Burning for Revenge) (2008), Soy tu dueña (A Woman of Steel) (2010), and La que no podía amar (The One Who Couldn't Love) (2011–2012).","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"36 1","pages":"161 - 177"},"PeriodicalIF":0.1,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43709702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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