Abstract:This article revisits Che Guevara’s concept of the new man through close readings of the book and film Motorcycle Diaries and Steven Soderbergh’s film Che: Part One (2008). Although I also briefly engage Che’s Episodes of the Cuban Revolutionary War and use Richard Dindo’s film Ernesto Che Guevara: The Bolivian Diary (1996) as a framing device, my primary focus is a critical analysis of the origins of the utopian myth of the new man.
{"title":"Sacrifice, Faith, Mestizo Identity: Three Views of Che’s “New Man”","authors":"Gregory Stephens","doi":"10.7560/SLAPC3409","DOIUrl":"https://doi.org/10.7560/SLAPC3409","url":null,"abstract":"Abstract:This article revisits Che Guevara’s concept of the new man through close readings of the book and film Motorcycle Diaries and Steven Soderbergh’s film Che: Part One (2008). Although I also briefly engage Che’s Episodes of the Cuban Revolutionary War and use Richard Dindo’s film Ernesto Che Guevara: The Bolivian Diary (1996) as a framing device, my primary focus is a critical analysis of the origins of the utopian myth of the new man.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"34 1","pages":"168 - 195"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339645","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 1987 the historical telenovela Senda de gloria (Path of Glory) debuted to the delight of audiences and illustrated a fundamental link between telenovelas and national identity. The series, a coproduction between Televisa, Mexico’s largest media conglomerate, and the Instituto Mexicano del Seguro Social (IMSS), weaves the melodramatic tale of the Álvarez family into the backdrop of the 1910 Mexican Revolution, specifically from the 1917 constitution to Lázaro Cárdenas’s nationalization of oil in 1938. This article employs the discourse of the “revolutionary family” to understand both the plot and the production of Senda de gloria, as well as the political context of 1980s Mexico. Furthermore, the article explores IMSS as part of the revolutionary family and its involvement in the production of relatively costly telenovelas. Senda demonstrates how Mexican heroes and villains were recast in the neoliberal turn after 1988, and in this political and economic transition, the very history that the PRI employed to legitimize its power instead discredited the party and underscored its illegitimacy.
{"title":"Cutting Cárdenas: Revising the Revolutionary Family in 1980s Mexico","authors":"M. Huska","doi":"10.7560/SLAPC3401","DOIUrl":"https://doi.org/10.7560/SLAPC3401","url":null,"abstract":"Abstract:In 1987 the historical telenovela Senda de gloria (Path of Glory) debuted to the delight of audiences and illustrated a fundamental link between telenovelas and national identity. The series, a coproduction between Televisa, Mexico’s largest media conglomerate, and the Instituto Mexicano del Seguro Social (IMSS), weaves the melodramatic tale of the Álvarez family into the backdrop of the 1910 Mexican Revolution, specifically from the 1917 constitution to Lázaro Cárdenas’s nationalization of oil in 1938. This article employs the discourse of the “revolutionary family” to understand both the plot and the production of Senda de gloria, as well as the political context of 1980s Mexico. Furthermore, the article explores IMSS as part of the revolutionary family and its involvement in the production of relatively costly telenovelas. Senda demonstrates how Mexican heroes and villains were recast in the neoliberal turn after 1988, and in this political and economic transition, the very history that the PRI employed to legitimize its power instead discredited the party and underscored its illegitimacy.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"34 1","pages":"1 - 27"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339879","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}
This article analyzes Buenaventura Luna’s career as a folk musician, writer, and radio entertainer in Argentina, from about 1937 to 1955, by tracing connections to his earlier life as Eusebio Dojorti (his real name), an activist of the radical “Bloquista” movement of San Juan and later on as a supporter of Juan Perón. A similar cultural program can be discerned in both his political ideas and his musical and radio endeavors. Luna was convinced of the necessity to vindicate the criollo, long oppressed under elitist projects that systematically favored European immigrants. But unlike nationalists and other participants in the folklore movement, Luna was not so much interested in rescuing the “spiritual” legacy of traditions as in improving the lives of the lower classes. With this aim in mind, Luna produced a noteworthy body of work in which he challenged the official discourses of the nation—according to which Argentina was a white European country—by illuminating the ethnic heterogeneity of the native population and the diversity of its colors. But in doing so, Luna was not only proposing an intellectual project but also dealing with his own personal experience as a dark-skinned provinciano living in “white” Buenos Aires.
{"title":"Criollismo, política y etnicidad en las ideas y el folklore de Eusebio Dojorti (Buenaventura Luna)","authors":"Ezequiel Adamovsky","doi":"10.7560/SLAPC3412","DOIUrl":"https://doi.org/10.7560/SLAPC3412","url":null,"abstract":"This article analyzes Buenaventura Luna’s career as a folk musician, writer, and radio entertainer in Argentina, from about 1937 to 1955, by tracing connections to his earlier life as Eusebio Dojorti (his real name), an activist of the radical “Bloquista” movement of San Juan and later on as a supporter of Juan Perón. A similar cultural program can be discerned in both his political ideas and his musical and radio endeavors. Luna was convinced of the necessity to vindicate the criollo, long oppressed under elitist projects that systematically favored European immigrants. But unlike nationalists and other participants in the folklore movement, Luna was not so much interested in rescuing the “spiritual” legacy of traditions as in improving the lives of the lower classes. With this aim in mind, Luna produced a noteworthy body of work in which he challenged the official discourses of the nation—according to which Argentina was a white European country—by illuminating the ethnic heterogeneity of the native population and the diversity of its colors. But in doing so, Luna was not only proposing an intellectual project but also dealing with his own personal experience as a dark-skinned provinciano living in “white” Buenos Aires.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"435 1","pages":"242 - 271"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71340089","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:By employing Hans Jauss’s literary reception theories as elaborated in Toward an Aesthetic of Reception (1982), I interpret Marina Castañeda’s Amores virtuales (2010) as exemplary of the persistence of lo mexicano in intellectual circles and among the public at large. Even while treating distinctly twenty-first-century themes in a postmodern manner, Amores virtuales recasts many themes most famously (and infamously) expressed in Octavio Paz’s El laberinto de la soledad (1950). In this way, Castañeda’s novel is an attempt—rather paradoxically—to dismantle the labyrinth of solitude even while accepting its terms of engagement. Ultimately, my article underscores the difficulty of thinking beyond an inherently national imaginary and proposes that Castañeda’s novel exemplifies the arduousness of overcoming what can best be understood as a “Pazian horizon of expectations.”
摘要:本文运用汉斯·约斯在《走向接受美学》(1982)中阐述的文学接受理论，将玛丽娜Castañeda的《虚拟的爱》(2010)解读为“墨西哥人”在知识界和广大公众中持续存在的典范。即使在以后现代的方式处理21世纪的主题时，《虚拟的爱》也重塑了奥克塔维奥·帕斯(Octavio Paz)的《孤独的劳动者》(El laberinto de la soledad, 1950)中最著名(也最臭名昭著)的主题。通过这种方式，Castañeda的小说是一种尝试——相当矛盾地——在接受其约定条件的同时，拆除孤独的迷宫。最后，我的文章强调了超越固有的民族想象的思考的困难，并提出Castañeda的小说体现了克服“帕兹期待视野”的艰难。
{"title":"New Technologies, Old Nationalities: Mexico’s Digital Labyrinth in Marina Castañeda’s Amores virtuales","authors":"Kevin M. Anzzolin","doi":"10.7560/SLAPC3410","DOIUrl":"https://doi.org/10.7560/SLAPC3410","url":null,"abstract":"Abstract:By employing Hans Jauss’s literary reception theories as elaborated in Toward an Aesthetic of Reception (1982), I interpret Marina Castañeda’s Amores virtuales (2010) as exemplary of the persistence of lo mexicano in intellectual circles and among the public at large. Even while treating distinctly twenty-first-century themes in a postmodern manner, Amores virtuales recasts many themes most famously (and infamously) expressed in Octavio Paz’s El laberinto de la soledad (1950). In this way, Castañeda’s novel is an attempt—rather paradoxically—to dismantle the labyrinth of solitude even while accepting its terms of engagement. Ultimately, my article underscores the difficulty of thinking beyond an inherently national imaginary and proposes that Castañeda’s novel exemplifies the arduousness of overcoming what can best be understood as a “Pazian horizon of expectations.”","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"34 1","pages":"196 - 213"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339757","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:The obsession with food and its relation to our nutrition, diet, identity, and communication seems endless. With all this discussion (and consumption) of food, the food studies field is making a significant impression in the humanities. Literary critics, in particular, have focused on how food and its surrounding cultural mores allow for new insights into artistic works. This article addresses the peculiar presentation of food, memory, and hunger in Jesús Díaz’s Dime algo sobre Cuba and focuses on the representation of food (or intentional lack of food) and memory portrayed in this bicultural novel—specifically how Díaz examines representations of hunger in relation to Cuba’s Special Period and the mass exodus of balseros during the 1990s. By referencing critics such as David Sutton and Roland Barthes, I analyze the roles of food and hunger in the novel and the protagonist’s “survival” on memories fueled by the absence of food.
摘要:人们对食物的痴迷以及它与我们的营养、饮食、身份和交流的关系似乎是无止境的。随着所有这些关于食物的讨论(和消费)，食物研究领域在人文学科中留下了重要的印象。文学评论家尤其关注食物及其周围的文化习俗如何为艺术作品提供新的见解。本文探讨Jesús Díaz小说《Dime algo sobre Cuba》中食物、记忆与饥饿的独特表现，并聚焦于这部双文化小说中食物(或故意缺乏食物)与记忆的表现，特别是Díaz如何检视古巴特殊时期与1990年代大批巴尔塞罗人外流的饥饿表现。通过引用大卫·萨顿(David Sutton)和罗兰·巴特(Roland Barthes)等评论家的观点，我分析了食物和饥饿在小说中的作用，以及主人公在没有食物的情况下依靠记忆“生存”的过程。
{"title":"Food, Memory, and a Starving Dentist: Jesús Díaz’s Special Period in Times of Peace","authors":"G. Ignizio","doi":"10.7560/SLAPC3405","DOIUrl":"https://doi.org/10.7560/SLAPC3405","url":null,"abstract":"Abstract:The obsession with food and its relation to our nutrition, diet, identity, and communication seems endless. With all this discussion (and consumption) of food, the food studies field is making a significant impression in the humanities. Literary critics, in particular, have focused on how food and its surrounding cultural mores allow for new insights into artistic works. This article addresses the peculiar presentation of food, memory, and hunger in Jesús Díaz’s Dime algo sobre Cuba and focuses on the representation of food (or intentional lack of food) and memory portrayed in this bicultural novel—specifically how Díaz examines representations of hunger in relation to Cuba’s Special Period and the mass exodus of balseros during the 1990s. By referencing critics such as David Sutton and Roland Barthes, I analyze the roles of food and hunger in the novel and the protagonist’s “survival” on memories fueled by the absence of food.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"34 1","pages":"108 - 96"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339573","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 investigates the relationship between the rebirth, reinvention, and proliferation of a carnivalesque street practice known as murga and neoliberal shifts in the metropolis of Buenos Aires, Argentina. I argue that a new generation of murgueros has adopted and reinvented murga as a result of neoliberal transformations of public space and neighborhoods in Buenos Aires and as a form of resistance to those changes. My analysis explores “doing” murga as an artistic practice in public and “being” in the murga troupe Cachengue y Sudor. For the former, murgueros in Cachengue y Sudor have refashioned murga as a means of reclaiming public space in Buenos Aires in the face of a pervasive climate of inseguridad, increasing regulation and fragmentation of public space, and city residents’ greater reliance on the private sphere. For the latter, Cachengue y Sudor operates as a nonlocalized community for murgueros experiencing a lack of social engagement and an environment of suspicion, mistrust, and alienation in their neighborhoods. Finally, I draw attention to how murga in its reinvented form represents a novel and important model of collective protest that has been largely overlooked in academic literature.
摘要:本文探讨了在阿根廷首都布宜诺斯艾利斯，一种被称为“murga”的狂欢式街头活动的重生、改造和扩散与新自由主义转变之间的关系。我认为，新一代的murgueros已经接受并重新创造了murga，这是布宜诺斯艾利斯公共空间和社区新自由主义转型的结果，也是对这些变化的一种抵抗形式。我的分析探讨了在公共场合“做”穆尔加作为一种艺术实践，以及在穆尔加剧团“Cachengue y Sudor”中的“存在”。对于前者来说，在面对普遍存在的不安全气氛、日益增加的公共空间监管和碎片化以及城市居民对私人领域的更大依赖的情况下，Cachengue y Sudor的murgueros将murga改造为一种回收布宜诺斯艾利斯公共空间的手段。对于后者，Cachengue y Sudor作为一个非本地化的社区，为那些在社区中缺乏社会参与和怀疑、不信任和疏远的环境的murgueros提供服务。最后，我提请注意，在其改造形式的穆尔加是如何代表了一个在学术文献中很大程度上被忽视的集体抗议的新颖和重要的模式。
{"title":"Murga as Mobilization: Cultural Resistance to Neoliberalism in Buenos Aires","authors":"Mariana Pardes","doi":"10.7560/SLAPC3411","DOIUrl":"https://doi.org/10.7560/SLAPC3411","url":null,"abstract":"Abstract:This article investigates the relationship between the rebirth, reinvention, and proliferation of a carnivalesque street practice known as murga and neoliberal shifts in the metropolis of Buenos Aires, Argentina. I argue that a new generation of murgueros has adopted and reinvented murga as a result of neoliberal transformations of public space and neighborhoods in Buenos Aires and as a form of resistance to those changes. My analysis explores “doing” murga as an artistic practice in public and “being” in the murga troupe Cachengue y Sudor. For the former, murgueros in Cachengue y Sudor have refashioned murga as a means of reclaiming public space in Buenos Aires in the face of a pervasive climate of inseguridad, increasing regulation and fragmentation of public space, and city residents’ greater reliance on the private sphere. For the latter, Cachengue y Sudor operates as a nonlocalized community for murgueros experiencing a lack of social engagement and an environment of suspicion, mistrust, and alienation in their neighborhoods. Finally, I draw attention to how murga in its reinvented form represents a novel and important model of collective protest that has been largely overlooked in academic literature.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"34 1","pages":"214 - 241"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339767","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}
Resumen:Considerando el período que se inicia con el golpe de estado de 1973, que puso fin al experimento socialista de Salvador Allende e inició la violenta dictadura de Augusto Pinochet, buena parte de los estudios sobre música popular chilena se ha focalizado de manera casi exclusiva en el estudio de la “canción de protesta”, música cuyas letras reflejan un explícito mensaje político y social. Partiendo de la necesidad de complejizar el estudio de la producción musical chilena bajo dictadura, y considerando un espectro más amplio de actitudes disidentes, este artículo propone leer una serie de manifestaciones críticas respecto de la retórica neoliberal sostenida por el régimen dictatorial. Las distintas secciones del artículo dan cuenta de cómo, durante los primeros años de la década de los ochenta, el grupo Electrodomésticos utilizó mecanismos de la electrónica, y en particular la manipulación de la repetición, para desterritorializar el espacio público sonoro y generar una mirada crítica del “milagro chileno”; al mismo tiempo que Los Prisioneros utilizaron la repetición recurrente de consignas en sus canciones para expresar un resentimiento que canalizó el disenso juvenil a través de un pop “plebeyo y populista”.
{"title":"De Electrodomésticos a Los Prisioneros: La música electrónica, el pop y la crítica del “milagro chileno”","authors":"I. Chauvin","doi":"10.7560/SLAPC3403","DOIUrl":"https://doi.org/10.7560/SLAPC3403","url":null,"abstract":"Resumen:Considerando el período que se inicia con el golpe de estado de 1973, que puso fin al experimento socialista de Salvador Allende e inició la violenta dictadura de Augusto Pinochet, buena parte de los estudios sobre música popular chilena se ha focalizado de manera casi exclusiva en el estudio de la “canción de protesta”, música cuyas letras reflejan un explícito mensaje político y social. Partiendo de la necesidad de complejizar el estudio de la producción musical chilena bajo dictadura, y considerando un espectro más amplio de actitudes disidentes, este artículo propone leer una serie de manifestaciones críticas respecto de la retórica neoliberal sostenida por el régimen dictatorial. Las distintas secciones del artículo dan cuenta de cómo, durante los primeros años de la década de los ochenta, el grupo Electrodomésticos utilizó mecanismos de la electrónica, y en particular la manipulación de la repetición, para desterritorializar el espacio público sonoro y generar una mirada crítica del “milagro chileno”; al mismo tiempo que Los Prisioneros utilizaron la repetición recurrente de consignas en sus canciones para expresar un resentimiento que canalizó el disenso juvenil a través de un pop “plebeyo y populista”.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"34 1","pages":"56 - 77"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339525","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:After the economic, social, and political crisis in Argentina in the 1990s, a new musical subgenre emerged: the polemical cumbia villera. While traditionally Argentine tango represented the displaced, oppressed “other” and challenged hegemonic discourses of nationhood, a comparable representation and process appears to be occurring with cumbia villera. This article draws a parallel between the origins of tango in the nineteenth century and cumbia villera in the 1990s, analyzing the impact cumbia villera has had on Argentine culture and questioning its place in the national panorama in light of the country’s bicentennial celebrations.
{"title":"Tango and Cumbia villera: Origins, Encounters, and Tensions","authors":"M. Favoretto","doi":"10.7560/SLAPC3404","DOIUrl":"https://doi.org/10.7560/SLAPC3404","url":null,"abstract":"Abstract:After the economic, social, and political crisis in Argentina in the 1990s, a new musical subgenre emerged: the polemical cumbia villera. While traditionally Argentine tango represented the displaced, oppressed “other” and challenged hegemonic discourses of nationhood, a comparable representation and process appears to be occurring with cumbia villera. This article draws a parallel between the origins of tango in the nineteenth century and cumbia villera in the 1990s, analyzing the impact cumbia villera has had on Argentine culture and questioning its place in the national panorama in light of the country’s bicentennial celebrations.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"34 1","pages":"78 - 95"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339535","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 this article we analyze the film The Pope’s Toilet (El baño del Papa, Enrique Fernández and César Charlone, 2007) to explore the construction of an imaginary representation of material and symbolic frontiers between Brazil and Uruguay. We perform a cultural analysis of the film, based on its textual and visual structures, particularly the mise-en-scène and treatment of space. Following our analysis, we argue that the film constructs the representation of the frontiers using various semiotic strategies, among which the use of off-screen space becomes central. Brazilian space is almost not visible in the film, although it is central to the story, and the film takes advantage of this asymmetry to build suspense.Resumen:En este artículo analizo El baño del Papa (Enrique Fernández and César Charlone, 2007) con el objetivo de explorar en el texto fílmico la construcción de una representación imaginaria de las fronteras entre Brasil y Uruguay. Para ello, realizo un análisis cultural del film en su contexto social. Esta lectura se concentra, por un lado, en las estructuras narrativas y espectaculares del film, en particular la puesta en escena y el tratamiento del espacio. Por otro lado, la lectura atiende a los diálogos y a los contenidos temáticos del relato, en relación con los referentes extratextuales. Siguiendo nuestro análisis, argumento que el film construye una representación de las fronteras utilizando diversas estrategias semióticas y narrativas, resultando central el uso del fuera de campo. El territorio brasileño es casi invisible en la pantalla, a pesar de lo cual adquiere centralidad narrativa, y el film aprovecha este desequilibrio para reforzar el suspenso. El artículo muestra que la representación de la frontera en términos materiales y simbólicos propone demarcaciones territoriales, socioculturales e ideológicas.
摘要:本文通过对电影《教皇的厕所》(El baño del Papa, Enrique Fernández and csamar Charlone, 2007)的分析，探讨巴西和乌拉圭之间的物质和符号边界的想象性表征的构建。我们根据影片的文本和视觉结构，特别是场景布置和空间处理，对影片进行文化分析。根据我们的分析，我们认为电影使用各种符号学策略构建了边界的表征，其中对银幕外空间的使用成为中心。巴西空间在电影中几乎不可见，尽管它是故事的中心，电影利用这种不对称来制造悬念。履历表:eneste artículo analyizo El baño del Papa (Enrique Fernández和cacimsar Charlone, 2007) con El objectivo de explore En El text . fílmico la construcción de una representación imaginaria de las fronteras entre brazil和Uruguay。Para ello，实现unanálisis文化电影在社会背景下。讲座的主题是集中、集中、集中、集中、集中、集中、集中、集中、集中、集中、集中、集中、集中、集中、集中、集中。穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷，穷。siguendo nuestro análisis，论证电影的构建，representación利用多样性战略的前沿，semióticas通过叙事，结果是中央el uso del fuera de campo。El territorio brasileño es casi invisible en la pantalla，是一种地方集中化叙事的代表，通过电影的批准，este desequilibrium to para reforzar El suspenso。 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Abstracto:Este artículo presenta una crónica etnográfica de un día en un estudio de grabación clandestino o underground de música rap localizado en un barrio marginal de Buenos Aires. A través del rap, el género musical de enfoque que se produce en El Triángulo Estudio, se crea una óptica que nos permite profundizar el fenómeno racial, económico, y geográfico de un sector emergente de la cultura popular en Argentina. Centro del Margen identifica algunos procesos que aportan a la creación comunitaria y que manifiestan un sentido de lugar para los protagonistas de El Triángulo Estudio. Utilizando estos procesos creativos, se propone el término lumpen-innovador para describir los ingenieros, compositores y productores musicales autodidactas que nacen dentro de estas comunidades bajo condiciones de escasez económica. Aprovechando la crónica o diario como herramienta de reflexividad, el artículo experimenta con la representación textual. Apartándose de una voz omnipresente que puede causar generalizaciones, Centro del Margen opta por una narración subjetiva que apodera a sus protagonistas como colaboradores en la creación del presente etnográfico. El artículo identifica un sector creciente de intelectuales orgánicos que están exitosamente circunnavegando los protocolos formales e institucionales de las industrias culturales. Adicionalmente, el artículo cuestiona por qué la música rap, un género que se popularizo a través de toda Latinoamérica hace más de una década, no llegó a popularizarse en Argentina hasta recientemente. Entre los varios elementos que podrían explicar este fenómeno Centro del Margen examina la escasez de población afro-argentina, la recuperación de la crisis nacional económica del 2001, y las influencias musicales de una generación criada con rock en español que le pertenece a los “nietos de los desaparecidos”.Abstract:This ethnography, titled “Centro del Margen” (Center of the Margin), presents a journal chronicle of a day spent in an underground or clandestine rap music recording studio located in a marginal low income neighborhood of Buenos Aires. This article uses rap, the music produced at El Triángulo Estudio, to build a lens from which to narrate the racial, economic, social and geographic conditions of an emergent sector of Argentina’s pop culture. Centro del Margen identifies the processes of place making and community building that occur at El Triángulo Estudio and proposes the term lumpen-innovator to describe the self-taught engineers, songwriters, and producers who are born from processes of communal creativity under conditions of economic scarcity. By using a chronicle or diary writing style with a subjective narrative that replaces an omnipresent voice that can cause generalizations, the essay experiments with textual representation and aims to empower its protagonists as active agents in the creation of the ethnographic present. Centro del Margen identifies a growing sector of organic intellectuals who are successfu
摘要:本文介绍了在布宜诺斯艾利斯边缘社区的一个秘密或地下说唱音乐工作室的一天的民族志编年史。通过说唱，在Estudio triangle中出现的音乐流派的焦点，它创造了一种视角，让我们加深了阿根廷新兴流行文化的种族、经济和地理现象。Centro del Margen确定了一些有助于社区创作的过程，并为El triangulo Estudio的主角展示了一种地方感。使用这些工艺创新、工程师人选lumpen-innovador一词来形容,作曲家和音乐制作人自出生在缺水的状态下这些社区经济。这篇文章的目的是分析西班牙语和葡萄牙语之间的关系。脱离一个声音无处不在可能导致一般化,中心选择幅度主观叙述了主要的行动者为本民族志的伙伴建立。本文分析了文化产业的正式和制度规制，发现了越来越多的有机知识分子成功地围绕文化产业的正式和制度规制。此外，这篇文章质疑为什么说唱音乐，一种十多年前在拉丁美洲流行起来的音乐类型，直到最近才在阿根廷流行起来。几个要素之间可以解释这种现象中心审查人口短缺幅度afro-argentina 2001年恢复国家经济危机,和摇滚音乐影响一代人的女仆与西班牙在专用孙子失踪人员”。摘要:这个民族志，标题为“Centro del Margen”(边缘的中心)，介绍了在布宜诺斯艾利斯一个边缘低收入社区的地下或秘密说唱音乐录音室度过的一天的日记编年史。这条用说唱,the music在生产的汽车研究三角形,to build a lens from which to narrate种族、经济、社会和地理条件of an emergent《阿根廷流行文化部门。中心identifies幅度of place making and community building that the流程occur at the一研究三角和政见工程师lumpen-innovator to the self-taught描述、songwriters和生产商who are born from过程of国际creativity under conditions of economic scarcity)。By using a纪事or diary writing style with a主观narrative that replaces an omnipresent voice可引起generalizations the essay representation and区域to empower的文本experiments with its protagonists as active制剂in the creation of the ethnographic目前。中心identifies幅度有机部门成长韩国智库who are successfully circumnavigating institutionalized protocols of the culture industries,同时它还以explain why说唱音乐,摇椅that has been popularized解聘Latin America for more than a decade, is only现在的阿根廷青年之间的技术人才。潜在因素include the association of说唱音乐with Afro-diasporic sounds combined with a low人口Afro-Argentine人口、repercussions from the national 2001年经济危机that limited access to electro-musical音乐生产技术及基于influences of a generation marked as the“孙儿的“原》[岩石。
{"title":"Centro del Margen: Crónica de un día en un estudio de grabación clandestino de música rap en Buenos Aires","authors":"Melisa Rivière","doi":"10.7560/SLAPC3402","DOIUrl":"https://doi.org/10.7560/SLAPC3402","url":null,"abstract":"Abstracto:Este artículo presenta una crónica etnográfica de un día en un estudio de grabación clandestino o underground de música rap localizado en un barrio marginal de Buenos Aires. A través del rap, el género musical de enfoque que se produce en El Triángulo Estudio, se crea una óptica que nos permite profundizar el fenómeno racial, económico, y geográfico de un sector emergente de la cultura popular en Argentina. Centro del Margen identifica algunos procesos que aportan a la creación comunitaria y que manifiestan un sentido de lugar para los protagonistas de El Triángulo Estudio. Utilizando estos procesos creativos, se propone el término lumpen-innovador para describir los ingenieros, compositores y productores musicales autodidactas que nacen dentro de estas comunidades bajo condiciones de escasez económica. Aprovechando la crónica o diario como herramienta de reflexividad, el artículo experimenta con la representación textual. Apartándose de una voz omnipresente que puede causar generalizaciones, Centro del Margen opta por una narración subjetiva que apodera a sus protagonistas como colaboradores en la creación del presente etnográfico. El artículo identifica un sector creciente de intelectuales orgánicos que están exitosamente circunnavegando los protocolos formales e institucionales de las industrias culturales. Adicionalmente, el artículo cuestiona por qué la música rap, un género que se popularizo a través de toda Latinoamérica hace más de una década, no llegó a popularizarse en Argentina hasta recientemente. Entre los varios elementos que podrían explicar este fenómeno Centro del Margen examina la escasez de población afro-argentina, la recuperación de la crisis nacional económica del 2001, y las influencias musicales de una generación criada con rock en español que le pertenece a los “nietos de los desaparecidos”.Abstract:This ethnography, titled “Centro del Margen” (Center of the Margin), presents a journal chronicle of a day spent in an underground or clandestine rap music recording studio located in a marginal low income neighborhood of Buenos Aires. This article uses rap, the music produced at El Triángulo Estudio, to build a lens from which to narrate the racial, economic, social and geographic conditions of an emergent sector of Argentina’s pop culture. Centro del Margen identifies the processes of place making and community building that occur at El Triángulo Estudio and proposes the term lumpen-innovator to describe the self-taught engineers, songwriters, and producers who are born from processes of communal creativity under conditions of economic scarcity. By using a chronicle or diary writing style with a subjective narrative that replaces an omnipresent voice that can cause generalizations, the essay experiments with textual representation and aims to empower its protagonists as active agents in the creation of the ethnographic present. Centro del Margen identifies a growing sector of organic intellectuals who are successfu","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"34 1","pages":"28 - 55"},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339925","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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