STUDIES IN LATIN AMERICAN POPULAR CULTURE最新文献

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"title":"Paisajes, territorios y lugares: La imaginación de las fronteras en El baño del Papa","authors":"Marina Moguillansky","doi":"10.7560/SLAPC3408","DOIUrl":"https://doi.org/10.7560/SLAPC3408","url":null,"abstract":"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.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339635","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":"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":null,"pages":null},"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}

{"title":"“En el vórtice de la enajenación”: Nicolás Guillén Landrián y la implosión del documental científico-popular cubano de los 60","authors":"Santiago Juan-Navarro","doi":"10.7560/SLAPC3302","DOIUrl":"https://doi.org/10.7560/SLAPC3302","url":null,"abstract":"The article explores Nicolás Guillén Landrián’s short films in the context of Cuban documentaries of the 1960s. After the triumph of the Cuban Revolution, documentary cinema was assigned a didactic and propagandistic mission in defense of the new institutional order. For a decade the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) produced a large number of films that combined aesthetic avant-garde and political propaganda. During those same years Guillén Landrián revamped the forms of the documentary from an ironic and self-conscious perspective that undermined the ideological foundations of the so-called documentales científicopopulares. In this article, I describe most of his films, which were influenced by a popular, nonofficialist perspective, aimed at revealing the contradictions between the revolution’s dreams and the geographical and social margins.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3302","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339654","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":"Raising the Flag: The Early Years of the Lesbian, Gay, Bisexual, and Trans Press in Brazil, 1963–1981","authors":"R. Howes","doi":"10.7560/SLAPC3312","DOIUrl":"https://doi.org/10.7560/SLAPC3312","url":null,"abstract":"This article describes the beginnings of the lesbian, gay, bisexual, and trans (LGBT) periodical press in Brazil. Structured around Benedict Anderson’s concept of imagined communities and Jürgen Habermas’s theory of the public sphere, it shows how a marginalized group constructed a positive sense of identity and set out to change popular culture by challenging prejudice and discrimination. The analysis concentrates on the mimeograph journals circulated among gay men in the 1960s, such as O Snob, and the pioneering community newspaper Lampião (1978–1981), examining their treatment of gender and sexuality through issues such as cross-dressing, sex roles, and street prostitution. Through their explorations of the LGBT subculture and innovative use of discourse based on popular slang, these publications helped create a new space for the public discussion of sexuality as well as greater cultural awareness of a shared but diverse community.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3312","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339871","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}