南杜蒂两个世界的十字路口:南都提的血统与魔法

IF 0.2 2区 艺术学 0 ART
ARTMargins Pub Date : 2024-06-21 DOI:10.1162/artm_a_00385
Josefina Plá
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引用次数: 0

摘要

本文首次翻译了巴拉圭文学艺术先驱 Josefina Plá 的作品《两个世界的十字路口》:巴拉圭艺术和文学先驱 Josefina Plá 所著的《两个世界的十字路口》。文章从 20 世纪 50 年代巴拉圭现代主义的发展以及阿尔弗雷多-斯特罗斯纳将军军事独裁统治(1954-1989 年)初期的背景出发,概述了这位人物的生平和政治。尤其是她作为 Arte Nuevo 小组的共同创始人参与了巴拉圭现代艺术第一周的活动,并与奥尔加-布林德(Olga Blinder)和利维奥-阿布拉莫(Livio Abramo)等同行关系密切。Plá 对 Ñandutí 的历史研究--蕾丝通常由瓜拉尼妇女制作,是巴拉圭手工艺的象征--与巴拉圭现代主义者的抱负特别相关。Ñandutí在欧洲人和土著人之间有着有争议的起源--巴拉圭现代主义者试图重新塑造这种身份。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Ñandutí: Crossroads of Two Worlds: The Lineage and Magic of Ñandutí
This article introduces the first translation of the text “Ñandutí: Crossroads of Two Worlds” by Josefina Plá, pioneer of Paraguayan art and literature. The text offers an overview of this figure's life and politics, in the context of the development of Paraguayan modernism in the 1950s and in the early years of General Alfredo Stroessner's military dictatorship (1954–1989). Particularly, I address her involvement in the First Week of Paraguayan Modern Art as co-founder of the Arte Nuevo group and the close relationship with peers like Olga Blinder and Livio Abramo. Plá's historical study of Ñandutí - lace is typically made by Guaranì women and emblematic of Paraguayan craft - bear particular relevance to the ambitions of Paraguayan modernists. Ñandutí has contested origins between the European and the Indigenous – identities that Paraguayan modernists sought to remap.
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来源期刊
ARTMargins
ARTMargins ART-
CiteScore
0.10
自引率
0.00%
发文量
16
期刊介绍: ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.
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