CREACIÓN E IDENTIDAD DE LA UNR Criação E Identidade Da UNR UNR’S Creation and Identity
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The Emergent Decade : Latin American Painters and Painting In
a? - H , Latin American Painters and Painting in trie 1'960's THE - -y /- ENT Text by Thomas M. Messer Artjsts' profiles in text and pictures by Cornell Capa DEC THE EMERGENT DECADE THE EMERGENT DECADE Latin American Painters and Painting in the 1960's Text by Thomas M. Messer Artists' profiles in text and pictures by Cornell Capa Prepared under the auspices of the Cornell University Latin American Year 1965-1966 and The Solomon R. Guggenheim Museum > All rights reserved First published 1966 Library of Congress Catalog Card Number: 66-15382 Design by Kathleen Haven Printed in Switzerland bv Buchdruckerei Winterthur AG, Winterthur CONTENTS All text, except where otherwise indicated, is by Thomas M. Messer, and all profiles are by Cornell Capa. Foreword by William H. MacLeish ix Acknowledgments xi Introduction xm Brazil Correspondence: Thomas M. Messer and Marc Berkowitz 3 Primitive Art 16 Profile: Raimundo de Oliveira 18 Uruguay Uruguayan Painting 29 Argentina Correspondence: Thomas M. Messer and Samuel Paz 35 Profile: Rogelio Polesello and Martha Peluffo 48 Expatriates: New York 59 Profile: Jose Antonio Fernandez-Muro 62 Chile Profile: Ricardo Yrarrazaval 74 Correspondence: Thomas M. Messer and Jorge Elliott 81 Peru Correspondence: Thomas M. Messer and Carlos Rodriguez Saavedra 88 Profile: Fernando de Szyszlo 92 Colombia Correspondence: Thomas M. Messer to Marta Traba 102 Profile: Alejandro Obregon 104 Correspondence: Marta Traba to Thomas M. Messer 1 14 Venezuela Biographical Note: Armando Reveron 122 Living in Painting: Venezuelan Art Today by Clara Diament de Sujo 124 Correspondence: Thomas M. Messer to Clara Diament de Sujo 126 Expatriates: Paris 135 Profile: Soto 136 Mexico Profile: Rufino Tamayo 146 Correspondence: Thomas M. -
The Argentine 1960S
The Argentine 1960s David William Foster It was the time of the Beatles, of high school studies, of “flower power,” of social ist revolution, of a new French movie house, of poetry, of Sartre and Fanon, of Simone de Beauvoir, of Salinger and Kerouac, of Marx and Lenin. It was all of that together. It was also the time of the Cuban Revolution, which opened our hearts, and it was the time of a country, Argentina, which took the first steps to ward vio lence that was to define our future (Fingueret 20-21). El cine es una institución que se ha modificado tanto que ya perdió su carácter de “región moral”. Las salas de cine hasta los primeros años de la década del sesen- ta eran lugares de reunión social donde la gente iba a estar como en un centro de reunión social, un club o un café del que se era habitué....Las antiguas salas tenían personalidad propia y algunas cum plían otras funciones que aquellas para las que habían sido creadas; en tiempo de represión sexual, eran frecuen- tadas por parejas heterosexuales que se besaban y mas- turbaban. Los homosexuales tenían su espaci en cier- tas salas llamadas “populares” no frecuentadas por familias, y en mu chos casos sus espectadores eran varones solos. “Hacer el ajedrez” se decia en el argot de los habitués, en esos cines, a cambiarse cons - tantemente de butaca en busca de la compañía ade- cuada (Sebreli 344).1 In Argentina, it was the best of times, and it was the worst of times. -
Benito Lynch: the New Interpreter of the Pampa
WNW-O LYNCH: THE NEW iNT-ERPRETER OF THE -PAMPA~-.. Thesis for the Dogma a? M. A. M‘ICHEGoAN STATE UNIVERSITY Richard Dwight Pawers E964 THIS” LIBRARY Michigan State University BENITO LYNCH: THE NEW INTERPRETER OF THE PAMPA I By Richard Dwight Powers A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Foreign Languages Spanish 196“ -.. _ o.» .J wordemphd a J. HZUMPLm ;.Hm h mowmeo \( U) Ss.h C w “out.” 06 )movxmh I. O\Ci‘hOEW/IIW any \l/ L 3H éomo . .... J ._ --K|-’ .16...» “ I to).‘1 .. OSPCDE HUDSUmapV wo+c_e 6 m ? UOQQ®.:U mopfiw- p. mahfiwa P. ’I'J‘I II)...- .'<I.ll\‘-U.IIJI ‘ 4f! LP...» . ... C(C .rrlur. C HEEL?» .3) .Q o:rL.C EEC... I O O O O .... .1 V1!..l)|_1.J.\. ..IA than. ......(CFHC a. O O O O 0 0 ””8 ....n1 EH} 9;“ .(O (.-.... 8 3) Z.) x. .. _ .L .21 «4 rk( n5 1w_.r4. v mOCeflyirLr. In.) 1‘. .1....4_.J ..Zfl. [Pk ....-(r/ a -.(.C.. ...,L 00.,1 ‘J. A. 11.74-47 .a. 1H] 0 .1 .K. F ...... U. .. frkrr LLL. L fl) mo...‘ ..JJ..‘I.... v1 . .DFrP_I...(-fi I. .q .d‘C'ol JuJ.‘ J ‘IOOI‘. .14.. r . Lark r. .U. ..(?! (‘ H. .k [ml F LIH mpwuusaonb on7_o .wo -.a-r-m as o:.nqu “VFW Lo MCQEmHm d .H . 20H-u.momem .1 hmwraxm INTRODUCTION many epithets have been placed after the name of Benito Lynch. -
Romancing the Masses: Puig, Perón and Argentine Intellectuals at the Fin De Siècle
Romancing the Masses: Puig, Perón and Argentine Intellectuals at the Fin de Siècle Dr. Silvia Tandeciarz DePaul University Prepared for delivery at the 1997 meeting of the Latin American Studies Association, Continental Plaza Hotel, Guadalajara, Mexico, April 17-19, 1997. 2 I’d like to begin by situating my intervention here in two contexts: that of my work as a cultural critic in the American Academy and that of my work on Peronism. My comments emerge from questions I have been asking myself regarding the meaning and place of intellectual work, questions that have been overdetermined by polemics central to both, Peronist discourse and the relatively new field of Cultural Studies. My immersion in Cultural Studies has pressed me to ask what it means to be an intellectual in what we might call the age of postmodernism; what are the new challenges that face us, given the new ways in which culture is disseminated, given the new technologies we have to contend with, given the literary permutations they’ve inspired in traditional genres and the transformations of the publishing world, etc.? What is our role? Are we still, in some way, gatekeepers, determining, as Daniel James has written, “notions of social and cultural legitimacy--what Pierre Bourdieu has defined as ‘cultural and symbolic’ capital”?1 Are we secretly activists trying to convert students into militant subversives? What kinds of culture will we promote? What will we teach in “culture and civilization” classes and to what ends? What does it mean to form part of institutions that -
THE EMERGENT DECADE Armando Morales
a? - H , Latin American Painters and Painting in trie 1'960's THE - -y /- ENT Text by Thomas M. Messer Artjsts' profiles in text and pictures by Cornell Capa DEC Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/emergentdecadelaOOmess THE EMERGENT DECADE Armando Morales. Landscape. 1964. --'- THE EMERGENT DECADE Latin American Painters and Painting in the 1960's Text by Thomas M. Messer Artists' profiles in text and pictures by Cornell Capa Prepared under the auspices of the Cornell University Latin American Year 1965-1966 and The Solomon R. Guggenheim Museum > All rights reserved First published 1966 Library of Congress Catalog Card Number: 66-15382 Design by Kathleen Haven Printed in Switzerland bv Buchdruckerei Winterthur AG, Winterthur CONTENTS All text, except where otherwise indicated, is by Thomas M. Messer, and all profiles are by Cornell Capa. Foreword by William H. MacLeish ix Acknowledgments xi Introduction xm Brazil Correspondence: Thomas M. Messer and Marc Berkowitz 3 Primitive Art 16 Profile: Raimundo de Oliveira 18 Uruguay Uruguayan Painting 29 Argentina Correspondence: Thomas M. Messer and Samuel Paz 35 Profile: Rogelio Polesello and Martha Peluffo 48 Expatriates: New York 59 Profile: Jose Antonio Fernandez-Muro 62 Chile Profile: Ricardo Yrarrazaval 74 Correspondence: Thomas M. Messer and Jorge Elliott 81 Peru Correspondence: Thomas M. Messer and Carlos Rodriguez Saavedra 88 Profile: Fernando de Szyszlo 92 Colombia Correspondence: Thomas M. Messer to Marta Traba 102 Profile: Alejandro Obregon 104 Correspondence: Marta Traba to Thomas M. Messer 1 14 Venezuela Biographical Note: Armando Reveron 122 Living in Painting: Venezuelan Art Today by Clara Diament de Sujo 124 Correspondence: Thomas M. -
Argentine Literature As Part of the Latin-American: Debates, Characteristics and Dialogues
INTERLITTERARIA 2020, 25/2: 359–366 359 Argentine Literature as Part of the Latin-American: Debates, Characteristics and Dialogues Argentine Literature as Part of the Latin-American: Debates, Characteristics and Dialogues LUCÍA CAMINADA ROSSETTI Abstract. The article will suggest that the texts and ways of reaching some materials and perspectives in Argentina, remains at a national level. It is important to notice that in order to read criticism and theory regarding Latin American literature, Spanish from Río de la Plata separates at some point the fields. In that regard, one of the greatest assets and achievements of Argentinian literary research concerns the relationship between politics and fiction. In connection with this it might be asked how we can think of Argentinian literature without linking it to the social discourse? How can we think of the comparative field of Latin-American and Argentinian literature as one academic area of studies? In our view, comparatism seems to be one of the loneliest areas of studies in terms of the fields of theory, fiction and criticism. We thus suggest that in Argentina, literary research and criticism in general are strictly concerned with only one option: the national culture. Thus, exclusively, western theoretical frames are chosen to read literature and comparative perspectives are mostly applied to European studies. That is why I insist on the fact that comparative literary research is not represented institutionally at all. Keywords: Latin America; Argentine literature; comparative literature; cultural studies Introduction How do we think of the comparative field of Latin-American and Argentinian literature as one and the same academic area of studies? In our view, comparative literature in Latin America seems to be one of the loneliest areas of study in terms of theory, fiction and criti-cism. -
Representative Gaucho Poetry and Fiction of Argentina
REPRESENTATIVE GAUCHO POETRY AND FICTION OF ARGENTINA APPROVED Major g£6f££sor Ml^afor Professor d 1V1.: • Director of ;he epartm %Foreig n Languages v^Ly Dean of the Graduate School / IDSPKBSSNTATIV2 GAUCHO ?OE'J?KX AMD FICTION OF AEGi^XINA THS3IS Presented to the Graduate Council of tr.3. North Texas Stnte 'J;iI\"or,slty in I-n Fulfillment: oi -the Heauirevents ?cr the .Degree of r f ^ t r«T ^ ^ a t> rnr* r tn, ^ 4 i \ ul i \ f„ jt By :i.ltar Gava, B, i: I>en tOi11 0" ax-i«? v *'• .L") f'j 2 -1, -," O 3LB OF COiOC.-^T* Chapter Pace I. THE GAUCHC ?RC!I A HISTORICAL ?SKSPEO?lVlS . .1 II. TJJS GAUGED IM J-OZZrCS. Mffi 7ICTI0N . 22 III. SAMTOS VHGA Br KILARIO ASCASUBI. c"i . IV. FAU3TG BX Sa'J&JJISIAO DSL CAHPO *K> V, CL G-AUCflO KART1N FIERRu riX JOSS HERNAJJDSZ. ... 49 VI, JUAJ IICHE IRA BY 3DMDO GUTIERREZ64 VII. SL CAZAMIZLi'TO D3ri L^CCHA BX ROBERTO J. PAXRQ. * » ?6 VIII, DOJi SEGCIOO SOi''BRA BX RICARDO G'JIRALDISS, . „ 8,5 IX. EL ROKAI-!OS DE Ul4 GAUCHC BX BSlilTO I^IICK. ...» $>9 X, CONCLUSION . , ....... 10* r tr OH tc-pv * * * , * i.J*^ /r, CI i:'~v*R X •IHS GAUCfcO FRCK A HISTORICAL PJHSPE'JS'.rjE In ordsr to pursue &r». intelligent study of the gaucho, as depicted ""la several literary contributions of Argentine literature, one should first view him from a historical, per- spective* U nfoi'tunately, too roanv of the works concerning the gauche reflect personal end biased opinions, rather than a trae account of his life* Sorse have portrayed the g a v. -
A Narrative Commons in the Ruins of Argentine State Terror
Review The space of disappearance: A narrative commons in the ruins of Argentine state terror Karen Elizabeth Bishop SUNY Press, New York, 2020, 258 pp., ISBN: 978-1-4384-7851-7 Contemporary Political Theory (2021). https://doi.org/10.1057/s41296-021-00479-9 In the The Space of Disappearance. A Narrative Commons in the Ruins of Argentine State Terror, Karen Elizabeth Bishop examines four novels by three contemporary Argentine writers: Rodolfo Walsh’s Variaciones en rojo (Variations in Red), Julio Corta´zar’s Fantomas contra los vampiros multinacionales (Fantomas against the Multinational Vampires), and Toma´s Eloy Martinez’s La novela de Pero´n and Santa Evita. Her reading of novels written both before and after the last Argentine dictatorship from 1976 to 1983 leads her to posit what may be the core hypothesis of the book: disappearance, the privileged technique through which the Juntas’ generals disap- peared political opposition to the neoliberal model they were implementing, is also a literary device by which the authors studied proposed ‘divided, refracted and embedded ontologies’ (p. 11). Drawing on deconstructionist analysis of voids and absences as an ‘active hermeneutic agent at work in literature’ (p. 15), Bishop reads Walsh, Cortazar, and Martinez’s works not only as denouncing neoliberalism and engaging in politics, nor as national dramas refracting the agitated recent Argentine history, but rather as ‘anticipatory fictions’ (p. 154) that foresee the dissimulations, doublings, displace- ments, and suspensions that were later implemented by the dictatorship. This anticipatory potential is neither confined to Argentina nor to Walsh’s invention of the non-fiction novel – an invention that is typically (mis)attributed to Truman Capote, especially in the ‘Global North’ (p. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Dematerialization in the Argentine Context : Experiments in the Avant-garde in the 1960s Permalink https://escholarship.org/uc/item/31p8448f Author Mazadiego, Elize M. Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Dematerialization in the Argentine Context: Experiments in the Avant-garde in the 1960s A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Elize M. Mazadiego Committee in charge: Professor W. Norman Bryson, Co-Chair Professor Grant Kester, Co-Chair Professor Steve Fagin Professor Ruben Ortiz-Torres Professor Emily Roxworthy 2015 Copyright Elize M. Mazadiego, 2015 All Rights Reserved. The Dissertation of Elize M. Mazadiego is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Co-Chair ____________________________________________________________ Co-Chair University of California, San Diego 2015 iii TABLE OF CONTENTS Signature Page ................................................................................................................... iii Table -
Republic 7-4215 - Ext
NEWS RELEASE NATIONAL GALLERY Or ART \YASHIN-3TON 25, D. C. REpublic 7-4215 - ext. 246 FOR RELEASE: Sunday Papers, April 15, 1956 WASHINGTON, April 14: David E. Finley, Director of the National Gallery of Art, announced today that a special loan exhibition entitled "A CENTURY AND A HALF OF ARGENTINE PAINTING" will be opened at the National Gallery on Tuesday afternoon, April 17th, at 3 o'clock, in the presence of His Excellency the Argentine Ambassador, Dr« Adolfo Vicchir This exhibition was made possible through the cooperation of the National Gallery of Fine Arts of Buenos Aires, the Museum of History of Argentina, and many private collectors The exhibition comes to this country under the auspices of the Argentine Embassy as a gesture of friendship and good-will on the part of the Government of Argentina, The 113 paintings included were selected and assembled under the direction of a Committee consisting of Senior Julio Payro, well-known art critic; Senor Jose Marco del Pont, and Senor Alberto Prando, Counselor in charge of cultural affairs of the Argentine Embassy in Washington This exhibition will give the visitor an opportunity to survey the evolution of Argentine painting over the last 150 years. The earliest works ore predominantly portraits of out standing personalities of the time* and scenes depicting the life and landscape of Argentina's early settlers. They date National Gallery of Art -2- from 1810 when Ar^tatina gained its independence from Spain, and are the work of both primitive painters and those well- versed in contemporary -
El Arte Moderno Desde Las “Sombras” Del Peronismo Andrea Giunta Annual Session of the International Seminar Art Studies From
El arte moderno desde las “sombras” del peronismo Andrea Giunta Annual Session of the International Seminar Art Studies from Latin America, UNAM and The Rockefeller Foundation, Querétaro, November 1-5, 1997. Este ensayo constituyó un capítulo de mi libro Vanguardia, internacionalismo y política. Arte argentino en los años sesenta (Buenos Aires, Paidós, 2001 y 2003 y Durham, Duke University Press, 2007). Se incluye la publicación en español y en inglés. El arte moderno en los márgenes del peronismo En sus notas del 23 de agosto de 1944, publicadas por la revista Sur, Jorge Luis Borges describía las impresiones que le habían dejado los festejos de la liberación de París en Buenos Aires: “Esa jornada populosa me deparó tres heterogéneos asombros: el grado físico de mi felicidad cuando me dijeron la liberación de París; el descubrimiento de que una emoción colectiva puede no ser innoble; el enigmático y notorio entusiasmo de muchos partidarios de Hitler”. En unas pocas páginas, Borges deslizaba la descripción sugerente de una realidad conflictiva, cargada de contradicciones políticas, ideológicas y culturales, que se alzaba como un relato desfasado, imponiendo en la Argentina un orden del que el mundo parecía desembarazarse. Un orden que, por otra parte, no era posible catalogar con los mismos parámetros con los que se ordenaba la escena internacional. Lo cierto es que las cosas no eran muy claras y que la historia de esos años muchas veces fue escrita como si lo fueran, tanto desde los discursos gestados por el peronismo como por el antiperonismo. Los movimientos abstractos geométricos, protagonizados por los grupos Madí, Arte Concreto Invención y Perceptista, gestados y desarrollados durante el peronismo, han sido estudiados en un tiempo despojado de historia, dejando de lado las relaciones cambiantes que el peronismo tuvo con el arte y con la cultura en los diez primeros años de su gobierno. -
Argentine "Dirty War" : Human Rights Law and Literature Alexander H
Golden Gate University School of Law GGU Law Digital Commons Theses and Dissertations Student Scholarship 1997 Argentine "Dirty War" : Human Rights Law and Literature Alexander H. Lubarsky Golden Gate University School of Law Follow this and additional works at: http://digitalcommons.law.ggu.edu/theses Part of the Human Rights Law Commons, Latin American History Commons, Modern Literature Commons, and the Political History Commons Recommended Citation Lubarsky, Alexander H., "Argentine "Dirty War" : Human Rights Law and Literature" (1997). Theses and Dissertations. Paper 35. This Thesis is brought to you for free and open access by the Student Scholarship at GGU Law Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of GGU Law Digital Commons. For more information, please contact [email protected]. The Argentine "Dirty War" : Human Rights Law and Literature By: Alexander H. Lubarsky LL.M Thesis 1997 • • • • • • • • • Golden liote lniuer-sity School of LoUJ LL.M in I nternotioonol Legal Studies Pr-ofessor- Sompong Suchor-itkul a a a a a a a a "Everyone who has worked for the struggle for human rights knows that the real enemy is silence. II - William Barkerl INTRODUCTION In 1973 Gen. Juan Domingo Peron was voted into office as President of Argentina after an 18 year exile. He died the following year in 1974 when his second wife, Isabella Peron, served as his successor. In 1976 the military overthrew Isabella Peron as part of their "calling" to restore law and order to a chaotic Argentina. To do so, the military declared an all out war on any sectors of life which could be viewed as a threat to the maintenance of military rule.