Chapter 1 a Poetics of the Superficial
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TOURING DOSSIER2013 Centre De Cultura Contemporània De Barcelona 2013
DOSSIER ITINERANCIA Centre de CulturaEXHIBITION Contemporània de Barcelona TOURING DOSSIER2013 Centre de Cultura Contemporània de Barcelona 2013 Bolaño Archive. 1977-2003 ArchivoA CCCB production Bolaño. with the participation 1977-2003 of the Casa del Lector and the collaboration of the Instituto Cervantes CREDITS PRODUCTION MANAGEMENT CCCB Exhibitions Service CURATORS Juan Insua Valerie Miles SPACE DESIGN AND GRAPHIC DESIGN Ignasi Bonjoch — www.bonjoch.com Anna Catasús AUDIOVISUAL PRODUCTIONS Juan Insua, Toni Curcó Maria Padró PHOTOGRAPHY WORK Adrià Goula INTERACTIVE DESIGN AND PROGRAMMING Currysauce.net — http://www.currymedia.net/ COORDINATION Liliana Antoniucci [email protected] TOURING Carlota Broggi [email protected] A CCCB production with the participation of the Casa del Lector and the collaboration of the Instituto Cervantes CONTENTS 1. INTRODUCTION 2. EXHIBITION LAYOUT 2.1. THE UNKNOWN UNIVERSITY 2.2. INSIDE THE KALEIDOSCOPE 2.3. THE VISITOR FROM THE FUTURE 3. TECHNICAL DETAILS 4. PARALLEL ACTIVITIES 5. CATALOGUE 1. INTRODUCTION Bolaño Archive. 1977-2003 Curators: Valérie Miles, Juan Insua Dates: 5 March - 30 June 2013 Planned venues: NY, Berlin, Chile, Madrid The CCCB organised the Bolaño Archive exhibition as a tribute to the exceptional Chilean writer coinciding with the tenth anni- versary of his death in 2013, and with the sixth biennial edition of Kosmopolis, Amplified Literature Fest. Roberto Bolaño (Santiago de Chile 1953 – Barcelona 2003) is one of the most important writers of recent decades. His books have become an indisputable reference point for all lovers of literature. This exhibition aims to pay tribute to his work on the tenth an- niversary of his death, while also offering a first exploration of his personal archive. -
Prusik: a Dead Artist in Motion: Review of Roberto Bolaño's The
A Dead Artist in Motion: Review of Roberto Bolaño’s The Third Reich “Today’s events are still confused, but I’ll try drives in a way that infuses his presence with There are extraordinarily accomplished to set them down in orderly fashion so that I an ineffable sense of coldness. Through his moments in 2666 with respect to their formal can perhaps discover in them something that daily entries you witness the development properties. Take the following description of has thus far eluded me, a difficult and possibly of a friendship with a local man known as El a conversation from the first book of 2666 useless task, since there’s no remedy for Quemado. He is a burn victim and gradually as an example of the inventive way in which what’s happened and little point in nurturing acquires a role as Udo’s opponent in gaming. Bolaño fuses the strategies of compression false hopes. But I have to do something to El Quemado’s background is shrouded in and lyricism: pass the time.” This final sentiment appears mystery—are his burns the result of war? to be the singular “The first impulse driving conversation began Roberto Bolaño’s awkwardly, although posthumous novel, Espinoza had been The Third Reich, expecting Pelletier’s published this year call, as if both men by Farrar, Straus found it difficult to say and Giroux. In what sooner or later its unfortunately they would have to underdeveloped say. The first twenty and abandoned minutes were tragic in state, The Third tone, with the word fate Reich often reads used ten times and the like an unwilling word friendship twenty- e x e r c i s e — a four times. -
BOLAÑO ARCHIVE. 1977-2003 Press Dossier
CCCB Exhibitions Until 30/06/2013 BOLAÑO ARCHIVE. 1977-2003 Press dossier INDEX 1.- Exhibition data ...................................................................................... 3 2.- Introduction ............................................................................................ 4 3.- Exhibition texts ...................................................................................... 6 4.- Roberto Bolaño. Chronology ............................................................... 8 5.- Parallel activities ................................................................................. 10 6.- Catalogue ............................................................................................ 12 7.- CVs of the curators ............................................................................. 15 8.- General information ............................................................................. 16 A production of: With the participation of: And the collaboration of: Collaborating media: The CCCB is a consortium of: 2 1.- EXHIBITION DATA “BolañoBolaño Archive 19771977––––200320032003” is a production of the Centre de Cultura Contemporània de Barcelona (CCCB), where it will run from 5 March to 30 June 2013. This exhibition would not have been possible without the personal commitment of Carolina López, representing the Roberto Bolaño Estate, whom we wish to thank especially for her dedication. Direction Exhibitions Service of the CCCB Curatorship Juan Insua Valerie Miles Coordination Liliana Antoniucci Space design -
The History of Mexican Journalism
THE UNIVERSITY OF MISSOURI BULLETIN VOLUME 29, NUMBER 4 JOURNALISM SERIES, NO. 49 Edited by Robert S. Mann The History of Mexican Journalism BY HENRY LEPIDUS ISSUED FOUR TIMES MONTHLY; ENTERED AS SECOND-CLASS MATTER AT THE POSTOFFICE AT COLUMBIA, MISSOURl-2,500 JANUARY 21, 1928 2 UNIVERSfTY oF Mrssouru BULLETIN Contents I. Introduction of Printing into Mexico and the Forerunners of Journalism ______ 5 II. Colonial Journalism -------------------------------------------------------12 III. Revolutionary Journalism --------------------------------------------------25 IV. From Iturbide to Maximilian -----------------------------------------------34 V. From the Second Empire to "El lmparcial" --------------------------------47 VI. The Modern Period -------------------------------------------------------64 Conclusion ---------------------------___________________________________________ 81 Bibliography --------__ -------------__________ -----______________________________ 83 THE HISTORY OF MEXICAN JOURNALISM 3 Preface No continuous history of Mexican journalism from the earliest times to the present has ever been written. Much information on the subject exists, but nobody, so far as I know, has taken the trouble to assemble the material and present it as a whole. To do this within the limits necessarily imposed upon me in the present study is my principal object. The subject of Mexican journalism is one concerning which little has been written in the United States, but that fact need not seem su;prising. With compara tively few exceptions, Americans of international interests have busied themselves with studies of European or even Oriental themes; they have had l;ttle time for. the study of the nations south of the Rio Grande. More recently, however, the im portance of the Latin American republics, particularly Mexico, to us, has been in creasingly recognized, and the necessity of obtaining a clearer understanding of our southern neighbor has come to be more widely appreciated in the United States than it formerly was. -
The Universe of Roberto Bolaño
By Night in Chile: the Universe of Roberto Bolaño Roberto Bolaño was a Chilean poet who turned to fiction writing at the end of his life. He fled Chile for Mexico and Spain when Pinochet took power, and he died of liver failure in 2003. Taken together, the novels and short stories he wrote in the last ten years of his life are one of the great achievements of modern literature, and his major work, 2666, is surely the best novel of our young century. The themes of his work – exile, violence, poetry, fascism, youth, crime – connect all of his books into a single, sprawling text. My collection contains every book by Bolaño that has been translated into English, plus the short biography and interview collection by journalist Mónica Maristain. The highlight of the collection is the pair of editions of 2666. The first book I read by Bolaño was The Savage Detectives, a novel about poets and courage. I bought it on a whim after reading a positive review. Reading The Savage Detectives was so exhilarating that immediately upon putting it down, I drove to the nearest bookstore and bought every other Bolaño book they had on the shelf. My experience reading The Savage Detectives was surpassed only by reading the novel 2666, which I read next. Before even finishing 2666, I’d bought a copy for all my friends and convinced them to read it too. Why is it such a compelling book? 2666 manages to be a Latin American, American, German, and Russian novel all at once. -
The Irrelevant Mystery, the Involuntary Detective, the Melting Clue: Notes On
THE IRRELEVANT MYSTERY, THE INVOLUNTARY DETECTIVE, THE MELTING CLUE: NOTES ON LA PISTA DE HIELO, A NEOPOLICIAL BY ROBERTO BOLAÑO EL MISTERIO IRRELEVANTE, EL DETECTIVE INVOLUNTARIO, LA PISTA DE HIELO: ALGUNAS NOTAS EN TORNO A UN NEOPOLICIAL DE ROBERTO BOLAÑO Julia González-Calderón University of California Los Angeles – CA, Estados Unidos Abstract Th is article analyzes La pista de hielo (Th e Skating Rink, 1993), the third novel by Roberto Bolaño, as an exponent of the Ibero-American neopolicial, focusing on how two of the main dramatic elements of the detective tale, the enigma and the detective fi gure, are decentralized through a series of narrative mechanisms that eventually dismantle traditional genre conventions. Furthermore, we will link La pista de hielo and its narrative key elements with the rest of the novelistic of the Chilean author, as well as with the main exponents of the neopolicial, such as Paco Ignacio Taibo II, Leonardo Padura or Ramón Díaz Eterovic. Keywords: Bolaño, Latin American fi ction, detective fi ction, neopolicial. Resumo Resumen Este artigo analisa o terceiro romance Este trabajo analiza la tercera novela de Roberto Bolaño, La pista de hielo de Roberto Bolaño, La pista de hielo (1993), desde uma leitura do texto (1993), desde una lectura del texto como como exponente do neopolicial exponente del neopolicial iberoamericano iberoamericano tal como o caracteriza tal y como lo ha venido caracterizando la a crítica e focalizando-se em como dois crítica y estudia cómo dos de los elementos dos componentes dramáticos da narração dramáticos centrales de la narración policial clássica, o enigma e o detetive, são policial clásica, el enigma y el detective, deslocados por meio de um conjunto de son desplazados mediante una serie de mecanismos narrativos que desarticulam mecanismos narrativos que desarticulan as convenções tradicionais do género. -
“Bolaño and the Canon.” Ricardo Gutiérrez-Mouat Department Of
“Bolaño and the Canon.” Ricardo Gutiérrez-Mouat Department of Spanish & Portuguese Emory University Atlanta, Georgia 30322 Roberto Bolaño’s biography and literary career can be summarized in a few words: he was born in Santiago in 1953, left his native Chile with his family in 1968, led a group of marginal poets in the Mexico City of the mid-1970s, moved to the Catalan region of Spain later that decade – where he took up writing novels and stories--, published The Savage Detectives in 1998 (for which he won the Herralde and Rómulo Gallegos prizes in consecutive years), and died in 2003 of a liver condition shortly after being consecrated as the most important writer of his generation and a year before the publication of his monumental work 2666. He was a writer who labored in relative obscurity for over two decades before making his mark in the literary world, writing poems and authoring some hard to classify novels set in Barcelona, Girona, Paris, and Blanes but featuring Latin American characters.1 Canonization in the Hispanic world was followed by canonization in the English-speaking world, where the Bolaño boom was, however, conditioned by the repackaging of his figure for a U.S. audience. (See Pollack).2 Whereas Bolaño’s stature abroad depended to some extent on a new set of cultural stereotypes, in Latin America and Spain his standing among fellow writers and readers was grounded on Bolaño’s ability to recast the avant-garde tradition and the legacy of the Boom in a fresh narrative language that is simultaneously visionary and colloquial. -
20Th Century Literature Notes
th st Notes on 20 and 21 Century Literature (1910-present) Prose Fiction (Novel and Short Story) 1910-1949 Regionalism, Nationalism, Novel of the Mexican Revolution Starting around 1910, the basis of Latin American regionalism is set up as a combination of various elements; namely, the triumph of earlier aspects of social realism, the innovative language and style of modernismo, and the poetical revolutions that occurred after World War I. What is most notable in the prose of this period is a stronger sense of Latin American identity. Writers perceive objective reality without economic or political abstractionism. Gone, however, is the 19th century emphasis on the detailed depiction of local customs that were thought of as picturesque, typical, quaint. In the place of costumbrismo, we find an increased awareness of the uniqueness and power of Latin American nature. For example, one of the major writers of this period, Ciro Alegría (Perú, 1909-1967; El mundo es ancho y ajeno / Broad and Alien is the World, 1941), called attention to the "acción monstruosa de la naturaleza salvaje frente a los conatos civilizadores del hombre" (monstrous action of wild nature opposing the civilizing efforts of man). This regionalista approach to nature lacks the idealization of Nature found in the humanities of the Romantic Period at the beginning of the 19th century. In the humanistic movement of regionalismo, however, nature is seen as an uncontrollable force which requires humans to be integrated with the countryside on the one hand, and with the artistic or humanistic structure of the humanistic artifact, whether it be a novel, a short story, a play, or a painting. -
33058454009.Pdf
Alea: Estudos Neolatinos ISSN: 1517-106X ISSN: 1807-0299 Programa de Pos-Graduação em Letras Neolatinas, Faculdade de Letras -UFRJ González-Calderón, Julia The irrelevant mystery, the involuntary detective, the melting clue: notes on La pista de Hielo, a neopolicial by Roberto Bolaño Alea: Estudos Neolatinos, vol. 20, no. 1, 2018, January-April, pp. 125-141 Programa de Pos-Graduação em Letras Neolatinas, Faculdade de Letras -UFRJ DOI: https://doi.org/10.1590/1517-106X/2018201125141 Available in: http://www.redalyc.org/articulo.oa?id=33058454009 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative THE IRRELEVANT MYSTERY, THE INVOLUNTARY DETECTIVE, THE MELTING CLUE: NOTES ON LA PISTA DE HIELO, A NEOPOLICIAL BY ROBERTO BOLAÑO EL MISTERIO IRRELEVANTE, EL DETECTIVE INVOLUNTARIO, LA PISTA DE HIELO: ALGUNAS NOTAS EN TORNO A UN NEOPOLICIAL DE ROBERTO BOLAÑO Julia González-Calderón University of California Los Angeles – CA, Estados Unidos Abstract Th is article analyzes La pista de hielo (Th e Skating Rink, 1993), the third novel by Roberto Bolaño, as an exponent of the Ibero-American neopolicial, focusing on how two of the main dramatic elements of the detective tale, the enigma and the detective fi gure, are decentralized through a series of narrative mechanisms that eventually dismantle traditional genre conventions. Furthermore, we will link La pista de hielo and its narrative key elements with the rest of the novelistic of the Chilean author, as well as with the main exponents of the neopolicial, such as Paco Ignacio Taibo II, Leonardo Padura or Ramón Díaz Eterovic. -
The Political Power of Carlos Chávez and His Influence Upon Silvestre Revueltas and Blas Galindo
Western University Scholarship@Western Scholarship@Western Electronic Thesis and Dissertation Repository 8-29-2018 1:30 PM The Political Power of Carlos Chávez and His Influence Upon Silvestre Revueltas and Blas Galindo Yolanda Tapia The University of Western Ontario Supervisor Dr. Emily Ansari The University of Western Ontario Co-Supervisor Dr. John Hess The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Yolanda Tapia 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons, Music Performance Commons, and the Other Political Science Commons Recommended Citation Tapia, Yolanda, "The Political Power of Carlos Chávez and His Influence Upon Silvestre Revueltas and Blas Galindo" (2018). Electronic Thesis and Dissertation Repository. 5655. https://ir.lib.uwo.ca/etd/5655 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the political power of Mexican composer Carlos Chávez (1899–1978) during the first half of the twentieth century in Mexico, and his influence upon the careers and lives of composers Silvestre Revueltas (1899–1940) and Blas Galindo (1910– 1993). I show how Carlos Chávez acquired institutional power through various cultural organizations such as the Orquesta Sinfónica de México, the Conservatorio Nacional, Departamento de Bellas Artes, and the Instituto Nacional de Bellas Artes, and how his desire to bind music and culture with politics positioned him as the head of the cultural committee of Miguel Aleman’s presidential campaign of 1945. -
Sovereignty, Secrecy, and the Question of Magic in Roberto Bolaño's Distant Star
Sovereignty, Secrecy, and the Question of Magic in Roberto Bolaño's Distant Star Cory Stockwell CR: The New Centennial Review, Volume 16, Number 3, Winter 2016, pp. 233-261 (Article) Published by Michigan State University Press For additional information about this article https://muse.jhu.edu/article/666468 Access provided by Bilkent Universitesi (6 Jul 2018 08:11 GMT) Sovereignty, Secrecy, and the Question of Magic in Roberto Bolaño’s Distant Star Cory Stockwell Bilkent University, Ankara, Turkey I would much rather have been a homicide detective than a writer. That’s one thing I’m absolutely sure of. —Roberto Bolaño (2011, 369) THAT SOVEREIGNTY POSSESSES A MYSTICAL QUALITY, ONE THAT AT TIMES borders on the occult, is something on which many theorists have com- mented. We could think here of the way Schmitt positions the sovereign as simultaneously inside and outside of the political order, and of his claim that “the exception in jurisprudence is analogous to the miracle in theology” (2006, 36); we could also mention the sustained engagement with magic in the work of the most important theorist working in Schmitt’s wake, Giorgio Agamben.1 CR: The New Centennial Review, Vol. 16, No. 3, 2016, pp. 233–262. ISSN 1532-687X. © 2016 Michigan State University. All rights reserved. 233 234 Sovereignty, Secrecy, and the Question of Magic in Distant Star We could also think of the way Derrida, drawing upon Benjamin, refers to the “mystical foundation of authority”;2 or of Hardt and Negri, who, in seeking to chart the “new global form of sovereignty” -
María Grever, Ignacio Fernández Esperón “Tata Nacho,” and Agustín Lara
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2014 ITALIAN AND SPANISH INFLUENCE ON SELECTED WORKS OF MEXICAN COMPOSERS: MARÍA GREVER, IGNACIO FERNÁNDEZ ESPERÓN “TATA NACHO,” AND AGUSTÍN LARA Manuel M. Castillo University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Castillo, Manuel M., "ITALIAN AND SPANISH INFLUENCE ON SELECTED WORKS OF MEXICAN COMPOSERS: MARÍA GREVER, IGNACIO FERNÁNDEZ ESPERÓN “TATA NACHO,” AND AGUSTÍN LARA" (2014). Theses and Dissertations--Music. 32. https://uknowledge.uky.edu/music_etds/32 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.