Autenticidad y alienación: Disonancias ideológico-culturales entre la "nueva canción" chilena y el rock anglosajón.
The ideological polarization that framed the Cold War period (1945-1989) affected not only international relations but also the social commitments and aesthetic options of those artists and cultural activists who instigated the Latin American decolonization processes of the 1960s and 1970s. In this...
| Publicado en: | Studies in Latin American Popular Culture Vol. 33; pp. 108 - 128 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
University of Texas Press
2015
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=102623203&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 102623203 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07309139 LPC jtl: Studies in Latin American Popular Culture issn: 07309139 maglogo: N pubinfo: dt: 2015 vid: 33 pid: 519 pub: University of Texas Press artinfo: ui: 102623203 10.7560/SLAPC3308 ppf: 108 ppct: 20 formats: fmt: @attributes: type: P size: 8.1MB tig: atl: Autenticidad y alienación: Disonancias ideológico-culturales entre la "nueva canción" chilena y el rock anglosajón. aug: au: Pino-Ojeda, Walescka affil: University of Auckland su: Nueva canción (Musical genre) Rock music, 1961-1970 Parra, Violeta Jara, Víctor Rock music Student activism Student activism -- History 20th century counterculture Twentieth century Music & society Rock music history Chile United States sug: subj: Chile United States Nueva canción (Musical genre) Rock music, 1961-1970 Parra, Violeta Jara, Víctor Rock music Student activism Student activism -- History 20th century counterculture Twentieth century Music & society Rock music history ab: The ideological polarization that framed the Cold War period (1945-1989) affected not only international relations but also the social commitments and aesthetic options of those artists and cultural activists who instigated the Latin American decolonization processes of the 1960s and 1970s. In this framework, the positivistic signature of the socialist-capitalist divide drove the decolonizing forces of the region to mistrust any form of popular culture produced from the industrial capitalist centers of power. Anglo-American rock was generally perceived as working against facilitating social class awareness. This article investigates the points of convergence and disagreement between these two movements, paying special attention to Violeta Parra and Víctor Jara's aesthetic and ethical viewpoints, both of whom are foundational and emblematic members of the Chilean "nueva canción" movement. pubtype: Academic Journal doctype: Article src: R language: Spanish refInfo: copyright: @attributes: flag: Y custom: Copyright of Studies in Latin American Popular Culture is the property of University of Texas Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studies in Latin American Popular Culture holder: University of Texas Press dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
|---|