Boedo "Circens": Leónidas Barletta, Raúl González Tuñón, and the Limits of Tradition.
The circus and circensian practices lend themselves particularly well to the Latin American avant-gardes as privileged proletarian spaces encompassing both the ''crafty'' extreme of carnival—in Bakhtin's sense of subversive and artisan—as well as the commercial, technological aspects of the emerging...
| Publicado en: | Hispanic Review Vol. 76; no. 3; pp. 257 - 280 |
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| Formato: | Literary Criticism |
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University of Pennsylvania Press
Summer2008
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| 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=34146520&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 34146520 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00182176 HIR jtl: Hispanic Review issn: 00182176 maglogo: N pubinfo: dt: Summer2008 vid: 76 iid: 3 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 34146520 10.1353/hir.0.0012 ppf: 257 ppct: 23 formats: fmt: @attributes: type: P size: 150KB tig: atl: Boedo "Circens": Leónidas Barletta, Raúl González Tuñón, and the Limits of Tradition. aug: au: Borge, Jason affil: Vanderbilt University su: Amateur circus Mass media Popular culture Social movements Performing arts Literature & history Fiction genres Criticism Argentina sug: subj: Argentina Amateur circus Mass media Popular culture Social movements Performing arts Literature & history Fiction genres Criticism ab: The circus and circensian practices lend themselves particularly well to the Latin American avant-gardes as privileged proletarian spaces encompassing both the ''crafty'' extreme of carnival—in Bakhtin's sense of subversive and artisan—as well as the commercial, technological aspects of the emerging mass media. This article focuses on the circus as a key link between traditional and modern culture in early twentieth-century Argentina. In particular, it examines the writing of Leónidas Barletta, Rúl González Tuñón, both figures loosely associated with the avant-garde Boedo movement. In the work of these writers, I argue, the circus operates primarily metonymically rather than metaphorically: through a series of interventions, principally Tuñón's early poems and Barletta's novel Royal Circo, the working-class suburb of Buenos Aires is laid out as a living theater of marginality in which the circus performs a central role. In his novel, Barletta sees the circensian as a site of greed and hunger in need of either liquidation or refinement--the latter option put to practice in Barletta's later work as founder and director of the influential Teatro del Pueblo. Tuñón, on the other hand, reconstitutes the circensian as a vital ''osmotic'' space between memory and modernity, in the process showing how apparently marginal cultural practices could be reconstituted through literary expression. pubtype: Academic Journal doctype: Literary Criticism src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Hispanic Review is the property of University of Pennsylvania 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: Hispanic Review holder: University of Pennsylvania Press dt: @attributes: year: 2008 holdings: @attributes: islocal: N |
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