Abstract
De ultramodernidades y sus contemporáneos. By Luis Rebaza Soraluz. Reviewed by: José Rafael Chávarry The Cry of the Renegade: Politics and Poetry in Interwar Chile. By Raymond B. Craib. Reviewed by: Claire F. Fox After Human Rights: Literature, Visual Arts, and Film in Latin America, 1990-2010. By Fernando J. Rosenberg. Reviewed by: Anne Lambright Public Pages: Reading along the Latin American Streetscape. By Marcy Schwartz. Reviewed by: Viviane Mahieux Delirious Consumption: Aesthetics and Consumer Capitalism in Mexico and Brazil. By Sergio Delgado Moya. Reviewed by: Francine Masiello Acoustic Properties: Radio, Narrative, and the New Neighborhood of the Americas. By Tom McEnaney. Reviewed by: Tania Gentic Tropical Riffs: Latin America and the Politics of Jazz. By Jason Borge. Reviewed by: Charles A. Perrone The Great Woman Singer: Gender and Music in Puerto Rican Music. By Licia Fiol-Matta. Reviewed by: Ana Cecilia Calle-Poveda
Highlights
Como un “descenso al subsuelo” y una “contracción al interior” (346) describe Luis Rebaza Soraluz el resultado de la construcción de un modernismo peruano contemporáneo, desde la década de los veinte hasta finales del siglo pasado
Ultramodernidad sirve tanto como instrumento de periodización así como metodología conceptual
In telling the story of Gómez Rojas and members of his circle, Craib creates a vivid portrayal of their urban milieu, a rapidly changing Santiago rife with class conflict and social inequality, yet generating new social movements and innovative forms of literary and artistic expression. This is a haunting and moving work anchored around several well-crafted historical figures who are individuated among a broad cast of “anarchists and aristocrats, students and teachers, poets and prosecutors, and cops and Wobblies” (5)
Summary
La primera etapa estaría marcada por un mestizaje étnico que ve en lo indígena o “primitivo” parte esencial de la modernidad peruana; la segunda, por un proceso de borramiento de lo indígena que daría lugar a un Perú más cosmopolita y occidental; y el tercero, el ultramoderno, a partir de una vanguardia que, según Rebaza Soraluz, propiciaría Eielson y una obra artística y performativa en que lo nacional se inserta en lo universal Como arriba he sugerido, más que como movimiento evolutivo, esta periodización funciona como aparato metodológico para leer las formas cómo artistas peruanos participaron en los debates del modernismo y buscaron localizar lo específicamente peruano en estos.
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