Publication: "La parola contesa": inmigrantes y viajeros italianos en el campo intelectual argentino (1900-1936)
Loading...
Files
Official URL
Full text at PDC
Publication Date
2017-11-08
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
La presente investigación se ocupa de distintos episodios en que los inmigrantes y viajeros italianos registran un impacto significativo en el campo intelectual argentino durante el primer tercio del siglo XX. El corpus de trabajo, construido a partir de un criterio de especial flexibilidad, reposa sobre una cronología dividida en tres ejes: el de las representaciones, el de las autorías y el de los conflictos. El primero de ellos abre un campo de estudio que permite indagar en la construcción del semblante dramático del inmigrante italiano en las obras teatrales de Marco Severi (1905) de Roberto J. Payró, Los disfrazados (1906) de Carlos Mauricio Pacheco, La fragua (1912) y El vértigo (1919) de Armando Discépolo. El segundo eje centra su atención en los textos narrativos o poéticos de Fernando Gualtieri, Juan Palazzo, Gustavo Riccio, Roberto Mariani y José Portogalo, cinco autores ítalo-criollos que escriben desde el arrabal porteño en la década del veinte. El tercero explora las turbulencias provocadas en el contexto trasatlántico por el desembarco de los ilustres visitantes Filippo Tommaso Marinetti, Luigi Pirandello, Massimo Bontempelli, Mario Puccini y Giuseppe Ungaretti en el puerto de Buenos Aires entre 1926 y1936. En virtud de la amplitud y movilidad del enfoque adoptado, es posible observar la incorporación del tano como personaje teatral en las escrituras dramáticas de principios de siglo, rescatar una constelación de autorías de origen inmigrante que informan de la irrupción del gringo en el campo intelectual bonaerense como nuevo agente literario y, en último lugar, reconstruir las embajadas culturales de los cinco viajeros italianos que arriban a las costas rioplatenses desde la Italia fascista...
This research looks into a number of episodes in which Italian immigrants and travellers significantly influenced the Argentine intellectual field in the first third of the 20th century. The corpus of this dissertation, drawn up following a criterion of particular flexibility, rests on a chronology divided into three approaches: performances, authors and conflicts. The first of these opens up a field of study that allows us to explore the construction of the dramatic persona of the Italian immigrant in the plays Marco Severi (1905) by Roberto J. Payró, Los disfrazados (The Disguised, 1906) by Carlos Mauricio Pacheco, La fragua (The Forge, 1912) and El vértigo (Vertigo, 1919) by Armando Discépolo. The second approach focuses on narratives and poems by Fernando Gualtieri, Juan Palazzo, Gustavo Riccio, Roberto Mariani and José Portogalo, five ‘Italian creoles’ writing from the suburbs near the port of Buenos Aires in the 1920s. The third one explores the turmoil caused in the trans-Atlantic context by the arrival in Buenos Aires of illustrious visitors such as Filippo Tommaso Marinetti, Luigi Pirandello, Massimo Bontempelli, Mario Puccini and Giuseppe Ungaretti from 1926 to 1936. By virtue of the extension and mobility of this general approach, we are able to observe the incorporation of the tano, the archetypal Italian immigrant, as a theatrical character in the dramatic productions of the early 20th century, we can rescue many authors of immigrant origin who report on the arrival of the gringo [foreigner] in the Buenos Aires intellectual field as a new literary player and, finally, we may rebuild the cultural embassies of the five Italian travellers who arrived in their flight from fascist Italy...
This research looks into a number of episodes in which Italian immigrants and travellers significantly influenced the Argentine intellectual field in the first third of the 20th century. The corpus of this dissertation, drawn up following a criterion of particular flexibility, rests on a chronology divided into three approaches: performances, authors and conflicts. The first of these opens up a field of study that allows us to explore the construction of the dramatic persona of the Italian immigrant in the plays Marco Severi (1905) by Roberto J. Payró, Los disfrazados (The Disguised, 1906) by Carlos Mauricio Pacheco, La fragua (The Forge, 1912) and El vértigo (Vertigo, 1919) by Armando Discépolo. The second approach focuses on narratives and poems by Fernando Gualtieri, Juan Palazzo, Gustavo Riccio, Roberto Mariani and José Portogalo, five ‘Italian creoles’ writing from the suburbs near the port of Buenos Aires in the 1920s. The third one explores the turmoil caused in the trans-Atlantic context by the arrival in Buenos Aires of illustrious visitors such as Filippo Tommaso Marinetti, Luigi Pirandello, Massimo Bontempelli, Mario Puccini and Giuseppe Ungaretti from 1926 to 1936. By virtue of the extension and mobility of this general approach, we are able to observe the incorporation of the tano, the archetypal Italian immigrant, as a theatrical character in the dramatic productions of the early 20th century, we can rescue many authors of immigrant origin who report on the arrival of the gringo [foreigner] in the Buenos Aires intellectual field as a new literary player and, finally, we may rebuild the cultural embassies of the five Italian travellers who arrived in their flight from fascist Italy...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española IV (Bibliografía Española y Literatura Hispanoamericana), leída el 05-06-2017