This common strategy of response can be found, first by specifically focusing on how Varo, Garro and Boullosa have revised Classical, surrealist and American mythology, how they have translated their perception of the extraordinary, their yearning for integration of the self, their understanding of trance-like inspirational states or revelatory experiences and the elements they have used to provoke them.
Secondly, by analysing the alternative set of images, metaphors, concepts and myths they have employed in order to make this experience and vision accessible, via artistic or literary representation, to readers and viewers. In order to see how they have translated the aforementioned notions in a form that differs significantly from that established by the canon, some theoretical questions are addressed through the first chapter.
Therefore, it is important to clarify at this stage that when referring to lo real maravilloso americano, the term is understood in the strict sense given it by Carpentier. It encompasses all that literature which includes a discourse concerned with expressing a concrete, yet universal Latin American language as well as denoting social, cultural and historical experiences that might seem extraordinary from a western or European perspective see Ensayos It is equally important to mention that when referring to surrealism, the term is employed in exclusive reference to the Paris-based movement and the theories and aesthetic approaches that have emerged from it.
In the case of surrealist women artists, this line is especially blurred. According to Whitney Chadwick: Utilising this comparative framework, I am considering the profound relevance of painting for the cultural interchange between Mexico and Paris as well as the importance that narrative has played in the imagination of surrealist woman artists, seeing thus the connections between painting and literature as a particularly appropriate combination of media for the research of this thesis.
Octavio Paz is obviously a key figure in determining the importance, promotion and impact of surrealism in Mexico. Andrade has researched extensively on Alice Rahon, but has also written brief monographs on Leonora Carrington and Remedios Varo. This area of knowledge keeps 16 This set of accepted differentiations between literature and art are addressed throughout the first section of Chapter Two.
There seems however to be a tendency towards exploring the work of Frida Kahlo as the key figure for the interchange of ideas between surrealism and Mexican art, as well as an overall emphasis on visual art rather than literature. Therefore, the connection between exiled women surrealists, concretely Remedios Varo, and contemporary Mexican women writers has been given considerably less notice, constituting one of the main novelties of my study.
Now, I would like to suggest that there is a contemporary appropriation of surrealism whose theoretical and cultural practices are exemplified in writers such as Carmen Boullosa. Surrealism might be dead today, but its legacies are far from being so. In fact, all the aforementioned formulations have taken a strong hold on the imagination of Boullosa, as is perceptible in all of her literary production to date.
Therefore, one of the reasons for incorporating her work into this study despite her not having been in direct touch with the Paris-based movement is because I see it as providing a fruitful way of exploring the ongoing and multivalent legacy of surrealism within recent Mexican literature as well as a central discourse through which to understand fully her literary work.
H Mathews made a statement that seems to me to be entirely reasonable even today: On the one hand, it provides a new insight, a different angle from which to comprehend the transcendence of surrealism in the ambit of Mexican culture from a gender perspective, amplifying the already existing critical work on the field. On the other, it provides a new lens through which to understand and read the specific work of Remedios Varo, Elena Garro and Carmen Boullosa while discerning common responsive strategies among them.
This ordering is aimed at showing an evolution in the strategies of response from the person who was closest to surrealism and took its ideas most seriously, Remedios Varo, to the citational and parodic practices visible in the work of Carmen Boullosa. Elena Garro thus stands as the bridge between them. Although being perfectly aware that many answers have already been provided to the debate around surrealism and lo real maravilloso americano, I nonetheless need to analyse them as a point of departure to show how there may remain traces from both in the work of Varo, Garro and Boullosa.
Perhaps more importantly, to suggest their new mode of envisioning them. I also explore whether both discourses present similarities as regards their representation of woman as the key to personal transformation, as an entrance into a truer and deeper reality and, if so, the problems this might constitute for the woman artist, writer or spectator. The second chapter, divided into three sections, presents the analysis of the pictorial work of Remedios Varo.
In the first section, I examine the controversies and usefulness of understanding her art as narrative painting and provide a structural analysis of several canvases to show how they function narratively. Simultaneously, the section considers whether these narrative patterns can, in their employment of theme, composition, perspective and colour, be related to the 13 literature of lo real maravilloso americano. The third chapter, divided into two sections, examines the narratives of Elena Garro. The fourth chapter deals with the narratives of Carmen Boullosa and presupposes a different kind of analysis in as far as her narratives are understood as a parodic collage of both surrealism and lo real maravilloso americano.
The first section examines her novel Llanto: The second section is devoted to her novel Duerme, where I focus on the problem of identity politics as the result of the creation of a mythical body that draws from both surrealist experiences and the vocabulary of lo real maravilloso americano to construct itself. Both surrealist experiences and previous Latin American representations of lo real maravilloso americano are parodied and reworked in order to explore Mexican history and modern love relationships by examining gender and racial identity as cultural inscriptions.
In the conclusion, I go back to some of the literary and visual images that have been analysed throughout the whole study underscoring the similar strategies that the three figures have adopted, concretely in relationship to the representation of woman, love, creativity and the conceptualisation of a marvellous reality. Rather, it comprises a theoretical introduction to an already well-known field of knowledge that aims to illustrate first, how in spite of the gulf that separates surrealism and lo real maravilloso americano, they are, in their fundamental nature, referring to an analogous phenomenological experience of perception.
Second, to suggest that when the image of woman is used as a symbol for lo real maravilloso americano, it relegates woman to the same position of cultural or discourse category as surrealism does, and therefore to suggest how she is as far away from any tangible reality as the European, surrealist mythical woman was. This experience finds analogies in other areas of knowledge and indeed can be said to relate to a central problem at the very basis of modern thought. However, while philosophy or science search for such experience through a closer observation of the world at hand and through logical processes of thought which constitute the very basis of Western rationality, both surrealism and lo real maravilloso aim to reach such an absolute moment precisely by a distortion of what we westerns take to be the real appearance of things, be that an object or an experience.
Their descriptions do not necessarily coincide with the world we usually perceive, but they are nonetheless powerful and profound. Then I will move on to explore how amour fou constituted the most significant of these experiences and how the mythical woman turned into the means to both access and represent surreality. In the case of Rayuela, the reconsideration of surrealism, the Paris connection and the Europeanised alienated hero present obvious similarities with 17 Los pasos perdidos.
Firstly, Carpentier stresses the need for universality within the language of lo real maravilloso americano so that Latin American culture can speak openly to a wide range of readers, and within a vast amount of fictional works, this universality is achieved by means of the notion of love and the mythical woman. If the surrealist quest for the marvellous was carried out through woman, this means that, even if ignored by surrealism, this woman is a tangible, cultural, historical, social and biological entity, as real as the surrounding reality of the Latin American continent Carpentier was concerned with.
Perhaps more importantly, this stage is important because their art and literature do not present themselves autonomously as a new apparatus of representation, but rather they clearly acknowledge that they have first understood and assimilated what was already there in order to go beyond it. It is not my intention to engage in a discussion of the etymological confusion created by the word marvellous, although it is necessary to clarify one specific position.
The marvellous is not a fixed expression belonging to a concrete language or culture, but quite the contrary. It is a constituent of the narratives of all cultures and times that serves to account for the inclusion of supernatural beings and extraordinary events ranging from the gods of Classical mythology to the dragons of Chinese folklore see Mabille Therefore, the term does not necessarily include the beautiful, but the extraordinary and unexpected. Irlemar Chiampi provides a useful differentiation. In this sense of the term, the marvellous expresses a quantitative difference with the human, that is, it becomes an exaggeration or an unusual aspect of the human and therefore preserves some of its essence Chiampi Pertenecen a otra esfera [ While these studies were mostly interested in defining a literary genre by seeking several structural features operating in a diversity of literary works with the aim of distinguishing between different narrative forms, both the surrealists and Carpentier were concerned with something quite different.
This is the surrealist experience par excellence and it is named the encounter or rencontre. This is how the experience is integrating within the self as well as visionary. He then goes on to describe how the visionary experience has been translated into poetic expression by writers such as Louis Aragon, Philippe Soupault, Robert Vitrac or Max Morise. These examples of automatic writing serve overall to comprehend how the rencontre is explored in aesthetic terms and how it was the proposition of making direct contact with daily objects in a bold manner that supplied surrealism with a different approach to poetry and art.
That is, there is no object as such, as this is now part of the subject. There is no creator, but only a poetic force that produces inexplicable images. Octavio Paz expressed the surrealist inspirational experience in the following terms: The rencontre thus signifies an intense experience that constitutes a pathway to poetic inspiration through the transformation of consciousness, the experience of the marvellous leading to the creation of an extraordinary image.
Now, if the trouvaille possesses such overwhelming effect this is solely because the subject already had an unconscious, pre-existing idea of it: We find here one of the main surrealist innovations. Contrary to Freud, it is not the dormant significance of the object or dream that concerns Breton, but the certainty that these sudden desires are released by the visible content of the object itself. That is, the object, like the dream, becomes a self-contained source of knowledge and experience. Even if the appeal of the trouvaille might work somewhat consciously, there are repressed forces framing the rencontre as a whole that do indeed refer back to Freud.
Breton explains the uncertainty about how these forces operate through the key 6 In aesthetic representation, the image is often bestowed with a palpable and tactile quality so that besides appealing to logic and reason, it also appeals to the senses. Breton recalls how, walking around the Flea Market, he and Giacometti hit on a mask that persuaded them to think persistently about its existence. Afterwards, they both became conscious of how this mask was fortuitously related with the problems Giacometti was undergoing with his artistic research.
The first is integrative insofar as all things and events are linked by a sense of continuity, provoking wonder and a reckoning with life. In this type of experience, we enter the world within our reach and everything acquires significance. This experience incorporates destiny: The other is an experience of detachment, where a feeling of senselessness pervades, where things occur without seeming explanation, and where everything is devoid of significance or structure.
This experience incorporates chance: Shattuck continues to explain how both experiences cannot be so easily separated, and how our modern notion of fate includes both: This is very similar to what objective chance constitutes for Breton. On the one hand, chance is what provides a magical unity to the experience magic circumstantial. In sum, it presupposes at once a conscious choice and an inexplicable predestination, and thus to live a life in which objective chance rules, would mean to attain surreality.
It was borrowed from Hegel to express a mix between destiny and causality but involving necessity. In Mad Love, objective chance is understood as a manifestation of repressed desire: At the beginning of Nadja, Breton describes his novel as a narration of the most decisive episodes of his life. The issue at stake here is the surrealist conviction that those experiences lead to new associations that could not possibly have occurred to the subject otherwise.
The fortuitous character provided by objective chance brings a disquieting nature to the found object. The surprise factor of finding what one wanted in a different form from that imagined, while at the same time being able to recognise that it is exactly that thing, endows the found object with an uncanny quality denominated le trouble.
When the problem is presented and its contradictions overcome, it allows us to reach an exact definition of the marvellous Mabille 7. In a similar way, the artist, once his consciousness has been challenged by this inspirational moment, is ready to proceed to the creation of the image. Hence, the surrealist marvellous possesses two levels of definition: Only understanding this can we comprehend the common statement that surrealism, as an order coming out of DADA disorder, was not meant as a literary or artistic movement but as an attitude towards the human spirit and the mind, and as a certain conception of the world: Therefore, Benjamin saw in the surrealist integrative experience a pathway for clairvoyance and a model for poetic praxis.
Benjamin criticises the surrealist emphasis on a romanticised and abstract notion of the mystery arguing that this leads to images of aesthetic consolation rather than to revolutionary images: Jean Paul Sartre realises a different critique yet arrives at a very similar conclusion. It is by surprise, by the rank it accords surprise, that the new spirit is distinguished from all previous artistic and literary movements [ There is no need, in making a discovery, to select by rules, even rules approved with taste, a subject classified as sublime.
One can start with an everyday subject: As a means of introducing the examination of her representation, it is worth mentioning one final point. By the s, love claims a central role in surrealism. The rencontre is not only restrained to objects, but people can, and often do, take the position of the object. The person literally becomes a trouvaille, leading to the key experience of amour fou: The idea of beauty is key for understanding the surrealist marvellous. This beauty is indeed the marvellous itself. As has been previously noted, one should remember that Breton mainly meant the marvellous in the sense of the extraordinary and the unexpected.
This is in fact the beauty the quotidian can achieve through its strangeness and singularity. Yet, strictly speaking, the beauty of nature or daily objects can never be marvellous insofar as it is precisely ordinary, we see them everyday, they are familiar to us and therefore do not presuppose any extraordinary quality. It resides in the privileged vision of the subject, and it is bounded to time and history: Abstract and ideal as this marvellous beauty is, it is contradictorily used to refer to something very concrete and real, the body of a woman.
Nowadays, a vast amount of studies on women and surrealism have shown the conflictive position of women within the movement. The literature on women and surrealism is exhaustive and extensive, often placing an emphasis on their objectified position within the movement. We hung a woman on the ceiling of an empty room, and everyday receive visits from anxious men bearing heavy secrets […].
At number 15, Rue de Grenelle, we have opened a romantic Inn for unclassifiable ideas and continuing revolt. All that still remains of hope in this despairing universe will turn its last, raving glances toward our pathetic stall. It is a question of formulating a new declaration of the rights of man in Nadeau The hope was here placed in the body of woman as the key object that enabled a clairvoyant experience through romantic associations, resulting in her unveiling of particular truths to the men who contemplated her.
She concludes that while woman was idealised as muse and goddess in poetry, her body was dismembered and attacked in photography. The force she exerts upon men, partly triggered by her beauty, partly by the love or desire she can make man feel, is according to Aragon what can lead towards a new declaration of the rights of man. There are other metaphors of the sight of the marvellous that do not relate specifically to the female body: Yet, as love turned into the sole medium that could reconcile man with life, the body of woman became the dominant metaphor to express such synthesis.
The only tributaries and the only guardians of the Secret. I am speaking of the great Secret, of the Unrevealable […] It is your role, Mesdames, to make us confuse the accomplishable fact and the accomplished fact […] because there is not one among you who could not render us this immense service […]. Give us brilliant stones [ This letter shows how the woman who entered the mind of Breton and other surrealists was the only being capable of expressing the flickering reality lying beyond consciousness. A mythical conception of woman can be appreciated throughout surrealist poetry, prose and art: In Paris Peasant, Aragon places woman at the centre and goal of his quest: Marvellous as she might be, woman has also been in surrealist prose, painting and photography mistreated, killed or abused.
These images are in contrast with the image of the sorceress and gifted being, that for many female artists constituted the only mythical image to offer a fruitful role to adopt. The avant-garde, Dada and Surrealism: The exaltation of the mythical woman and her simultaneous mutilation, establishes the ambiguous and difficult position of women within surrealism so much explored by critics.
As we shall see in the practical analysis of paintings and texts in the succeeding chapters, their work suggests that something more elaborate is being cooked up, that a new mythology is being established. Thus, when they started seriously producing we can perhaps talk about surrealism after surrealism; where a change of expression is doubly likely to have taken place, in terms of gender as well as of chronology.
This has been shared by various Mexican female writers, even if not associated with surrealism at all. More specifically, those images will have to encompass a different approach to the marvellous and a different image altogether, for the mere adoption of male surrealist postulates will indicate that women did not have an aesthetic judgement of experience in artistic creativity, a statement that their work obviously proves untrue.
The woman artist has to find what, in accordance with her social, cultural, historical and psychological approach to reality, can serve to express her visionary experiences, resulting in the translation of those visions into poetic or artistic images. In the prologue to his novel El reino de este mundo, Alejo Carpentier identified a Latin American phenomenon which was independent from art and literature but that he sought to relate to literary activity.
To define his term Carpentier follows two strategies. First, he embeds it within a discourse of Americanism. This formation of the idea of America was triggered by two main events: In its second phase, the s and s, the emphasis was placed upon an exploration of the national character and, in the desire to decolonize each national culture, the discourse evolved towards a positive concept of mestizaje. That is, the complexity and characteristics of its landscapes, its history of political instability and extraordinary discovery, its racial and cultural mestizaje, the cohabitation of modern societies with ancient ones or the survival of indigenous tribal beliefs alongside occidental religions.
Therefore, lo real maravilloso also possesses two levels of definition. The first is the marvellous as reality itself. The main difference resides in the source and the medium that triggers the experience, a fabricated object, desire, or a literary text in the case of surrealism and the Latin American socio-historical reality and natural world for Carpentier. On the one hand, Carpentier somehow falls into a reverse notion of Orientalism. On the other there might be some naivety in the exaltation of his land, for he first saw the marvellous in Haiti, a place he had never seen before and thus his experience can be equated with that of any traveller seeing an exotic and different landscape for the first time.
When Carpentier talks about lo real maravilloso americano, he does not highlight the aesthetic creation, but Latin American reality itself and the heightened state the observer attains through the perception of that reality, thus placing the emphasis on his belief that the Latin American continent is marvellous per se. Within this discourse, Carpentier sought to explain how all those impossible syntheses and contradictions that surrealism created through arbitrary juxtapositions were living realities in his continent, appreciated in all aspects of daily life.
A perfect example of these syntheses noted by Celorio 71 is the peculiar angel playing maracas that the narrator of Los pasos perdidos discovers in the top of a church. These examples reveal that the key to lo real maravilloso americano resides in how the combination of dissimilar elements composed by a heterogeneous and often contradictory source of cultures configures an unexpected new social and cultural reality see Chiampi Son prefabricadas ' For Carpentier, it is collective faith, what the community believes as real, that produces the magical circumstance: However, it is here that a main difference in terms of effect upon the subject is to be found.
Benjamin and Sartre criticised surrealism insofar as its revolutionary potential seemed to slip back into images that, due to their emphasis on a romantic and abstract notion of the mystery, remained outside history and could not lead to poetic praxis. Mackandal is employing exactly the same forces that Benjamin asked of surrealist experiences: He moves away from the nonfigurative and places the marvellous where Benjamin wanted it, in a tangible history, time and culture. Carpentier seems to be considering that one cannot uniquely represent the abstract side of the extraordinary, since then literature and art lose their historical effect and language is less efficient in as far as readers cannot feel fully identified with what they are reading.
After explaining the political and historical reality ongoing in France, Carpentier goes back to recount in magical terms what sets out the next Haitian revolt. Both explanations complement each other to amplify reality. Carpentier asked his contemporaries to search for an appropriate and common vocabulary to verbalise and translate the Latin American reality fecund in marvels.
According to him, such vocabulary will belong to the literature of lo real maravilloso americano, which is directly connected with the Baroque style he sees as characteristic of Latin America: Hoy conocemos los nombres de las cosas [ In the search for these representative qualities that would endow their reality with a universal dimension, Latin American writers had to build up archetypical figures, and the way this has been realised in almost all cultures is through the use of myth. It is relevant to remember at this stage that surrealism recovered an attitude towards love and woman that had long been lost.
While love has been the great theme of all times, surrealism gave a complete new dimension to it. Nor did they consider woman as the means to express the abstract idea of the mystery underlying life and existence or recover the image of the primordial couple linked with the idea of an Edenic time. The surrealist recovery of the woman as a sorceress, as a gifted yet irrational being, can be said to have taken hold of contemporary Latin American writers who, like Carpentier, wished to express the relationship between the culturally specific and the universal.
Paz commented that the surrealist approach towards love opened up for some writers of his continent, including himself, a new way of looking at modern poetry. The main discrepancy is surely that woman has been represented with a different vocabulary that accounts for the cultural divergences between the women of the two continents. The quotation speaks for itself. The mysteriousness of her figure is partly due to the difficulties that her actions and behaviour presupposed for popular comprehension at the time of the Conquest, to the point that she has now become the paradigm of the Mexican Eve.
Similar examples can also be found alongside different Latin American countries. Mejor dicho es el Enigma […]. La mujer no es solamente un instrumento de conocimiento, sino el conocimiento mismo. El conocimiento que no poseeremos nunca, la suma de nuestra definitiva ignorancia: Woman thus turns into an obstacle for the integration and communion between man and the external, because if man cannot know what woman is thinking about, his possibility for full understanding is truncated in her very presence.
To acquire this knowledge man has to possess her, destroy what she is biologically, culturally and historically and make her poetry or muse. Therefore, the main problem posed by woman is that, if man desires to understand the underlying mysteries of existence and the world the procreation of the species , if man yearns for absolute knowledge, he knows his task will fail if he fails to understand woman.
While Paz disapproves of this view in El Laberinto The female sex is water, a symbol evoking fertility and purity which simultaneously hides the treasure of life and therefore the secret of existence. Her sex is, in sum, that door which reaches to the infinite by leading man to his ideal, to his communion with humanity. Largely influenced by, and a declared sympathiser of surrealism, Paz wrote poetry which illustrates woman in relationship with the love and desire she is able to exert upon the masculine mind, and he did it with a set of images and concepts that look back to surrealist love.
Here, woman is described through a set of associations that refer back to a reality 43 belonging to the common vocabulary Carpentier asked for, and yet Paz succeeds in connecting her with the universal, with amour fou and the interior life of man. On the one hand, his poetry reflects the surrealist view on woman. Like in surrealism, her force lies in her sex, and thus in desire and eroticism, she brings opposites together, her presence is seen between waking and sleep, she comprises an access to knowledge and a key to the absolute.
However, once he encounters Rosario, he starts to devalue and abhor her French ideology and looks. Langowski has commented how the two women stand for opposite cultural values; Mouche believes in astrology, alchemy and intellectual conversation, representing all that is false. While Langwoski is correct in his statement, the two women can equally be seen as the literary examples of the two aesthetic concepts Carpentier was confronting in his prologue. However, if Carpentier aims to distinguish between two cultural modes of knowledge that can simultaneously serve as representative of two opposed aesthetic concepts, he fails to do so the moment he creates Rosario as a metaphor for lo real maravilloso americano.
Like Nadja, her behaviour is oracular, guiding her life in an organic manner that relies upon nature as well intuition, always in contact with the mysterious: Los pasos perdidos constitutes on the one hand the effort to find the marvellous in the Latin American continent by recovering the primitive innocence of man which 45 will lead him to an experience of complete communion with his existence and the world, and on the other, the attempt to make of the natural reality a powerful aesthetic source Langowski Although the setting in which these quests take place cannot be more different, the role played by Rosario is analogous to that of Nadja.
Her magnetic forces reside partly in her sex and partly in the inability of the narrator to fully understand her: Rosario talks to the protagonist through the signs of a different language, which reveals for him a whole range of contradictory images and significances.
Indeed, Carpentier also falls into the trap of desire: That is, encompassing Rosario as lo real maravilloso, the narrator does not point towards a real referent, the woman, but rather towards a mythical idea about indigenous women. Here too she is myth: She is both the irrational femme-enfant and most notoriously, and as her nickname indicates, the sorceress. Yo los busco, los encuentro, los miro desde el puente, ella los nada [ Ese desorden que es su orden misterioso, esa bohemia del cuerpo y el alma que le abre de par en par las verdaderas puertas [ Nonetheless, La Maga can be seen as a fusion of both modes of cultural knowledge.
Even though she lives in Paris and is inevitably influenced by its atmosphere, she is essentially different from everything belonging to the French world, which is represented as being a consequence of her Uruguayan origins. Yet unlike Nadja, all these qualities are owing to or explained through her Latin American culture: The love he feels for her, not only matches amour fou in the sense that it is a key to another dimension, but in its intensity as well: If Rosario embodies the wonders of the Amazon forest, la mulata incarnates the cultural traces of Guatemala, characterised by mestizaje, folklore, black magic and natural disasters.
La mulata is in strong opposition to the girl, the mother and the beloved, yet she is the mythical woman par excellence, the destructive goddess. She represents an evil contrary to man and to humanity itself. The meteorological changes and catastrophes cannot be explained scientifically, but the community attributes them to her magical powers and her relationship with superior forces.
As happened with the Haitian revolution and with the day of the death of Mackandal, her metamorphoses, powers and re-union of her body are collectively accepted without surprise and the extraordinary phenomena she provokes and performs are assimilated as real. She is not the bringer of freedom and revolution, but the destroyer of the land, the carrier of death, inextricably linked with her devouring sexual desire. No saben lo que hacen. The emphasis on her beauty is based on desire throughout: Those who have seen her naked are unable to place her in any cultural category or gender identity, remaining an incomprehensible, mythical construct: Her lack of a real identity is expressed in her lack of a name and the emphasis on her mythical quality is given by her constant associations with the moon, which is simultaneously what provokes her schizophrenic, hysterical behaviour so much praised by Breton.
Once again, the centre of her attraction is her sex and this is the epitome of her mystery, as she always keeps it hidden, turning her back to her sexual partner. As in surrealism, and as expressed by Paz, it is in her sex and in her lunacy that her magical powers reside and next to these are her Sadeian manners and desire for destruction, chaos and death.
La mulata is described as a surrealistic nightmare, symbolising all physical and psychological fears, while she is simultaneously able to embody the collective subconscious of black and indigenous peoples which exists on a mythical and magical everyday life. It exercises an exalting effect only upon that part of the mind which aspires to leave the earth [ Firstly, in the affirmation of the existence of the marvellous within the world of everyday reality.
Secondly, in the use of a privileged experience of perception as a source for inspiration, as a mode of nourishing literature and art. He conceptualises it according to two stages, commenting how: The conclusion in this respect presents no major novelty. On the one hand, Carpentier opens up a new cultural compromise for the Latin American writer, a compromise controlled by reason and motivated by faith.
In essence, she remains identical to the European, surrealist woman, albeit with a different skin colour and associated with a specific set of Indigenous myths. In both approaches, her connotations run from the eternal victim, the earthwoman or the suffering innocent to the fundamentally evil, and in both approaches too, a special relevance is given to her connection with a magical realm, to her potential as sorceress, yet never using that power for herself, always giving her magic wand to the man who possesses her. The situation is that which has been exposed by feminist critic Alice A.
In this sense, both concepts subscribe to a temporally and ideologically restricted set of conventions regarding what woman is and how should she behave that anchor the parameters of meaning in spite of all their cultural differences. Through different examples, I have shown that lo real maravilloso, when describing landscapes, societies or particular historical events provided by the overlapping of the historically specific and the magical-mythical, provoked a fusion that resulted in credibility and that allowed the reader to get in direct touch with the reality presented.
Not only her subjectivity dissolves, but so does her objectivity, as she becomes as fabricated, as elusive and as imaginary as the surrealist objects were. Symbolic as the surrealist mythical woman was, she turns into the bridge between man and the natural world, into man-made language and into a revelation. Her representation enacts the same metaphysical materialism based on contemplation and enjoyment, and it is therefore in the representation of woman that both the language of the surrealist marvellous and that of lo real maravilloso americano can be seen to fully coincide.
The following chapters will look into women playing those roles from which they have been historically excluded. That is, women who search, not attract, women who measure their own imagination and create their own art, starting with the work of Remedios Varo. Donde comienza el espacio termina el tiempo. Donde hay espacio hay tiempo Blanco The general critical approach to the work of Remedios Varo coincides in seeing her paintings as self-portraits where she depicts different facets of herself or different stages in her life, reading her pictorial production in autobiographical terms.
It can thus be suggested that none of these artists is revealing herself, but rather the many masks of an archetypical female self. Her characters assume various roles, using the potential of pictorial language for transformation. Therefore, she automatically fractures any sense of unitary self by proposing identity as a multiple projection of invented, fictional selves. This affirmation has no novelty and this is precisely owing to the vision of her work as autobiographical narratives.
What techniques and pictorial conventions does she use in order to achieve such narrative effect? How can this be accounted for structurally? However, I will distinguish two main narrative procedures that are repeated in a major number of her paintings, seeing these as the most prominent ones. There are various studies of this type: Like the aforementioned critics, I see this vision to be in consonance with several narratives that, by the s, were going to be understood as belonging to lo real maravilloso americano, but I will not limit my analysis to this discourse.
On the other, to explore the extent to which a literary imagination that parallels the verbal imagery in contemporary Latin American literature can be appreciated in her work. They are the product of an extremely creative period in which Varo was finally able to develop her own pictorial language, released from the burdens of economic problems and with enough distance from the Parisian group to work autonomously Kaplan, Unexpected As seen in the previous chapter, the mythologized woman of surrealist inspiration took hold in the literary scene of the Latin American continent.
Due to restrictions of space, we will only choose those of her paintings which are representative of her main ideas, aesthetic and narrative structure while still trying to do justice to the richness of her vision. It was also in Mexico that her first individual exhibitions where shown, and even if not sharing any characteristics with the big artistic Mexican art movement of the times, the muralists, she became representative of the arts in her adopted country.
Renaissance perspective ceased the narrative quality of medieval panels, as high-art images were supposed to convey one single moment in time. Today, there are various definitions of what narrative painting is. In the aforementioned book, Steiner enumerates three. Now, due to the literary focus of this study as a whole, it is more appropriate to start considering what characterises narrative itself while simultaneously bearing in mind the possibilities painting has of enacting its key features.
Lessing asserts that chronology is inherent in narrative and narratology has not shattered this principle. That is, even though today films, plays, paintings, drawings, music or dance can suggest a story and albeit many of these representations connect with a temporal dimension, not all of them constitute narratives. Recurrent subjects performing an action are often the main means to provide cohesiveness: Finally, the sequence must follow a temporal order that channels the reader through it and this is why Chatman suggests that for narrative to be considered as such, it needs to be ruled by a double time structuring.
Namely, the chronological order of events and the order in which these are narrated: The two orderings must be independent from one another, so that the chronology of events does not necessarily have to match how they are being told. This definition apparently misses the essential trait of narrative: That is, even if one argues that a painting compels the viewer to look at it as a sequence of events, these would need to be clearly separated as well as temporally ordered to work as 7 He uses the following example: Wendy Steiner enumerates four conventions that provide painting both with discreteness as well as with the double time structuring characteristic of narrative.
Third, the arrangement of events as stages along a path, or in addition, the presentation of scenes in different rooms within a building or other architectural framing. That is, to portray separate distinctive spatial planes which are indicative of succession in time.
Fourth, use of technical features such as the size of a fresco, that will compel the eye to observe it in a series, logically lending itself to the separation of scenes in an unfolding narrative. The fifth is the book format, where pages provide an innate separation which other pictorial media are forced to achieve metaphorically Steiner, Pictures That is to say, in reality a person cannot be simultaneously in two places, so if a person appears twice or three times in the same canvas, the viewer assumes that this is because the subject is depicted in different temporal stages.
A temporal configuration begins to take shape: This would be the last quality of narrative painting Steiner, Pictures Simultaneously, we will observe to what extent her paintings can be seen to modify this criterion. A main agent also supplies cohesiveness: Hacia la torre employs a drawing technique that works all planes with the same intensity, with soft curved lines that contribute towards creating a sense of flow and movement in the human figures. The composition is balanced, although there is more weight on the left side of the painting.
The three 11 The average size of her paintings is 20x60cm. Yet he sees it as sufficient to speak for a common purpose in all her art: The effect of the tall and slim figures is reinforced with the architecture and the vertical lines of the trees, establishing a correlation between the lower and upper part of the painting and creating a self-contained, balanced whole. Both the arrangement of the visual elements and the use of colour establish cohesion between the four planes.
Composition provides movement to the depicted scene, as it provokes the displacement of the gaze towards the side of the painting in which there is more weight, and which is precisely indicative of the direction the girls are taking. Perspective contributes towards this same movement, as the gaze first focuses on the vanishing point and then moves in the direction the figures are exiting. Varo also uses the titles to emphasize the discourse-time and endow cohesiveness.
If in the first image the repeated subject is distinctive by the power of her gaze, in the second one she is recognisable due to an almost imperceptible fact that also works as a narrative cluster between this temporal sequence and the next. In the piece of mantle she is embroidering, the girl creates an upside down image of herself with the man with whom she will escape. Its composition is equally symmetric, although more centred and equilibrated. Unlike Hacia la torre, Bordando That is, the conjunction of two different perspectives: Equally, the two registers are united by loose lines to which the gaze endows a sense of movement as this is first directed towards the centre interior , and then towards the exterior.
Varo also relates these interior and external spaces through the combination of warm and cold tonalities, facilitating an optical connection between them. All elements of pictorial composition, from perspective to title and colour, 62 contribute towards cohesiveness establishing a narrative order between the different surfaces. La huida repeats the two subjects that the blond girl is embroidering in Bordando In this last painting, as in all previous ones and in fact as in all of her canvases , Varo employs a harmonious drawing technique with a taste for minimal details and atmospheric effects.
The composition is based on a large diagonal that divides the work into two halves. The composition is equilibrated by the two vertical lines of the figures that, occupying the optical centre, have their gazes directed towards the next temporal sequence, the entrance into the cave. The employment of oblique lines helps to establish a sense of flow, and colour reinforces the direction of perspective and the equilibrium of the painting as a whole, with a predominance of warm colours in the masculine figure and the stream in which they are sailing, and a predominance of cold ones in the female figure and the rock.
All these elements connect the different planes of the painting, endowing them with a sense of temporal ordering and therefore of narrative flow. To summarise, the three panels of the triptych are ordered by Varo in a way which corresponds to their chronological happening, and thus the different scenes are linked in a cause-effect relationship that constitutes a narrative of the type: A girl is guided towards a tower where she is trapped and forced to labour on embroidering the world.
Resenting her confinement, she plays a trick on her guardians and crafts a love relationship that will help her to escape. Thanks to her creation, she flees with the man she has invented. The paintings could have been ordered in any other sequence, which would inevitably result in a completely different story, which confirms the independent time structuring characteristic of narrative. A similar method of narrating is provided in La despedida , where Varo employs two-point perspective.
Lines converge first at the crossroads optical centre , and then diverge towards the sides of the alleyways, each of them using a vanishing point. Although the painting represents a path, this is broken up at the 63 optical centre, interrupting the feeling of surface continuity.
She thus makes of the shadows a metaphorical repetition of the subjects, whose elongation unites the two symmetric halves, endowing the painting with narrative flow. That is, due to the use of colour and light, the gaze is first directed towards the end of the alleyways, and then moves towards the central axis, where one sees the shadows about to kiss. Varo employs a monochromatic palette, with the predominance of red and with the exception of the two cold coloured figures and the cat. These three figures are thus also linked by the use of colour, contrasting with the inanimate red scenery.
The title stresses the temporal order, leaving us with no doubt that the couple was formerly together at that intersection of the alleyway. A similar technique is found in El encuentro , where Varo provides a main architectural framing, the arch in the middle, to signal an episodic division within two distinct spaces, the foreground and the background, left and right.
Varo uses one point perspective, as all lines converge somewhere beyond the three-arch arquitectural dome at the back of the composition. The dome thus blocks the vanishing point producing an optical stop, preventing the gaze going further and 64 forcing the viewer to focus on the two main spaces. The inclusion of cold and warm colours within a monochromatic darker palette, make them even more visible within the overall composition.
Therefore, knowing that the gaze of the viewer moves with colour and light, Varo employs them to help dividing the two main spaces, so that warm tonalities belong to the front and cold ones to the background. Thus, the dog, the water and the statue are related by use of blue and silvery white, making them belong to the same element.
As the statue moves towards the warm colours, it establishes cohesion between both spaces, indicating that he is the main agent of the action. Composition contributes towards this same effect, as the viewer is able to ascertain the story-time how events developed chronologically because the figure has left his sandals and footprints behind him. Furthermore, the footprints are caused by humid feet, so the viewer knows the exact distance it has travelled, and also that very little time has passed before he has left his statue condition to meet his lover at the door from which she emerges.
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Even though the composition is asymmetric, as the front right side of the painting where the two figures encounter has a greater weight and represents the climactic action, Varo compensates composition with another element, a figure that looks at the couple from the left side of the painting. The first event precedes the second and it is static the statue was on the pedestal , the second event is active, the statue comes alive and walks to meet the lover , it temporally precedes the third and causes it, the meeting of the couple causes the surprise of the woman who looks at them and turns it into a clandestine meeting.
Visita inesperada Ruptura , Nacer de nuevo , Mujer saliendo del psicoanalista , or Presencia inquietante Both the group of paintings just commented upon and the ones to which I will now turn, present an allusive rather than explicit narrative method. Unlike the others, and even these are also based on a drawing technique, there are no visible parallel lines, she does not represent architectural constructions, moving from interior spaces to exterior ones, that is, to natural landscapes.
That is, the landscapes do not provide a neat horizon line, earth and heaven are not that easily distinguished. Attention is brought to the central figure, often painted orange, red or yellow, that is, warm colours that advance towards the viewer provoking a sense of closeness. Temporality is inferred from the scene by making it appear as one stage within a larger scenario, as well as by being able, through composition, to suggest a set of causal associations that establish a past, a present and a future moment within the painted scene. These scenarios are in themselves quite important with regard to the narrative effect, especially at the level of what the painting refers to outside it, as they cause the depicted scenes to be associated with the archetypical system of the quest, turning the pictorial objects into evaluative details.
That is, the paintings present a story but also relate to a master narrative beyond it, its signs working allegorically. Even though the painting lacks a neat horizon line, a division and therefore a spatial reference is suggested by the tactile value of the elements depicted. That is, all the background possesses the same grey colour yet at the back the transparent water leads to what appears a more dense fog, covering the whole upper part of the painting and suggesting a vague horizon line, even if blurred.
The homogeneity of cold colours helps to highlight the central figure, painted red. Yet, colour composition is stabilised though the use of a yellow in the trees that frame the central figure, and the composition of elements is balanced through the inclusion of the birds in the trees at the left and the open tree with the goblet at the right. The song peaked at 4 on the Spanish Promusicae Top 50 Songs.
- Song recordings produced by RedOne;
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It eventually peaked 1 on the Spanish Airplay Chart. The song also moved up from 6 to 2 on the Latin Pop Songs. In Mexico the song peaked at 4. The song also made a huge jump to 1 in Puerto Rico. The song was recorded for her tenth studio album, Brava! It is a pop dance song with a Latin rhythm touch and it clearly uses an electronic sound with a pulsatin At the same time, these expansions were also separately released as EPs in their respective regions containing the newly added songs.
She said that her new album will be Spanglish and will include songs in Spanish and English. She also hoped that the first single of the new material would be released in the middle or the end of Working primarily in the hip hop, pop, and Latin genres, he has produced over 25 songs for American rapper Lil Wayne, including the songs "Fireman" and "Blunt Blowin" He went on to make mixtapes and perform at high school parties. It was released on 13 January , by Sony Music Colombia.
DB The Mixtape" — via iTunes. Tour was the fourth solo concert tour by Mexican pop and rock singer Paulina Rubio in support of her tenth studio album Brava! Their debut album was released in from Bibomusic. Use in dance performances The uptempo music of Mercadonegro makes many of its songs a popular choice in salsa dancing performances and competitions. The song "La Malanga" from their album "Salsa Pa'l Mundo Entero" was the most popular song at the World Latin Dance Cup, leading to the song being banned from the competition. Eso me duele single 5. La mujer que tengo 8.
Salsa pa'l bailador 9. Yo se que es mentira Tributo an Eddie Palmieri La chica del barrio No hace falta ta October 20, Label: November 18, Label: March 25, Label: Capitol Latin — — — — — — Planeta Paulina Released: September 3, Label: Capitol Latin — — — — — — Paulina Released: May 23, Label: Paulina Susana Rubio-Dosamantes Spanish pronunciation: Rubio's departure from EMI Music happened in the same year.
She rejected the contract by paying a lot of money to be free from EMI Music, looking for freedom of expression and cre Mexican pop is a music genre produced in Mexico, particularly intended for teenagers and young adults. Mexico is the country that exports the most entertainment in Spanish language. During the s and s most of the pop music produced in Mexico consisted on Spanish-language versions of English-language rock-and-roll hits.
The song is a salsa recording which combines the sounds of bomba and reggeaton urban music.
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A ballad version of the song was also recorded which is included on the deluxe edition of the album. It received a positive reception from critics who praised the lyrics and music in the recording. Background and composition Vict Since retiring as a player he has gone on to win several major titles as a manager. In Veira received his first call up to the Argentina national football team and in he helped San Lorenzo to win the Metropolitano championship without losing a game, to become the first team in the professional era of Argentine football to become unbeaten champions.
He then had a spell with Laguna in Mexico[1] before returning to San Lorenzo in It was released as the lead single from the singer's most recent EPs, Brava! The song was produced by RedOne, which makes this song his fourth collaboration with Paulina. The song was released on March 24, on iTunes and Amazon in Europe countries first and then internationally. Promotion and release The song was released Engel Garcia, better known by his stage name El Jeffrey, is a merengue artist from the Dominican Republic.
A major album of his is "Mi Vida". Los Pitchers is the third studio album by Puerto Rican reggaeton artist Miguelito. It was released on August 4, Semper, Jose Encarnacion, Miguel V The following is Antony Santos discography. Tell me is the sixth studio album released by Mexican performer Lucerito. It was released in Latin American music has long influenced popular American music: This includes music from Spanish, Portuguese, and sometimes French-speaking countries and territories of Latin America.
Louis Blues" -"Saint Louie woman, with her diamond rings"—has a habanera beat, prompting Jelly Roll Morton to comment, "You've got to have that Spanish tinge". Many American bands have added a conga player, maracas, or other Latin percussion for just that reason. Latin American music influence in the United States. The Argentine tango was a worldwide success in the s.
Tango dancers and records could be found from Los Angeles to Beijing. In more recent times, artists such The following is a list of songs produced, co-produced and remixed by Swedish-Moroccan producer, songwriter and music executive RedOne. The Billboard Top Latin Songs is a chart that ranks the best-performing singles in the Latin-based radio stations plus digital download on the United States.
Published by Billboard magazine, the week's most popular regional Mexican, Latin pop, tropical and Latin rhythm songs, ranked by radio airplay audience impressions across those formats as measured by Nielsen BDS. I'm Leaving is a song performed by Mexican singer Paulina Rubio. The song was recorded for her tenth studio album, Brava!.
A remix featuring the Mexican singer-songwriter Espinoza Paz was released as the album's second official single in Latin America on February 14, Soy tu fan English: Nicolas shows interest in Charly and tells her to tell her therapist, with whom she has an appointment later, that she just met the love of her Mientras no cueste trabajo in English: While No Trouble is Asturian pop singer Melendi's third studio album.
In , it was rereleased with four new songs: La Academia The Academy is a Mexican reality musical talent show shown on Azteca, that premiered in June and is currently in its tenth installment. Although the show itself is not affiliated with the Endemol franchise, which includes the "Star Academy" shows, it does share the competition format of many of the variants of the global franchise. The rival show was only produced for one season, and was in fact the official Endemol entry in Mexico.
However, the last seasons of La Academia had declining ratings, being aired against the Mexican version of The Voice, produced by Televisa, and it eventually ceased production in However, in , Azteca rebooted the franchise and it is currently airing a new generation of La Academia. The show has been franchised to other countries: He was born in the s in the Dominican Republic.
Biography Ferreira was born in the town of Amaceyes Tamboril, near Santiago in the Cibao region of the north-western Dominican Republic. Ferreira then became a member of the Brugal rum company orchestra, where he remained for five years. Her first starring role on a television soap opera or telenovela was in in El Ardiente Secreto, an adaptation of Jane Eyre.
During this time, Chucho Ferrer, a popular producer at the time, saw the potential in Romo and offered to produce a record. Number One Hits, all songs are master tracks. They met in , while living in the same neighbourhood and having common interests in reggaeton. Published by Billboard magazine, the data are compiled by Nielsen SoundScan based collectively on each single's weekly airplay. This lists the singles that reached number one on the Spanish Promusicae sales and airplay charts in Total sales correspond to the data sent by regular contributors to sales volumes and by digital distributors.
There is a two-day difference between the reporting period from sales outlets and from radio stations. For example, the report period for the first full week of ended on January 9 for sales and on January 7 for airplay. El Cata "Loca" [1] 1 January 7 Shakira feat. It achieved the duo's highest debut on Billboard's Top Latin Albums chart, peaking at number 2 and charting for 12 weeks. The ceremony was televised in the Mexico by Canal de las estrellas.
La fuerza del destino won 5 awards including Best Telenovela of the Year, the most for the evening. This was the sixth time that Latin Grammys has been held at this location. The main telecast was broadcast on Univision at 8: The nominations were announced on September 25, This marks the first time since the inaugural awards that the three categories were given to three different artists.
Producer Sergio George won three awards, including Producer of the Year. The accolade was established to recognize the most talented performers of Latin music.
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Puerto Rican-American singer Ricky Mart Title Writer s Length 1. During the ceremony, Lo Nuestro Awards were presented in 33 categories. American artist Prince Royce received six accolades. To further celebrate the twenty-fifth anniversary of the Lo Nuestro Awards, It claims to be the largest young music[3] corporation for the Latin Market.
May, 19, Fo This is a list of notable events in Latin music i. Colombian singer Shakira was honored as the Latin Recording Academy Person of the Year Number-ones albums and singles by country List of Hot number-one singles of Brazil List of number-one albums of Mexico List of number-one albums of Portugal List of number-on His specialties are rock, flamenco, and rumba styles. He is considered one of the best singer-songwriters of Spain. Biography He was born on January 21, , in Oviedo, Asturias. He also did racing for a while but he realized very quickly that he was not made for racing nor studying, but he was good at football.
Afterwards, he worked as a waiter in several bars and spent all night out, living experiences that would later go on to make up the lyrics of his songs. In , he joined a group called "El bosque de Sherwood", and soon after recorded a demo with only three songs, "Sin noticias de Holanda", "El informe del forense", and "Vu She published more than 5, titles and sold more than million books which have been translated into several languages.
Her novels were different from other contemporary Western European romantic writers' works because she usually set them in the present and didn't use eroticism, due to the Spanish regime's strict censorship. These novels have inspired several telenovelas. Her mother was a housewife and her father was a n In addition to having his own orchestra, he provided the film scores to over movies, at his most prolific in the s and s. The 52 contestants, divided into teams of four members each, spend each week at an isolated location learning and developing their artistic skills, then compete against each other during a weekly concert for TV viewers and a live studio audience and face elimination.
Producers stated the composition of each team on March 10, Mexican singer-songwriter Juan Gabriel had the best-performing Latin single in , and