The Sensitive Gaze. Pedro Henríquez Ureña in the United States

Mostrar todas las versiones(3)

The purpose of this work is to analyze the estranged gaze manifested by the subject of enunciation of the Memorias by Pedro Henríquez Ureña in his encounter with the United States, specifically on his arrival to the city of New York. Across the textual space of the Memorias, Ureña expresses, in an o...

Descripción completa

Guardado en:
Detalles Bibliográficos
Autor principal: Sozzi, Martín
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades 2019
Materias:
Pedro Henríquez Ureña
Estados Unidos
Representaciones de la ciudad
paisaje de cultura
Memorias
United States
city representation
cultural landscape
Acceso en línea:https://revistas.unc.edu.ar/index.php/recial/article/view/24842
Aporte de:
Recial de Universidad Nacional de Córdoba
id I10-R377-article-24842
record_format ojs
spelling I10-R377-article-248422025-11-30T15:26:31Z The Sensitive Gaze. Pedro Henríquez Ureña in the United States La mirada sensible. Pedro Henríquez Ureña en los Estados Unidos Sozzi, Martín Pedro Henríquez Ureña Estados Unidos Representaciones de la ciudad paisaje de cultura Memorias Pedro Henríquez Ureña United States city representation cultural landscape Memorias The purpose of this work is to analyze the estranged gaze manifested by the subject of enunciation of the Memorias by Pedro Henríquez Ureña in his encounter with the United States, specifically on his arrival to the city of New York. Across the textual space of the Memorias, Ureña expresses, in an ostensible fashion, a divergence from a series of expectations that could be traced back –although not exclusively– to the perceptions by Rubén Darío in his chronicle on Edgar Allan Poe where the nicaraguan poet hears upon coming to New York “a vast soliloquy of figures” and which Ureña manages to subvert. In this way, he challenges conventions normalized by Latin American intellectuals in order to conform an alternative space in which his gaze goes beyond established prejudices and probes into the culture of a time and a city. Raymond Williams (1973) draws attention to two models cities have been associated with: on one hand, as centers of progress and erudition; on the other, as places of noise and ambition. In that sense, for Henríquez Ureña the North American world would not be affected only by great technological advances or a predominance of wealth – the second model presented by Williams – but by diverse manifestations of culture – visual arts, music, literature – which turn it into an auspicious realm for high culture. El propósito del trabajo es analizar la mirada extrañada que manifiesta el sujeto enunciador de las Memorias de Pedro Henríquez Ureña en el encuentro con los Estados Unidos, particularmente al arribar a la ciudad de Nueva York. En el espacio textual de las Memorias se expresa, de modo ostensible, el desacuerdo entre una serie de expectativas que se podrían retrotraer -aunque no de forma exclusiva- a las percepciones de Rubén Darío en su crónica sobre Edgar Allan Poe en las que el poeta nicaragüense escucha al llegar a Nueva York “un vasto soliloquio de cifras” y que el dominicano logra trasvasar. De esa forma, rompe con algunas convenciones cristalizadas por una parte de la intelectualidad latinoamericana, para conformar otro espacio en el que la mirada logra ir más allá de los prejuicios establecidos e indaga la cultura de una época y de una ciudad. Raymond Williams (1973) presenta dos modelos con los que fueron vinculadas las ciudades: por un lado, como centro de progreso y erudición; por otro, como lugar de ambición y ruido. En ese sentido, el mundo norteamericano, no estaría transido para Henríquez Ureña solo por los grandes avances tecnológicos ni por el predominio del dinero -el segundo modelo de ciudad que presenta Williams-, sino por diversas manifestaciones del mundo cultural -las artes plásticas, la música, la literatura- que lo transforman en un terreno propicio para la alta cultura. Facultad de Filosofía y Humanidades 2019-07-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/recial/article/view/24842 10.53971/2718.658x.v10.n15.24842 Recial; Vol. 10 Núm. 15 (2019): Dossier: Paisajes: naturaleza y cultura en la literatura latinoamericana (siglos XIX y XX) 2718-658X 1853-4112 10.53971/2718.658x.v10.n15 spa https://revistas.unc.edu.ar/index.php/recial/article/view/24842/24090 https://revistas.unc.edu.ar/index.php/recial/article/view/24842/html Derechos de autor 2019 Recial https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-377
container_title_str Recial
language Español
format Artículo revista
topic Pedro Henríquez Ureña
Estados Unidos
Representaciones de la ciudad
paisaje de cultura
Memorias
Pedro Henríquez Ureña
United States
city representation
cultural landscape
Memorias
spellingShingle Pedro Henríquez Ureña
Estados Unidos
Representaciones de la ciudad
paisaje de cultura
Memorias
Pedro Henríquez Ureña
United States
city representation
cultural landscape
Memorias
Sozzi, Martín
The Sensitive Gaze. Pedro Henríquez Ureña in the United States
topic_facet Pedro Henríquez Ureña
Estados Unidos
Representaciones de la ciudad
paisaje de cultura
Memorias
Pedro Henríquez Ureña
United States
city representation
cultural landscape
Memorias
author Sozzi, Martín
author_facet Sozzi, Martín
author_sort Sozzi, Martín
title The Sensitive Gaze. Pedro Henríquez Ureña in the United States
title_short The Sensitive Gaze. Pedro Henríquez Ureña in the United States
title_full The Sensitive Gaze. Pedro Henríquez Ureña in the United States
title_fullStr The Sensitive Gaze. Pedro Henríquez Ureña in the United States
title_full_unstemmed The Sensitive Gaze. Pedro Henríquez Ureña in the United States
title_sort sensitive gaze. pedro henríquez ureña in the united states
description The purpose of this work is to analyze the estranged gaze manifested by the subject of enunciation of the Memorias by Pedro Henríquez Ureña in his encounter with the United States, specifically on his arrival to the city of New York. Across the textual space of the Memorias, Ureña expresses, in an ostensible fashion, a divergence from a series of expectations that could be traced back –although not exclusively– to the perceptions by Rubén Darío in his chronicle on Edgar Allan Poe where the nicaraguan poet hears upon coming to New York “a vast soliloquy of figures” and which Ureña manages to subvert. In this way, he challenges conventions normalized by Latin American intellectuals in order to conform an alternative space in which his gaze goes beyond established prejudices and probes into the culture of a time and a city. Raymond Williams (1973) draws attention to two models cities have been associated with: on one hand, as centers of progress and erudition; on the other, as places of noise and ambition. In that sense, for Henríquez Ureña the North American world would not be affected only by great technological advances or a predominance of wealth – the second model presented by Williams – but by diverse manifestations of culture – visual arts, music, literature – which turn it into an auspicious realm for high culture.
publisher Facultad de Filosofía y Humanidades
publishDate 2019
url https://revistas.unc.edu.ar/index.php/recial/article/view/24842
work_keys_str_mv AT sozzimartin thesensitivegazepedrohenriquezurenaintheunitedstates
AT sozzimartin lamiradasensiblepedrohenriquezurenaenlosestadosunidos
AT sozzimartin sensitivegazepedrohenriquezurenaintheunitedstates
first_indexed 2024-09-03T23:07:59Z
last_indexed 2025-12-27T05:09:46Z
_version_ 1852636854861430784

Ejemplares similares