Máscara de Rubén Darío
This paper examines the tradition of the modernist masks, medallions, portraits and cabezas that Darío helped to consolidate and disseminate. It holds as well that these profiles and coined literary silhouettes of artists and writers constitute a system of “parallel economy”. Masks, portraits and me...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires)
2017
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/zama/article/view/3414 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=3414_oai |
| Aporte de: |
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I28-R145-3414_oai |
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dspace |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-145 |
| collection |
Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Español |
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spa |
| topic |
máscara medallón retrato modernista máscaras medalhões retrato modernista mask medallion modernist portrait |
| spellingShingle |
máscara medallón retrato modernista máscaras medalhões retrato modernista mask medallion modernist portrait Weinberg, Liliana Máscara de Rubén Darío |
| topic_facet |
máscara medallón retrato modernista máscaras medalhões retrato modernista mask medallion modernist portrait |
| description |
This paper examines the tradition of the modernist masks, medallions, portraits and cabezas that Darío helped to consolidate and disseminate. It holds as well that these profiles and coined literary silhouettes of artists and writers constitute a system of “parallel economy”. Masks, portraits and medallions are presented as currency without a value on the market but as a symbolic exchange value amongst the “well read” in art and literature. The exchange strengthened the gift system that ruled the literary field, which then started to reconfigure in association to the anti-market value of pure art, and contributed to generate various networking processes between artists, writers and readers. Darío joins his work to the tradition initiated by Rémy de Gourmont as well as to the new diffusion practices of art and literature’s figures, in particular, to the new representatives of the french aesthetic that was spreading out in the porteño cultural ambience at the time. Darío translated these concerns through an artistic portrait which later became a book, Los raros. Style, therefore, became a transforming method that goes from the concrete, biographical information to the artists’ lives. Right from Darío’s first works it is noticeable the output of medallions, masks, biographical sketches and profiles. His first masks appeared in Azul’s second edition and his portraits of artists and writers were interspersed through the years to the non-fictional prose forms, such as articles, chronicles, essays and critical assessments until, during the last years, the “cabezas” appeared as texts dedicated to Latin American, Spanish and European authors. The masks and medallions circulated widely among modernist magazine and newspaper networks thus outlining a sociability and exchange system of symbolic goods that worked in parallel to any other circulating form of material goods. |
| format |
Artículo publishedVersion |
| author |
Weinberg, Liliana |
| author_facet |
Weinberg, Liliana |
| author_sort |
Weinberg, Liliana |
| title |
Máscara de Rubén Darío |
| title_short |
Máscara de Rubén Darío |
| title_full |
Máscara de Rubén Darío |
| title_fullStr |
Máscara de Rubén Darío |
| title_full_unstemmed |
Máscara de Rubén Darío |
| title_sort |
máscara de rubén darío |
| publisher |
Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires) |
| publishDate |
2017 |
| url |
https://revistascientificas.filo.uba.ar/index.php/zama/article/view/3414 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=3414_oai |
| work_keys_str_mv |
AT weinbergliliana mascaraderubendario |
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1851376448755990528 |
| spelling |
I28-R145-3414_oai2025-11-17 Weinberg, Liliana 2017-04-26 This paper examines the tradition of the modernist masks, medallions, portraits and cabezas that Darío helped to consolidate and disseminate. It holds as well that these profiles and coined literary silhouettes of artists and writers constitute a system of “parallel economy”. Masks, portraits and medallions are presented as currency without a value on the market but as a symbolic exchange value amongst the “well read” in art and literature. The exchange strengthened the gift system that ruled the literary field, which then started to reconfigure in association to the anti-market value of pure art, and contributed to generate various networking processes between artists, writers and readers. Darío joins his work to the tradition initiated by Rémy de Gourmont as well as to the new diffusion practices of art and literature’s figures, in particular, to the new representatives of the french aesthetic that was spreading out in the porteño cultural ambience at the time. Darío translated these concerns through an artistic portrait which later became a book, Los raros. Style, therefore, became a transforming method that goes from the concrete, biographical information to the artists’ lives. Right from Darío’s first works it is noticeable the output of medallions, masks, biographical sketches and profiles. His first masks appeared in Azul’s second edition and his portraits of artists and writers were interspersed through the years to the non-fictional prose forms, such as articles, chronicles, essays and critical assessments until, during the last years, the “cabezas” appeared as texts dedicated to Latin American, Spanish and European authors. The masks and medallions circulated widely among modernist magazine and newspaper networks thus outlining a sociability and exchange system of symbolic goods that worked in parallel to any other circulating form of material goods. Se estudia la tradición de las máscaras, medallones, retratos y cabezas modernistas que Darío contribuyó a consolidar y difundir. Se sostiene además que estos perfiles y siluetas literarios “amonedados” de artistas y escritores constituyen un sistema de “economía paralela”, pues máscaras, retratos y medallones se presentan como una moneda que no tiene precio en el mercado aunque sí tiene un valor de intercambio simbólico que les permite circular entre “los buenos entendedores” del arte y la literatura, fortaleciendo así el sistema del don que rige en un campo literario que comienza por esos años a reconfigurarse en asociación al valor antimercantil del arte puro, y contribuyendo a generar procesos de religación entre artistas, escritores y lectores. Darío logra articular su quehacer tanto con la tradición iniciada por Rémy de Gourmont como con las novedosas prácticas de difusión de las nuevas figuras del arte y la literatura, y en particular a los nuevos representantes de la estética francesa que circulaban ya en el ambiente cultural porteño de esos años. Darío traduce estas inquietudes a través del retrato artísticamente trabajado que culmina en el libro de Los raros. El estilo se convierte así en una forma de conversión de los datos biográficos concretos en las vidas de artista. Ya desde los primeros trabajos de Darío es notable la producción de medallones, máscaras, semblanzas, perfiles. Sus primeras máscaras aparecen bajo ese título en la segunda edición de Azul..., y sus retratos de artistas y escritores se entretejen a lo largo de los años con otras formas de la prosa no ficcional como artículos, crónicas, ensayos y valoraciones críticas, hasta alcanzar en los últimos años las “cabezas”, en textos que dedica a autores latinoamericanos, españoles y europeos. Las máscaras y medallones circularán ampliamente entre las redes de periódicos y revistas del modernismo trazando un sistema de sociabilidad e intercambio de bienes simbólicos que funcionan paralelamente a cualquier otra forma de circulación de bienes materiales. O artigo estuda a tradição das máscaras, medalhões, retratos e cabeças modernistas que Darío ajudou a consolidar e disseminar. Alega-se ainda que esses perfis e silhuetas literárias de escritores constituem um sistema de “economia paralela”, porque máscaras, retratos e medalhões são apresentados como uma moeda que não tem preço no mercado, embora tenha um valor de troca simbólico que lhes permite mover-se entre “bons conhecedores” da arte e da literatura, fortalecendo assim o sistema do dom que governa em um campo literário que começa naqueles anos a ser reconfigurado em associação com o valor antimercantil da arte pura, e ajudando a criar processos de religação entre artistas, escritores e leitores. Darío consegue articular seu trabalho tanto com a tradição iniciada por Rémy de Gourmont como com as novas práticas de propagação de novas figuras na arte e na literatura, e em particular os novos representantes da estética francêsa que já circulam no ambiente cultural de Buenos Aires nesses anos. Darío traduz estas preocupações através do retrato artisticamente trabalhado culminando no livro Los raros. O estilo torna-se, assim, uma forma de conversão de informação dos dados biográficos específicos nas vidas de artista. Desde as primeiras obras de Darío é notável a produção de medalhões, máscaras, retratos, perfis. Suas primeiras máscaras aparecem na segunda edição do Azul e seus retratos de artistas e escritores se entrelaçam ao longo dos anos com outras formas de não-ficção como artigos, crónicas, ensaios e avaliações críticas, atingindo nos últimos anos as “cabeças”, em textos dedicados a autores de América Latina e Europa. Máscaras e medalhões serão divulgados entre as redes de jornais e revistas do modernismo traçando um sistema de sociabilidade e troca de bens simbólicos que correm paralelas a qualquer outra forma de circulação de bens materiais. application/pdf https://revistascientificas.filo.uba.ar/index.php/zama/article/view/3414 10.34096/zama.a0.n0.3414 spa Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires) https://revistascientificas.filo.uba.ar/index.php/zama/article/view/3414/3139 Zama; 2016: Extraordinario: Rubén Darío; 153-171 Zama; 2016: Extraordinario: Rubén Darío; 153-171 Zama; 2016: Extraordinario: Rubén Darío; 153-171 2422-6017 1851-6866 máscara medallón retrato modernista máscaras medalhões retrato modernista mask medallion modernist portrait Máscara de Rubén Darío info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=3414_oai |