Symbiotic Cities: Buenos Aires, Montevideo, and Mass Culture, 1910-1960

This dissertation examines how Buenos Aires emerged as a creative capital of mass culture and cultural industries in South America during a period when Argentine theater and cinema expanded rapidly, winning over a regional marketplace swelled by transatlantic immigration, urbanization and industrialization. I argue that mass culture across the River Plate developed from a singular dynamic of exchange and competition between Buenos Aires and neighboring Montevideo. The study focuses on the Argentine, Uruguayan, and international performers, playwrights, producers, cultural impresarios, critics, and consumers who collectively built regional cultural industries. The cultural industries in this region blossomed in the interwar period as the advent of new technologies like sound film created profitable opportunities for mass cultural production and new careers for countless theater professionals. Buenos Aires also became a global cultural capital in the wider Hispanic Atlantic world, as its commercial culture served a region composed largely of immigrants and their descendants. From the 1920s through the 1940s, Montevideo maintained a subordinate but symbiotic relationship with Buenos Aires. The two cities shared interlinked cultural marketplaces that attracted performers and directors from the Atlantic world to work in theatre and film productions, especially in times of political upheaval such as the Spanish Civil War and the Perón era in Argentina. As a result of this transnational process, Argentine mass culture became widely consumed throughout South America, competing successfully with Hollywood, European, and other Latin American cinemas and helping transform Buenos Aires into a cosmopolitan metropolis. By examining the relationship between regional and national frames of cultural production, my dissertation contributes to the fields of Latin American studies and urban history while seeking to de-center the United States and Europe from the central framing of transnational history.

Alan Pauls: Poéticas del anacronismo

Alan Pauls (b. 1959) is an Argentine novelist and essayist. His works have barely been studied outside of Latin America; therefore, my work will be one of the first to focus critically and theoretically on his oeuvre and raise awareness of his importance to Contemporary Latin American Literature. The fundamental concept of my thesis is anachronism, which I develop by investigating the ways in which the present and the past are interconnected in the same temporal space. My dissertation has two interconnected parts. In the first, I propose an approach to Pauls’ literary work that emphasizes its engagement with literary and cultural theory. Specifically, I analyze how Pauls’ first novels –El pudor del pornógrafo (1984), El coloquio (1989), Wasabi (1994)– are strongly influenced by various theoretical discourses, especially the work of Roland Barthes. The guiding question of my dissertation’s first part is how one can narrate a fictional text without strictly appropriating narrative devices. Namely, I suggest that Pauls’ conception of literature is inevitably related to critical discourse. In the second part, I study a trilogy that Pauls wrote about the 1970s in Argentina: Historia del llanto (2007), Historia del pelo (2010), and Historia del dinero (2013). Here I focus on how Pauls uses the 1970s to propose a new conceptualization of the “political.” For Pauls, the “political” is not represented in the great events of a particular time but rather in the “effects” that these events produce; these effects are minor, almost imperceptible, and for that reason much more powerful as a literary event mechanism per se. From my point of view, this new conceptualization of the “political” contains in itself a problematic issue: the articulation between personal experience, history, and fiction. In conclusion, this interrelation between theory, politics, history, and fiction defines the path of my dissertation, which would have been just the “starting point” in my personal attempt to reconfigure the map of the Latin American literary contemporaneity.

INNOVATIONS IN FRENCH CHAMBER MUSIC AND MÉLODIE (1886 – 1962) – A COLLABORATIVE PIANIST’S PERSPECTIVE

French chamber music in the last quarter of the nineteenth century displayed significant advances in musical innovations and technical developments. As the Parisian public began to favor instrumental music and mélodie over opera, vocal and chamber music with piano became one of the main genres to express French composers’ creativity and individuality. The composers Franck, Debussy, Fauré, Duparc, Ravel, Chausson and Poulenc were the major contributors to this unusually creative period in French music. French mélodies of this period blend precision with lyricism, and demand the performer’s elegance and wit. They show careful settings of the French language’s rhythmic subtleties and increased expressiveness in and importance of the piano accompaniment. The chamber works of this period demanded superior pianistic and instrumental virtuosity while displaying wide ranges of sonority, multiple tone colors, and rhythmic fluidity. The three recitals which comprise this dissertation project were performed at the University of Maryland Gildenhorn Recital Hall on 27 October 2006, All Nations Mission Church (Dayton, NJ) on 5 December 2009, and the Leah M. Smith Lecture Hall of the University of Maryland on 11 May 2010. The repertoire included Poulenc’s Sonata for Oboe and Piano (1962) with oboist Yeongsu Kim, French mélodies by Fauré, Chausson, Debussy, Ravel and Duparc with soprano Jung-A Lee and baritone Hyun-Oh Shin, Poulenc’s Sextet for Piano, Flute, Oboe, Clarinet, Bassoon and Horn (1932-1939) with flutist Katrina Smith, clarinetist Jihoon Chang, bassoonist Erich Heckscher, hornist Heidi Littman and oboist Yeongsu Kim, Debussy’s Sonata for Cello and Piano (1915) with cellist Ji-Sook Shin, Poulenc’s Sonata for Violin and Piano (1942-1949) with violinist Ji-Hee Lim, Franck’s Sonata for Violin and Piano (1886) with violinist Na-Young Cho, Ravel’s Piano Trio (1915) with cellist Ji-Sook Shin and violinist Yu-Jeong Lee and Ravel’s Sonata for Violin and Piano (1927) with violinist Yu-Jeong Lee. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

The Idiosyncratic Body: Contemporary Clown Theory and Practice

Drawing on historical research, personal interviews, performance analysis, and my own embodied experience as a participant-observer in several clown workshops, I explore the diverse historical influences on clown theatre as it is conceived today. I then investigate how the concept of embodied knowledge is reflected in red-nose clown pedagogy. Finally, I argue that through shared embodied knowledge spectators are able to perceive and appreciate the humor of clown theatre in performance. I propose that clown theatre represents a reaction to the eroding personal connections prompted by the so-called information age, and that humor in clown theatre is a revealing index of socio-cultural values, attitudes, dispositions, and concerns.