Advertisement

Cultural Criticism in Plural: Literature and Art

  • John King
Chapter
  • 30 Downloads
Part of the Studies of the Americas book series (STAM)

Abstract

On 19 November 1973, Paz wrote to Sakai expressing his enthusiasm for the quality of contributors and for the balance of issue 26: “The truth is that it is difficult to find another magazine publishing such good quality articles. I really don’t understand the attitude of Mexican writers: they should be fighting to publish in Plural” (Paz to Sakai, Cambridge, Mass., 19 November 1973).

Keywords

Japanese Culture Frequent Contributor Regular Column Dominant Interest Regular Contributor 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

4 Cultural Criticism in Plural: Literature and Art

  1. 1.
    Jason Wilson, “Alejandra Pizarnik, Surrealism and Reading,” in Arbol de Alejandra: Pizarnik Reassessed, ed. Fiona J Mackintosh with Karl Posso (London: Tamesis, 2007, forthcoming).Google Scholar
  2. 3.
    Ernesto Sábato, “El escritor y sus fantasmas, entrevista con Danubio Torres Fierro,” Plural 41 (February 1975): 23–32Google Scholar
  3. Silvina Ocampo, “Correspondencia entre Silvina Ocampo y Danubio Torres Fierro,” Plural 50 (November 1975): 57–60Google Scholar
  4. Silvina Ocampo, “Victoria Ocampo, entrevista de Danubio Torres Fierro,” Plural 51 (December 1975): 18–25Google Scholar
  5. Silvina Ocampo, “José Bianco, entrevista de Danubio Torres Fierro,” Plural 52 (January 1976): 23–27Google Scholar
  6. Adolfo Bioy Casares, “Las utopias pesimistas, entrevista de Danubio Torres Fierro,” Plural 55 (April 1976): 47–53Google Scholar
  7. Alberto Girri, “Alberto Girri: repaso a una obsesión, entrevista de Danubio Torres Fierro,” Plural 58 (July 1976): 48–51.Google Scholar
  8. 5.
    José Bianco, “En torno a Marcel Proust,” Plural 2 (November 1971): 36Google Scholar
  9. José Bianco, “El ángel de las tinieblas (Paúl Léataud y Proust),” part 1, Plural 31 (April 1974): 18–22; and part II, Plural 32 (May 1974): 34–41.Google Scholar
  10. 6.
    Julio Cortázar, “Neruda entre nosotros,” Plural 30 (March 1974): 39.Google Scholar
  11. 9.
    Efraín Kristal, The Temptation of the Word: The Novels of Mario Vargas Llosa (Nashville: Vanderbilt University Press, 1998), 80–81.Google Scholar
  12. 10.
    Mario Vargas Llosa, “Albert Camus y la moral de los límites,” Plural 51 (December 1975): 14. Further quotations are given in parentheses in the text.Google Scholar
  13. 12.
    Mario Vargas Llosa, “Una pasión no correspondida,” Plural 37 (October 1974): 35.Google Scholar
  14. 14.
    Mario Vargas Llosa, “Historia de una sedición permanente,” Entrevista de Danubio Torres Fierro, Plural 47 (August 1975): 25 and 27.Google Scholar
  15. 15.
    Mario Vargas Llosa, “La excepción a la regla,” Plural 57 (June 1976): 56.Google Scholar
  16. 17.
    Severo Sarduy, “Gran Mandala,” Plural 3 (December 1971): 14Google Scholar
  17. Severo Sarduy, “Big bang,” Plural 14 (November 1972): 6–7.Google Scholar
  18. 18.
    Severo Sarduy, “Sobre Juan sin tierra de Juan Goytisolo,” Plural 48 (September 1975): 54.Google Scholar
  19. 20.
    Emir Rodríguez Monegal, “Notas sobre (hacia) el Boom,” 1, Plural 4 (January 1972): 29Google Scholar
  20. Emir Rodríguez Monegal, “Los maestros de la nueva novela,” Plural 6 (March 1972): 35Google Scholar
  21. Emir Rodríguez Monegal, “Nueva y vieja novela,” Plural 7 (April 1972): 13Google Scholar
  22. Emir Rodríguez Monegal, “Los nuevos novelistas,” Plural 8 (May 1972): 11Google Scholar
  23. Emir Rodríguez Monegal, El boom de la novela latinoamericana (Caracas: Tiempo Nuevo, 1972).Google Scholar
  24. 21.
    See Gerald Martin, “The Boom of Spanish American Fiction and the 1960s Revolutions,” in The Blackwell Companion to Latin American Culture and Literature (New York: Blackwell, 2007, forthcoming).Google Scholar
  25. 23.
    Anthony Stanton, “Poetics of Apocalypse,” Siglo XX/20th Century (1992): 127.Google Scholar
  26. 27.
    Roman Jakobson, “P.S. (sobre linguística y poesía),” Plural 27 (December 1973): 6–9.Google Scholar
  27. 28.
    Roman Jakobson, “Ojeada al desarrollo de la semiótica (primera parte),” Plural 48 (September 1975): 6–11Google Scholar
  28. Roman Jakobson, “Ojeada al desarrollo de la semiótica (final),” Plural 49 (October 1975): 13–18.Google Scholar
  29. 29.
    Roland Barthes, Plural 26 (November 1973): 18–21Google Scholar
  30. Gillo Dorfles, “Los mass-media y la enfermedad del lenguaje,” Plural 27 (December 1973): 33–34Google Scholar
  31. Umberto Eco, “Acerca de la posibilidad de generar mensajes estéticos en una lengua edénica,” Plural 29 (February 1974): 17–34.Google Scholar
  32. 30.
    Harry Levin, “La tierra baldía: de ur a echt,” Plural 13 (October 1972): 3–6Google Scholar
  33. Harry Levin, “Una enormidad literaria,” Plural 16 (January 1973): 34–36.Google Scholar
  34. 31.
    Norman O. Brown, “Dafne o la metamorfosis,” Plural 8 (May 1972): 5–8.Google Scholar
  35. 32.
    Juan Goytisolo, “In memoriam F.F.B. (1892–1975),” Plural 52 (January 1976): 12–14.Google Scholar
  36. 33.
    Octavio Paz, “El parlón y la parleta,” Plural 18 (March 1973): 37–38.Google Scholar
  37. 34.
    Octavio Paz, “La tradición del haiku,” La Cultura en México 479 (April 1971): II.Google Scholar
  38. 37.
    Octavio Paz, Kazuya Sakai, “Cambio y continuidad,” Plural 42 (March 1975): 82.Google Scholar
  39. 39.
    See Octavio Paz, “Lecho y mesa,” Plural 2 (November 1971): 17–20Google Scholar
  40. Octavio Paz, “La mesa y el lecho,” in El ogro filantrópico (Mexico City: Joaquín Mortiz, 1979), 212–234.Google Scholar
  41. 40.
    For both quotations, see Octavio Paz, “¿Por qué Fourier?” Plural 11 (August 1972): 10.Google Scholar
  42. 42.
    Salvador Elizondo, “Introducción: Georges Bataille, Madame Edwarda,” Plural 26 (November 1973): 31.Google Scholar
  43. 43.
    Octavio Paz, “El ocaso de la vanguardia I parte,” Plural 26 (November 1973): 4–8Google Scholar
  44. Octavio Paz, “El ocaso de la vanguardia, II parte,” Plural 27 (December 1973): 18–23Google Scholar
  45. Octavio Paz, “El ocaso de la vanguardia, III parte,” Plural 28 (January 1974): 20–24.Google Scholar
  46. 44.
    Jason Wilson, Octavio Paz (Boston: Twayne, 1986), 132.Google Scholar
  47. 45.
    José Miguel Oviedo, “Octavio Paz y el drama de la modernidad,” Plural 39 (December 1974): 82–83.Google Scholar
  48. 48.
    Kazuya Sakai, “Gato Barbieri: hacia un auténtico jazz latinoamericano,” Plural 37 (October 1974), 80–81.Google Scholar
  49. 49.
    Claude Lévi-Strauss, “‘Bolero’ de Maurice Ravel,” Plural 9 (June 1972): 9Google Scholar
  50. Claude Lévi-Strauss, “Escritos de Eric Satie,” Plural 56 (April 1976): 32–42.Google Scholar
  51. 52.
    Octavio Paz, “Razón y elogio de María Félix,” in María Félix (Mexico City: Secretaría de Gobernación, Cineteca Nacional, 1992).Google Scholar
  52. 56.
    Adolfo Castañon, “El ensayo en México a fin de siglo: Brevísima relación de los que ensayaron y sobrevivieron,” Cuadernos Hispanoamericanos 544–550 (March-April 1996): 70.Google Scholar
  53. 58.
    Octavio Paz, Obras Completas 7. Los privilegios de la vista II. Arte de México (Mexico City: Fondo de Cultura Económica, 1995), 13.Google Scholar
  54. 59.
    Octavio Paz, El signo y el garabato (Mexico City: Joaquín Mortiz, 1973).Google Scholar
  55. 60.
    Octavio Paz, “Tamayo: transfiguraciones,” Plural 7 (April 1972): 17.Google Scholar
  56. 61.
    JGP, “El caso del museo Tamayo,” Plural 56 (May 1976): 75.Google Scholar
  57. 62.
    Juan García Ponce, “La obra de José Luis Cuevas,” Plural 54 (March 1976): 43–46.Google Scholar
  58. 63.
    Kazuya Sakai, “Ocho ejercicios para un homenaje a Ogata Korin,” Plural 50 (November 1975): 52.Google Scholar
  59. Article reprinted in Kazuya Sakai, Itinerarios (Buenos Aires: Centro Cultural Recoleta, 2005), 106.Google Scholar
  60. 68.
    Donald Goodall, “Exposición Plural,” Plural 50 (November 1975): 93.Google Scholar
  61. 70.
    Damián Bayón, “Reflexiones sobre un simposio de arte,” Plural 52 (January 1976): 78.Google Scholar
  62. 71.
    See Serge Guilbaut, How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War (Chicago, University of Chicago Press, 1983), 11.Google Scholar
  63. 72.
    Mario Vargas Llosa, “La pintura de Fernando de Szyszlo,” Plural 55 (April 1976): 43. My comments on Traba in this paragraph have been influenced by the ideas of Claire Fox.Google Scholar
  64. 73.
    For Cuevas’s account of the Austin seminar, see José Luis Cuevas. Gato macho. (Mexico City: Fondo de Cultura Económica, 1994), 21Google Scholar
  65. José Luis Cuevas, Confrontaciones. (Mexico City: UAM, 1984), 28.Google Scholar
  66. José Luis Cuevas, “La era de los tontos,” El Sol de México 13 July 1975, 3–5.Google Scholar

Copyright information

© John King 2007

Authors and Affiliations

  • John King

There are no affiliations available

Personalised recommendations