Charly García and The Wall Syndrome: Rock, Politics and Parody in the 90’s Argentine
保存先:
| 著者: | |
|---|---|
| フォーマット: | artículo original |
| 状態: | Versión publicada |
| 出版日付: | 2020 |
| その他の書誌記述: | In Argentina, during the Nineties, the Peronism changes radically from apopulism to a neo-liberalism led by Carlos Ménem, president from 1989through 1999. Charly García, a polifacetic artist develops new multidisciplinarystrategies through parody, the main postmodern methodology ofaesthetic transgression (Hutcheon, 2000). We will give some theoretical approaches related with the Latin American economic phenomenon, aimingin three García’s albums, that exemplify his artistic and ideological evolution:La hija de la lágrima (1994), Say No More (1996) and Demasiado ego(1999); exploring the iterations of parody: binding, blending and banging(Chambers, 2012). |
| 国: | Portal de Revistas UNA |
| 機関: | Universidad Nacional de Costa Rica |
| Repositorio: | Portal de Revistas UNA |
| 言語: | Español |
| OAI Identifier: | oai:www.revistas.una.ac.cr:article/13540 |
| オンライン･アクセス: | https://www.revistas.una.ac.cr/index.php/repertorio/article/view/13540 |
| キーワード: | Latinoamérica Argentina neoliberalism Carlos Ménem Charly García rock music parody multidisciplinary strategies aesthetic transgression neoliberalismo música rock parodia estrategias multidisciplinarias transgresión estética |