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By Leslie Bethell

A Cultural background of Latin the USA brings jointly chapters from Volumes III, IV, and X of The Cambridge heritage of Latin the United States. The essays position Latin American literature, song and visible arts in old context, from the early 19th century in the course of the past due 20th century. themes contain narrative fiction and poetry; indigenous literatures and tradition; the improvement of track, sculpture, portray, mural paintings, and structure; and the historical past of Latin American movie. each one bankruptcy is followed by way of a bibliographical essay.

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Additional resources for A Cultural History of Latin America: Literature, Music and the Visual Arts in the 19th and 20th Centuries (Cambridge History of Latin America)

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He devoted himself to his writings, a broken man - impotent rage, as we have seen, characterizes the literary work of most of theproscritos at this time - and died a year before Rosas was finally defeated at Caseros. His impact on his contemporaries was immense, and is visible in the early works of Juan Maria Gutierrez (1809-78), whose Los amores del payador appeared in 1833, and equally in Santos Vega (18 3 8) by Bartolome Mitre (1821-1906), one of the great men of the century in Argentina. In the year of Echeverria's death, one of his young disciples, Jose Marmol (1817-71), completed his long novel Amalia^ parts of which had been appearing since 1844.

It 44 Literature, music and visual arts, c. 1820—1870 was not only a time of passionate upheaval followed by national introspection - imposed partly by willed choice and more by immovable circumstance - but also one when the integration of the independent republics into the rapidly evolving international economic system had still barely begun. Although the period 1780 to 18 30 had seen many Latin American intellectuals travel to Europe (and the United States), few other than Brazilian aristocrats were able in the decades after 18 30 to gain first-hand experience of the continent whose philosophical ideas and artistic modes they nonetheless continued, inevitably, to adopt and imitate.

His real talent, however, as the remarkable and now classic novella ElMatadero (1838) shows, was for vigour and clarity in prose writing, although in his own day he was celebrated particularly 8 9 'Del uso de lo comico en Sud America', Ellniciador (Buenos Aires), no. 7(15 July 1838), quoted in Juan Carlos Ghiano, 'El matadero' de Echeverria j el costumbrismo (Buenos Aires, 1968), 69. 10 Henriquez Urena, Las corrientes literarias, 121. Ghiano, 'El matadero', 11 30 Literature, music and visual arts, c.

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