Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era
El Parnaso en exilio: Adaptaciones cinematográficas de la literatura uruguaya durante el periodo silente
| 2021 | |
|
silent cinema literary adaptations inter-media reception Latin America Uruguay cine silente adaptaciones literarias intermedialidad recepción Latinoamérica Uruguay |
|
| Español | |
| Universidad Católica del Uruguay | |
| LIBERI | |
| https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/2297 | |
| Acceso abierto |
| _version_ | 1815178701527056384 |
|---|---|
| author | Torello, Georgina |
| author_facet | Torello, Georgina |
| author_role | author |
| collection | LIBERI |
| dc.creator.none.fl_str_mv | Torello, Georgina |
| dc.date.none.fl_str_mv | 2021-06-23 |
| dc.description.en-US.fl_txt_mv | In the silent cinema period, the adaptation of literary works was one of the ways the new medium found to legitimize itself and, of course, to supply plots for productions, that were consumed very quickly in the countries where the industry flourished. Latin America also participates in these inter-media passages, although in most cases it does it in a precarious way. This article addresses three film adaptations of Uruguayan literary texts made abroad: Tabaré, by Juan Zorrilla de San Martín (Lezama y Canals de Homs, Mexico, 1917), Los muertos, by Florencio Sánchez (Defilippis Novoa, Argentina, 1919) and Brenda, by Eduardo Acevedo Díaz (Martínez y Gunche, Argentina, 1921). From a transnational perspective, it explores the areas of tension, alliances and resistance that these crossings between cinema and literature created in Uruguay. In all cases, the reception implied an appropriation of these foreign works as national or regional, a fact that leads to a redefinition of the foreign, generally associated with the U.S. industry. Keywords: intermediality, literary adaptations, silent cinema, Latin America, Uruguay |
| dc.description.es-ES.fl_txt_mv | En el periodo del cine silente, la adaptación de obras literarias es una de las maneras que el nuevo medio encuentra para legitimarse y, por supuesto, para abastecer de tramas a producciones que se consumen con gran rapidez en los países donde la industria florece. Latinoamérica también participa de estos pasajes intermediáticos, aunque en la mayoría de los casos lo hace precariamente. El presente artículo se ocupa de tres adaptaciones cinematográficas de textos literarios uruguayos realizadas en el exterior: Tabaré, de Juan Zorrilla de San Martín (Lezama y Canals de Homs, México, 1917), Los muertos, de Florencio Sánchez (Defilippis Novoa, Argentina, 1919) y Brenda, de Eduardo Acevedo Díaz (Martínez y Gunche, Argentina, 1921). Desde una perspectiva transnacional, se indaga en las zonas de tensión, alianzas y resistencias que esos cruces entre cine y literatura generaron en Uruguay. Se destaca que en todos los casos la recepción implicó una apropiación de esas obras extranjeras como nacionales o regionales, hecho que lleva a una redefinición de lo extranjero, asociado por lo general a la industria norteamericana. Palabras clave: intermedialidad, adaptaciones literarias, cine silente, Latinoamérica, Uruguay |
| dc.format.none.fl_str_mv | application/pdf |
| dc.identifier.none.fl_str_mv | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/2297 10.22235/d34.2297 |
| dc.language.iso.none.fl_str_mv | spa |
| dc.publisher.es-ES.fl_str_mv | Universidad Católica del Uruguay |
| dc.relation.none.fl_str_mv | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/2297/2344 |
| dc.rights.es-ES.fl_str_mv | Derechos de autor 2021 Dixit https://creativecommons.org/licenses/by/4.0 |
| dc.rights.none.fl_str_mv | info:eu-repo/semantics/openAccess |
| dc.source.en-US.fl_str_mv | Dixit; No. 34 (2021): Dixit; 78-94 |
| dc.source.es-ES.fl_str_mv | Dixit; Núm. 34 (2021): Dixit; 78-94 |
| dc.source.none.fl_str_mv | 0797-3691 1688-3497 10.22235/d34 reponame:LIBERI instname:Universidad Católica del Uruguay instacron:Universidad Católica del Uruguay |
| dc.source.pt-PT.fl_str_mv | Dixit; N.º 34 (2021): Dixit; 78-94 |
| dc.subject.en-US.fl_str_mv | silent cinema literary adaptations inter-media reception Latin America Uruguay |
| dc.subject.es-ES.fl_str_mv | cine silente adaptaciones literarias intermedialidad recepción Latinoamérica Uruguay |
| dc.title.none.fl_str_mv | Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era El Parnaso en exilio: Adaptaciones cinematográficas de la literatura uruguaya durante el periodo silente |
| dc.type.es-ES.fl_str_mv | Artículos |
| dc.type.none.fl_str_mv | info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
| dc.type.version.none.fl_str_mv | info:eu-repo/semantics/publishedVersion |
| description | In the silent cinema period, the adaptation of literary works was one of the ways the new medium found to legitimize itself and, of course, to supply plots for productions, that were consumed very quickly in the countries where the industry flourished. Latin America also participates in these inter-media passages, although in most cases it does it in a precarious way. This article addresses three film adaptations of Uruguayan literary texts made abroad: Tabaré, by Juan Zorrilla de San Martín (Lezama y Canals de Homs, Mexico, 1917), Los muertos, by Florencio Sánchez (Defilippis Novoa, Argentina, 1919) and Brenda, by Eduardo Acevedo Díaz (Martínez y Gunche, Argentina, 1921). From a transnational perspective, it explores the areas of tension, alliances and resistance that these crossings between cinema and literature created in Uruguay. In all cases, the reception implied an appropriation of these foreign works as national or regional, a fact that leads to a redefinition of the foreign, generally associated with the U.S. industry. Keywords: intermediality, literary adaptations, silent cinema, Latin America, Uruguay |
| eu_rights_str_mv | openAccess |
| format | article |
| id | LIBERI_5a52eba4d47e4cc06f0b898531690c85 |
| identifier_str_mv | 10.22235/d34.2297 |
| instacron_str | Universidad Católica del Uruguay |
| institution | Universidad Católica del Uruguay |
| instname_str | Universidad Católica del Uruguay |
| language | spa |
| network_acronym_str | LIBERI |
| network_name_str | LIBERI |
| oai_identifier_str | oai:liberi.ucu.edu.uy:10895/3555 |
| publishDate | 2021 |
| reponame_str | LIBERI |
| repository.mail.fl_str_mv | franco.pertusso@ucu.edu.uy |
| repository.name.fl_str_mv | LIBERI - Universidad Católica del Uruguay |
| repository_id_str | 10342 |
| rights_invalid_str_mv | Derechos de autor 2021 Dixit https://creativecommons.org/licenses/by/4.0 |
| spelling | Torello, Georgina2021-06-23https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/229710.22235/d34.2297In the silent cinema period, the adaptation of literary works was one of the ways the new medium found to legitimize itself and, of course, to supply plots for productions, that were consumed very quickly in the countries where the industry flourished. Latin America also participates in these inter-media passages, although in most cases it does it in a precarious way. This article addresses three film adaptations of Uruguayan literary texts made abroad: Tabaré, by Juan Zorrilla de San Martín (Lezama y Canals de Homs, Mexico, 1917), Los muertos, by Florencio Sánchez (Defilippis Novoa, Argentina, 1919) and Brenda, by Eduardo Acevedo Díaz (Martínez y Gunche, Argentina, 1921). From a transnational perspective, it explores the areas of tension, alliances and resistance that these crossings between cinema and literature created in Uruguay. In all cases, the reception implied an appropriation of these foreign works as national or regional, a fact that leads to a redefinition of the foreign, generally associated with the U.S. industry. Keywords: intermediality, literary adaptations, silent cinema, Latin America, UruguayEn el periodo del cine silente, la adaptación de obras literarias es una de las maneras que el nuevo medio encuentra para legitimarse y, por supuesto, para abastecer de tramas a producciones que se consumen con gran rapidez en los países donde la industria florece. Latinoamérica también participa de estos pasajes intermediáticos, aunque en la mayoría de los casos lo hace precariamente. El presente artículo se ocupa de tres adaptaciones cinematográficas de textos literarios uruguayos realizadas en el exterior: Tabaré, de Juan Zorrilla de San Martín (Lezama y Canals de Homs, México, 1917), Los muertos, de Florencio Sánchez (Defilippis Novoa, Argentina, 1919) y Brenda, de Eduardo Acevedo Díaz (Martínez y Gunche, Argentina, 1921). Desde una perspectiva transnacional, se indaga en las zonas de tensión, alianzas y resistencias que esos cruces entre cine y literatura generaron en Uruguay. Se destaca que en todos los casos la recepción implicó una apropiación de esas obras extranjeras como nacionales o regionales, hecho que lleva a una redefinición de lo extranjero, asociado por lo general a la industria norteamericana. Palabras clave: intermedialidad, adaptaciones literarias, cine silente, Latinoamérica, Uruguayapplication/pdfspaUniversidad Católica del Uruguayhttps://revistas.ucu.edu.uy/index.php/revistadixit/article/view/2297/2344Derechos de autor 2021 Dixithttps://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessDixit; No. 34 (2021): Dixit; 78-94Dixit; Núm. 34 (2021): Dixit; 78-94Dixit; N.º 34 (2021): Dixit; 78-940797-36911688-349710.22235/d34reponame:LIBERIinstname:Universidad Católica del Uruguayinstacron:Universidad Católica del Uruguaysilent cinemaliterary adaptationsinter-mediareceptionLatin AmericaUruguaycine silenteadaptaciones literariasintermedialidadrecepciónLatinoaméricaUruguayParnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent EraEl Parnaso en exilio: Adaptaciones cinematográficas de la literatura uruguaya durante el periodo silenteinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionArtículosinfo:eu-repo/semantics/publishedVersion10895/35552024-08-25 20:11:31.07oai:liberi.ucu.edu.uy:10895/3555Universidadhttps://www.ucu.edu.uy/https://liberi.ucu.edu.uy/oai/requestfranco.pertusso@ucu.edu.uyUruguayopendoar:103422024-08-25T23:11:31LIBERI - Universidad Católica del Uruguayfalse |
| spellingShingle | Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era Torello, Georgina silent cinema literary adaptations inter-media reception Latin America Uruguay cine silente adaptaciones literarias intermedialidad recepción Latinoamérica Uruguay |
| status_str | publishedVersion |
| title | Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era |
| title_full | Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era |
| title_fullStr | Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era |
| title_full_unstemmed | Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era |
| title_short | Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era |
| title_sort | Parnassus in Exile: Film Adaptations of Uruguayan Literature during the Silent Era |
| topic | silent cinema literary adaptations inter-media reception Latin America Uruguay cine silente adaptaciones literarias intermedialidad recepción Latinoamérica Uruguay |
| url | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/2297 |
