The Search for Kitsch: A Review of the Riddle of Cantinflas: Essays on Hispanic Popular Culture
Notice bibliographique
Résumé
The Search for Kitsch: Review of The Riddle of Cantinflas Essays on Hispanic Popular Culture by Ilan Stavans (University of New Mexico Press, 2012, Revised and Expanded Edition) The Riddle of Cantinflas: Essays on Hispanic Popular Culture is a thick, colorful knot of essays--essays that map where intellectual and immigrant intersect. If readers focus on this junction and avoid searching for the book is enlightening. Author Ilan Stavans claims kitsch, an infatuation and reproduction of the past, explains the chaotic pinboard beauty of Hispanic culture. For Stavans, Hispanic culture is a copy of a copy. In the preface to The Riddle of Cantinflas, Stavans makes his case for this simulacrum of society, swinging through a maze of Spanish and Latin American history to prove his point. However, the thread of kitsch in his essays is as thin as a burnt corn tortilla. The trouble begins when Stavans warns the reader to beware of looking for sequence and cohesiveness in his essays. He even advises against looking for some sort of conclusion. This left me confused. If kitsch explains Hispanic culture, according to Stavans, why shouldn't I look for this theme in his articles? At times his essays, often sprawling and itinerant, failed to connect with kitsch at all. But this book is more than kitsch. Many essays plunge lucha libre style into rascuache, a term Stavans uses to describe popular and organic Hispanic culture. Stavans uses all his fingers to untangle rascuache with poetic and academic engrossment, sketching sense and significance into everything from the colorful pastel cards of loterta, the old game of chance, to the rags and rakishness of Cantinflas. The essay on the movie star from the mid-twentieth century known simply as Cantinflas captivated me. Stavans believes Cantinflas served as a Mexican collective self, acting as therapy for a country in hurried transition from an agrarian to industrialized nation. Similarly, he argues the confusion Cantinflas caused was symbolic. Stavans claims Cantinflas's pun-filled promenades, the actor's verbal strolls that always ended in confusion, exposed the growing communication gap between classes. Some of Stavans's other rascuache explorations include El Sup's role in Chiapas and Jose Guadalupe Posada's street art. For Stavans, the super glue of rascuache is that it is subversive, honest, and a product of a labyrinthine history and culture, a culture that must be cherished not relegated by a dominant art intelligentsia. Stavans's recent essays on society slosh through the bog of the immigration debate. In Mother of Exiles, he deconstructs the message and significance of the Statue of Liberty. In A Dream Act Deferred, he explores one undocumented student's rise to a PhD in America and ultimate immigration to Canada. Finally in Immigration and Authenticity, he reflects on the significance of dominant cultural expectations, both in biblical history and modern immigration (e.g., camels in the Bible, sombreros for immigrants). This book is an Olympic-sized swimming pool of thoughts, stretching with depth as it meanders from street art to author Sandra Cisneros to Latino civility. It would be difficult to find a book on Hispanic culture that extends itself so far with so few pages to create such an elegant and colorful dialogue. Stepping back, letting go, and appreciating this dialogue took time. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,003 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,002 | 0,002 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,002 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».