The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela
The Creole waltz is a musical genre practiced in Peru since the end of the 19th century. It has an important function in Valses y otras falsas confesiones (1972) by the Peruvian poet Blanca Varela, a member of the “Generation of ‘50”. Some representative poems of Valses y otras falsas confesiones [W...
- Autores:
- Tipo de recurso:
- http://purl.org/coar/resource_type/c_6854
- Fecha de publicación:
- 2023
- Institución:
- Universidad Pedagógica y Tecnológica de Colombia
- Repositorio:
- RiUPTC: Repositorio Institucional UPTC
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.uptc.edu.co:001/12862
- Acceso en línea:
- https://revistas.uptc.edu.co/index.php/la_palabra/article/view/14583
https://repositorio.uptc.edu.co/handle/001/12862
- Palabra clave:
- Blanca Valera
Poesía peruana
Vals
Música
Desmitificación
Etapa artística
Rosa
Blanca Valera
Peruvian Poetry
Waltz
Music
Demystification
Artistic Stage
Rose
Blanca Valera
Poesia Peruana
Valsa
Música
Desmistificação
Estágio artístico
Rosa
- Rights
- License
- Derechos de autor 2023 La Palabra
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2023-02-162024-07-05T18:56:00Z2024-07-05T18:56:00Zhttps://revistas.uptc.edu.co/index.php/la_palabra/article/view/1458310.19053/01218530.n45.2023.14583https://repositorio.uptc.edu.co/handle/001/12862The Creole waltz is a musical genre practiced in Peru since the end of the 19th century. It has an important function in Valses y otras falsas confesiones (1972) by the Peruvian poet Blanca Varela, a member of the “Generation of ‘50”. Some representative poems of Valses y otras falsas confesiones [Waltzes and other false confessions] are analyzed through the concept of demystification (proposed by Umberto Eco) and the theoretical framework of Stefano Arduini’s General Textual Rhetoric. Our central purpose is to state that, for Varela, there are two types of waltz: the criollo and the one that defends marginal groups. Varela demystifies the Creole waltz and, at the same time, formulates another type of waltz that takes the side of peripheral groups.El vals criollo es un género musical que se practica en el Perú desde finales del siglo XIX y tiene una función importante en Valses y otras falsas confesiones (1972), de la poeta peruana Blanca Varela, integrante de la denominada generación del cincuenta. Sobre la base del concepto de desmitificación (planteado por Umberto Eco) y del marco teórico de la Retórica General Textual de Stefano Arduini, se analizan algunos poemas representativos de Valses y otras falsas confesiones. Nuestro propósito central es plantear que, para Varela, hay dos tipos de vals: el criollo y el que defiende a los grupos marginales. Varela desmitifica el vals criollo y, a la vez, formula otra clase de vals que toma partido por los grupos periféricos.A valsa crioula é um gênero musical praticado no Peru desde o final do século XIX e tem uma importante função em Valses y otra falsas confesiones (1972) da poetisa peruana Blanca Varela, integrante da chamada geração dos anos cinquenta. Com base no conceito de desmistificação (proposto por Umberto Eco) e no referencial teórico da Retórica Textual Geral de Stefano Arduini, são analisados alguns poemas representativos de Valses y otras falsas confesiones [Valsas e outras confissões falsas]. Nosso propósito central é afirmar que, para Varela, existem dois tipos de valsa: a criolla e aquela que defende os grupos marginais. Varela desmistifica a valsa crioula e, ao mesmo tempo, formula outro tipo de valsa que toma o lado dos grupos periféricos.application/pdftext/xmlspaspaUniversidad Pedagógica y Tecnológica de Colombiahttps://revistas.uptc.edu.co/index.php/la_palabra/article/view/14583/12640https://revistas.uptc.edu.co/index.php/la_palabra/article/view/14583/13539Derechos de autor 2023 La Palabrahttps://creativecommons.org/licenses/by-nc-nd/4.0/http://purl.org/coar/access_right/c_abf355http://purl.org/coar/access_right/c_abf2La Palabra; No. 45 (2023): Miscellaneous issue; 1-19La Palabra; Núm. 45 (2023): Número Misceláneo; 1-19La Palabra; n. 45 (2023): Miscelâneo; 1-192346-38640121-8530Blanca ValeraPoesía peruanaValsMúsicaDesmitificaciónEtapa artísticaRosaBlanca ValeraPeruvian PoetryWaltzMusicDemystificationArtistic StageRoseBlanca ValeraPoesia PeruanaValsaMúsicaDesmistificaçãoEstágio artísticoRosaThe Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca VarelaLa función del vals en Valses y otras falsas confesiones (1972) de Blanca VarelaA função da valsa em Valses y otras falsas confesiones (1972) por Blanca Varelainfo:eu-repo/semantics/articlehttp://purl.org/coar/resource_type/c_6854http://purl.org/coar/resource_type/c_2df8fbb1info:eu-repo/semantics/publishedVersionhttp://purl.org/coar/version/c_970fb48d4fbd8a438http://purl.org/coar/version/c_970fb48d4fbd8a85Fernández Cozman, Camilo Rubén001/12862oai:repositorio.uptc.edu.co:001/128622025-07-18 11:34:08.215metadata.onlyhttps://repositorio.uptc.edu.coRepositorio Institucional UPTCrepositorio.uptc@uptc.edu.co |
dc.title.en-US.fl_str_mv |
The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela |
dc.title.es-ES.fl_str_mv |
La función del vals en Valses y otras falsas confesiones (1972) de Blanca Varela |
dc.title.pt-BR.fl_str_mv |
A função da valsa em Valses y otras falsas confesiones (1972) por Blanca Varela |
title |
The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela |
spellingShingle |
The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela Blanca Valera Poesía peruana Vals Música Desmitificación Etapa artística Rosa Blanca Valera Peruvian Poetry Waltz Music Demystification Artistic Stage Rose Blanca Valera Poesia Peruana Valsa Música Desmistificação Estágio artístico Rosa |
title_short |
The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela |
title_full |
The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela |
title_fullStr |
The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela |
title_full_unstemmed |
The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela |
title_sort |
The Function of the Waltz in Valses y otras falsas confesiones (1972) by Blanca Varela |
dc.subject.es-ES.fl_str_mv |
Blanca Valera Poesía peruana Vals Música Desmitificación Etapa artística Rosa |
topic |
Blanca Valera Poesía peruana Vals Música Desmitificación Etapa artística Rosa Blanca Valera Peruvian Poetry Waltz Music Demystification Artistic Stage Rose Blanca Valera Poesia Peruana Valsa Música Desmistificação Estágio artístico Rosa |
dc.subject.en-US.fl_str_mv |
Blanca Valera Peruvian Poetry Waltz Music Demystification Artistic Stage Rose |
dc.subject.pt-BR.fl_str_mv |
Blanca Valera Poesia Peruana Valsa Música Desmistificação Estágio artístico Rosa |
description |
The Creole waltz is a musical genre practiced in Peru since the end of the 19th century. It has an important function in Valses y otras falsas confesiones (1972) by the Peruvian poet Blanca Varela, a member of the “Generation of ‘50”. Some representative poems of Valses y otras falsas confesiones [Waltzes and other false confessions] are analyzed through the concept of demystification (proposed by Umberto Eco) and the theoretical framework of Stefano Arduini’s General Textual Rhetoric. Our central purpose is to state that, for Varela, there are two types of waltz: the criollo and the one that defends marginal groups. Varela demystifies the Creole waltz and, at the same time, formulates another type of waltz that takes the side of peripheral groups. |
publishDate |
2023 |
dc.date.accessioned.none.fl_str_mv |
2024-07-05T18:56:00Z |
dc.date.available.none.fl_str_mv |
2024-07-05T18:56:00Z |
dc.date.none.fl_str_mv |
2023-02-16 |
dc.type.none.fl_str_mv |
info:eu-repo/semantics/article |
dc.type.coar.fl_str_mv |
http://purl.org/coar/resource_type/c_2df8fbb1 |
dc.type.coarversion.fl_str_mv |
http://purl.org/coar/version/c_970fb48d4fbd8a85 |
dc.type.coar.spa.fl_str_mv |
http://purl.org/coar/resource_type/c_6854 |
dc.type.version.spa.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.coarversion.spa.fl_str_mv |
http://purl.org/coar/version/c_970fb48d4fbd8a438 |
format |
http://purl.org/coar/resource_type/c_6854 |
status_str |
publishedVersion |
dc.identifier.none.fl_str_mv |
https://revistas.uptc.edu.co/index.php/la_palabra/article/view/14583 10.19053/01218530.n45.2023.14583 |
dc.identifier.uri.none.fl_str_mv |
https://repositorio.uptc.edu.co/handle/001/12862 |
url |
https://revistas.uptc.edu.co/index.php/la_palabra/article/view/14583 https://repositorio.uptc.edu.co/handle/001/12862 |
identifier_str_mv |
10.19053/01218530.n45.2023.14583 |
dc.language.none.fl_str_mv |
spa |
dc.language.iso.spa.fl_str_mv |
spa |
language |
spa |
dc.relation.none.fl_str_mv |
https://revistas.uptc.edu.co/index.php/la_palabra/article/view/14583/12640 https://revistas.uptc.edu.co/index.php/la_palabra/article/view/14583/13539 |
dc.rights.es-ES.fl_str_mv |
Derechos de autor 2023 La Palabra https://creativecommons.org/licenses/by-nc-nd/4.0/ |
dc.rights.coar.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
dc.rights.coar.spa.fl_str_mv |
http://purl.org/coar/access_right/c_abf355 |
rights_invalid_str_mv |
Derechos de autor 2023 La Palabra https://creativecommons.org/licenses/by-nc-nd/4.0/ http://purl.org/coar/access_right/c_abf355 http://purl.org/coar/access_right/c_abf2 |
dc.format.none.fl_str_mv |
application/pdf text/xml |
dc.publisher.es-ES.fl_str_mv |
Universidad Pedagógica y Tecnológica de Colombia |
dc.source.en-US.fl_str_mv |
La Palabra; No. 45 (2023): Miscellaneous issue; 1-19 |
dc.source.es-ES.fl_str_mv |
La Palabra; Núm. 45 (2023): Número Misceláneo; 1-19 |
dc.source.pt-BR.fl_str_mv |
La Palabra; n. 45 (2023): Miscelâneo; 1-19 |
dc.source.none.fl_str_mv |
2346-3864 0121-8530 |
institution |
Universidad Pedagógica y Tecnológica de Colombia |
repository.name.fl_str_mv |
Repositorio Institucional UPTC |
repository.mail.fl_str_mv |
repositorio.uptc@uptc.edu.co |
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1839633899707170816 |