Keywords
Allegorie
Charly García
How to Cite
Abstract
Allegory is an old rhetorical figure that transcended history and keeps re-emerging in different forms, as an effective and malleable symbolic mode. During the military dictatorship in Argentina -period known as the Process- (1976-1983), as a reaction to censorship, allegory seems to be one of the main rhetorical strategies used in the lyrics of the songs of the rock nacional movement. Following Fletcher (1964), for whom allegory is a dialectical method of interpretation that tries to decode what is hidden in any type of image and text, this study explores the songs composed by Charly García during the first five years of the dictatorship. This musician, arguably one of the main representatives of the rock nacional genre, is characterized by producing complex allegories which, when re-visited decades later, keep revealing possible associations, proving the transcendentalism of this symbolic mode.
References
AlLABARCES, Pablo. Posludio: Música popular, identidad, resistencia y tanto ruido (para tan poca furia). Transcultural Music Review. Sociedad de etnomusicología 12, 2008.
AVERBACH, Eric. Scenes from the Drama of European Literature. Trad. Ralph Manheim. New York: Meridian, 1959.
BENJAMIN, Walter. The Origin of German Tragic Drama. Translated by John Osborne. London: NLB,1977.
CLIFFORD, Gay. The Transformations of Allegory. London and Boston: Routledge & Kegan Paul, 1974.
CONDE, Oscar. Poéticas Del Rock. Buenos Aires: Marcelo Héctor Oliveri Editor, 2007.
FAVORETTO, Mara. Alegoría e ironía bajo censura en la Argentina del Proceso (1976- 1983). New York: Edwin Mellen Press, 2010.
FEITLOWITZ, Marguerite. A Lexicon of Terror: Argentina and the Legacies of Torture. New York Oxford U P, 1998.
FLETCHER, Angus. Alegoría. Teoría de un modo simbólico. Trad. Vicente Carmona González. Madrid: Ediciones Akal.S.A., 2002.
_____. Allegory. The Theory of a Symbolic Mode. Ithaca, New York: Cornell University Press, 1964.
FRYE, Northrop. Anatomy of Criticism: Four Essays. Princeton: Princeton University Press, 1971.
GARCIA, Charly. La máquina de hacer pájaros. La Máquina de Hacer Pájaros. Microfon, Sony BMG, 1976.
______. La máquina de hacer pájaros. Películas. Microfon, Sony BMG, 1977.
______. Serú Girán. Serú Girán. Music Hall, 1978.
______. Serú Girán. La grasa de las capitales. Music Hall, 1979.
______. Serú Girán. Bicicleta. SG Discos. Interdisc. Universal Music, 1980.
GRINBERG, Miguel. Cómo vino la mano. Orígenes del Rock Argentino. Buenos Aires: Gourmet Musical Ediciones, 2008.
HONIG, Edwin. Dark Conceit. The Making of Allegory. Providence, Rhode Island, Brown University Press: 1959.
HOLAS, Sergio. Cartografía de las impurezas en las prácticas poéticas de Nicanor Parra. Flinders University Languages Group Online Review 3.2: pp. 38-50, 2007. Consultado el 05 de mayo de 2012. Disponible en: http://ehlt.flinders.edu.au/deptlang/fulgor/.
JOHNSON, Gary. The Vitality of Allegory. Figural Narrative in Modern and Contemporary Fiction. Columbus: The Ohio State University Press: 2012.
MADSEN, Deborah. Rereading Allegory: A Narrative Approach to Genre. New York: St. Martin’s Press, 1994.
MARCHI, Sergio. No digas nada. Una vida de Charly García. Ed. Actualizada. Buenos Aires: De Bolsillo, 2007.
PIGLIA, Ricardo. Crítica y ficción. Barcelona: Editorial Anagrama, 1986.
PUJOL, Sergio. Rock y Dictadura. Buenos Aires: Booket, 2007.
VILA, Pablo. Rock nacional and Dictatorship in Argentina. Popular Music. 6:2, pp. 129-148, 1987.
______. Argentina’s Rock Nacional: The Struggle for Meaning. Latin American Music Review 10: 1 pp. 1-28, 1989.
WILLIAMS, Paul. Understanding Dylan, Crawdaddy!, August 1966. Reprinted in Outlaw Blues: A book of Rock Music. New York: E.P. Dutton, 1969, pp. 59-69.
A publicação Música Popular em Revista em sua obra adota e está licenciada com uma Licença Creative Commons Atribuição 4.0 Internacional.
