Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota
In this work we try, from the comparison of two versions of the song Grito santiagueño, to understand the intervention strategies of a central reference and an emerging reference in the Argentine folklore of the transition to democracy. It's about Mercedes Sosa and Raúl Carnota. The first recor...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Filosofía y Humanidades
2019
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/recial/article/view/27020 |
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I10-R377-article-27020 |
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I10-R377-article-270202020-07-09T23:15:38Z Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota Folklore y transición (1982-1984): estrategias en torno a la canción “Grito santiagueño” de Raúl Carnota Mariani, Tomás Raúl Carnota Mercedes Sosa Grito santiagueño socio-discursive model Raúl Carnota Mercedes Sosa Grito santiagueño modelo socio-discursivo In this work we try, from the comparison of two versions of the song Grito santiagueño, to understand the intervention strategies of a central reference and an emerging reference in the Argentine folklore of the transition to democracy. It's about Mercedes Sosa and Raúl Carnota. The first recorded the song in Como un pájaro libre (1982), his first studio album after returning from exile. The second, author of the song, records it in Suna Rocha/Raúl Carnota (1983), a shared debut album. Following the socio-discursive model proposed by Claudio Díaz (2009/2013/2016) for folklore we propose a reconstruction of the trajectories and positions of Sosa and Carnota within the system of relationships in which they participated at the time of producing each version of the song (which we analyze as a particular enunciation device). The comparison of the versions as well as the positions of those who produce them and some repercussions in the field of folklore, allow us to affirm that Sosa works as a legitimizer of Carnota's proposal, enabling the latter and its proposal of renewal intention. En este trabajo procuramos, a partir de la comparación de dos versiones de la canción Grito santiagueño, comprender las estrategias de intervención de una referente central y un referente emergente en el folklore argentino de la transición a la democracia. Se trata de Mercedes Sosa y de Raúl Carnota. La primera graba la canción en Como un pájaro libre (1982), su primer disco de estudio luego de volver del exilio. El segundo, autor de la canción, la graba en Suna Rocha/Raúl Carnota (1983), un disco debut compartido. Siguiendo el modelo socio discursivo propuesto por Claudio Díaz (2009/2013/2016) para el folklore planteamos una reconstrucción de las trayectorias y posiciones de Sosa y Carnota dentro del sistema de relaciones en el cual participaban al momento de producir cada versión de la canción (que analizamos como un dispositivo de enunciación particular). La comparación de las versiones así como las posiciones de quienes las producen y algunas repercusiones en el campo del folklore, nos permiten afirmar que Sosa funciona como legitimadora de la propuesta de Carnota, habilitando a este último y su propuesta de intención renovadora. Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2019-12-18 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/recial/article/view/27020 10.53971/2718.658x.v10.n16.27020 Recial; Vol. 10 Núm. 16 (2019): Dossier: Nuevas articulaciones entre Folclore, Política y Nación en América Latina 2718-658X 1853-4112 10.53971/2718.658x.v10.n16 spa https://revistas.unc.edu.ar/index.php/recial/article/view/27020/28672 https://revistas.unc.edu.ar/index.php/recial/article/view/27020/28673 |
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Universidad Nacional de Córdoba |
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I-10 |
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R-377 |
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Recial |
| language |
Español |
| format |
Artículo revista |
| topic |
Raúl Carnota Mercedes Sosa Grito santiagueño socio-discursive model Raúl Carnota Mercedes Sosa Grito santiagueño modelo socio-discursivo |
| spellingShingle |
Raúl Carnota Mercedes Sosa Grito santiagueño socio-discursive model Raúl Carnota Mercedes Sosa Grito santiagueño modelo socio-discursivo Mariani, Tomás Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota |
| topic_facet |
Raúl Carnota Mercedes Sosa Grito santiagueño socio-discursive model Raúl Carnota Mercedes Sosa Grito santiagueño modelo socio-discursivo |
| author |
Mariani, Tomás |
| author_facet |
Mariani, Tomás |
| author_sort |
Mariani, Tomás |
| title |
Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota |
| title_short |
Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota |
| title_full |
Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota |
| title_fullStr |
Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota |
| title_full_unstemmed |
Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota |
| title_sort |
folklore and transition (1982-1984): strategies around the song "grito santiagueño" of raúl carnota |
| description |
In this work we try, from the comparison of two versions of the song Grito santiagueño, to understand the intervention strategies of a central reference and an emerging reference in the Argentine folklore of the transition to democracy. It's about Mercedes Sosa and Raúl Carnota. The first recorded the song in Como un pájaro libre (1982), his first studio album after returning from exile. The second, author of the song, records it in Suna Rocha/Raúl Carnota (1983), a shared debut album.
Following the socio-discursive model proposed by Claudio Díaz (2009/2013/2016) for folklore we propose a reconstruction of the trajectories and positions of Sosa and Carnota within the system of relationships in which they participated at the time of producing each version of the song (which we analyze as a particular enunciation device). The comparison of the versions as well as the positions of those who produce them and some repercussions in the field of folklore, allow us to affirm that Sosa works as a legitimizer of Carnota's proposal, enabling the latter and its proposal of renewal intention. |
| publisher |
Centro de Investigaciones de la Facultad de Filosofía y Humanidades |
| publishDate |
2019 |
| url |
https://revistas.unc.edu.ar/index.php/recial/article/view/27020 |
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