![]() ![]() However, these translations fail to capture the exact meanings and implied logic that guide Porteños-the residents of Buenos Aires-when they use these words. In this paper, I first look at the historical context that saw the emergence of viveza criolla in Buenos Aires, pointing out its link to local criollo culture. Then, I study how the three words have been defined in a varied sample of monolingual and bilingual dictionaries. ![]() I claim that, besides issues of ethnocentric framing and circularity, viveza is not sufficiently described as an expression of local culture and sociality, and neither vivo nor boludo are appropriately captured as social categories. Finally, I use the Natural Semantic Metalanguage approach to capture and explore the keywords’ meanings in simple, cross-translatable terms. Semantic explications are supported with discursive evidence from common sayings, fixed expressions, news articles, tango lyrics and tweets. KeywordsĪcademia Argentina de Letras (2008). ¡Che Boludo! A gringo’s guide to understanding the Argentines. Creole talk: The poetics and politics of Argentine verbal art. Cara (Eds.), Creolization as cultural creativity (pp. Jackson: University Press of Mississippi.įrance, M. Ten lectures on natural semantic metalanguage: exploring language, thought and culture using simple, translatable words. Words and meanings: Lexical semantics across domains, languages and cultures. Investigación de las hablas populares bonaerenses: El lunfardo. And the very close and rich sound makes it feel as if the listener is being treated to his/her own private performance by a top-notch dance ensemble.PhD tesis: Universidad complutense de Madrid. As a whole, the album isn't as fiery or recklessly passionate as to carry the listener away completely, but it is plenty infectious regardless. The Albéniz has a naturally gentle charm, and the same can be said of Viveza's arrangements of Stalman's Viejas Ideas and Grothe's Schreib mir einen Brief! When the group gets into the tangos written after the 1930s, its members play more freely and with more verve, particularly in A Evaristo Carriego and the Piazzolla tangos and generally wherever they can let go with showy technique. Both are played with just a bit of élan and drama, but not too much. The program starts with the familiar: Gade's Jalousie and Albéniz's Tango in D, two European stylizations or refinements of the common dance. The mix of works, from Gade to Piazzolla, not only samples the variety of forms and styles of tango, but also shows how composers like Stravinsky put their unique spin on it. It has a respect for the music that means everyone pays attention to the coloring and emotion of each piece, but they don't let that get in the way of their enjoyment of playing the music. ![]() ![]() 'Devoted' is the right word, because the ensemble really does love this music. Tango Tango is its release devoted to the group's favorite dance. Its members never seem to have problems with intonation or with timing, and they all feel the music together, so that the listener is treated to some pretty high standards of music-making. Viveza is a chamber ensemble that really knows its stuff. ![]()
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