A key role model for politicians and cultural theorists alike was Domingo Faustino Sarmiento, who posited that immigration and national art institutions were equally necessary to the cultivation of an Argentine culture.
Chapter 4 examines the first mature generation of Italo-Argentine artists, like Emilio Pettoruti and Xul Solar, who traveled to Europe to learn about their heritage and see avant-garde art in the s. Upon returning to Argentina, they imported French and Italian modern styles, but infused them with Argentine imagery and subject matter, such as Tango dancers.
(Mis)measuring Argentina’s Progress: Industrial Output, s - Munich Personal RePEc Archive
This privileged group could claim European culture as their own and claim to be authentically Argentine, allowing them to exist in two cultural spheres simultaneously. For them, Italian and Argentine identity became intertwined and mutually inclusive, and their work reflects this transnational hybridity.
Both the journal and the events organized by Los Amigos embodied an internal conflict—the desire to imitate European culture while also breaking away from it.
Beginning in , Mussolini used cultural diplomacy as a way to spread Fascism abroad. His efforts both succeeded and failed: they succeeded in that Argentina wound up developing its own brand of radical nationalism, Nacionalismo, but they failed in that Nacionalismo ultimately led a drop in immigration and the end of the symbiotic Italy-Argentina relationship that had persisted for decades.
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Argentina and Canada, 1880-1930: Problems and Solutions in Immigrant Communities
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Journal of Social History. Abstract This article charts the emergence of several immigrant-run social welfare institutions in Argentina between and If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE.