Argentine literature

from Wikipedia, the free encyclopedia

The Argentine literature is part of the Hispano-American literature and - together with the Portuguese-speaking Brazilian literature - part of Latin American literature . Since the Spanish-speaking countries of Central and South America feel obliged to share a common cultural heritage ( hispanidad ), Argentine literature must always be seen in this context. On the other hand, there are specific peculiarities of the Argentine culture that make a consideration of a genuinely Argentine literature seem meaningful: These include the lack of an indigenous , pre-Columbian written culture in Argentina, since the Indians living here were on a relatively low level of civilization, as well as the strong European, in particular French influence on Argentine culture since colonial times .

Identity search and Gaucho literature (approx. 1820–1900)

Since the establishment of the Viceroyalty Río de la Plata with the capital Buenos Aires (1776) Argentina gained its own cultural profile. In the absence of publishers and an educated public, the newspaper system ( los papeles públicos ) , which had been developing since 1801, played a central role. It stayed that way even after independence: literatura did not see itself as art, but as essayistic reflection and political education in the context of the construction of the new state and with the intention of influencing the public politically. The upper class of the country oriented itself strongly to Europe and took up cultural currents from there. In particular France and its capital Paris were formative, French became the first language of education . But there were no outstanding authors or works until about 1830. Only Juan Cruz Varela published patriotic poetry and wrote some classicist tragedies in the 1820s that were based on the Italian model of Alfieri .

In the course of the 19th century, the French-influenced culture of the enlightened, liberal urban bourgeoisie was rejected by the movement of Criollismo and the search for a national identity of one's own. The prototypical representative of the heroic strivings for freedom of the Argentine was the gaucho , who became the central figure of Argentine literature and the identification figure of the brutal dictatorship of General Juan Manuel de Rosas in the early 19th century, which was based on the rural population .

The sociocultural background of the gaucho literature was orally transmitted stories about the adventures of the cattle and horse keepers of the Argentine steppe. Their widespread distribution and their popular, folk character, however, only got when the gaucho no longer existed in its original way of life due to changed social conditions. The influence of romanticism , one of the main literary trends of the 19th century, led to a turn to the roots of the people and, under the influence of Herder's thoughts, contributed to a transfiguration and idealization of the past.

Gaucho, ca.1915, illus. From Harry Weston Van Dyke: Through South America

Fausto (1866) by Estanislao del Campo , a verse satire based on the work of the same name by Charles Gounod , paved the way for gaucho literature . The gaucho literature of the La Plata area reached its peak with the verse epic El gaucho Martín Fierro (1872/1879) by José Hernández (1834–1886), which is considered the most important work of Latin American literature of the 19th century. With Martín Fierro - actually a series of typical autobiographies - was partly partly praised plaintively, in stoic tone of free and independent character of the Gaucho as a representative of the Argentine national character. Gaucho novels played a role into the 20th century ( Don Segundo Sombra (1926) by Ricardo Güiraldes is worth mentioning ).

While the ruling oligarchy was celebrated with patriotic poetry, the narrative prose of the decades up to Rosa's fall was under the auspices of the struggle against his dictatorship . In the story El matadero ("The Slaughterhouse", approx. 1838) by the romantic writer and politician Esteban Echeverría (1805-1851), not only the gaucho myth is evoked and the endless expanse of the Argentine pampas formative for his character and that of the Argentine people depicted; at the same time it is a political allegory of the bloody Rosas regime. Echeverría, Juan Bautista Alberdi , Juan María Gutiérrez and other writers formed an opposition secret society, the Asociación de Mayo , which was comparable to the movement of Young Germany ; many of its members had to emigrate to Montevideo or Chile. Influenced by Victor Hugo and European romanticism, José Mármol ( Cantos de peregrino 1847) had to publish his historical novel Amalia - the first in the La Plata region - in Montevideo in 1851.

Another important theme of 19th century literature was the contrast between civilization and barbarism . It was mainly in the eloquent novel Barbarism and Civilization. The life of Facundo Quiroga (1845) by the writer and politician Domingo Faustino Sarmiento (1811–1888), who went into exile under Rosas and became president of Argentina from 1868–1874 . Facundo , a fundamental work of Argentine literature in the 19th century, is a romantic narrative of the life of the autocratic provincial prince ( caudillo ) Facundo Quiroga and, at the same time, a cultural-theoretical consideration of the contrast between rural barbarism and backwardness on the one hand and civilizational progress in the city on the other. Sarmiento also took sides for civilization and city life and criticized the ruling dictator Juan Manuel de Rosas and his brutal policy towards the Indians in literary terms.

Since the 1880s, Argentine literature has become more artificial and culminated in an apolitical late romanticism.

Modernismo and Avant-garde (approx. 1880–1930)

Before the turn of the century there was a fundamental socio-cultural change. Due to a large influx of immigrants from Europe, the predominantly rural character of Argentina was lost; Buenos Aires became the metropolis of South America in the 1880s . The country's economy and society went through a profound modernization process . This was accompanied by a development towards a cosmopolitan literature. Thematically, the city moved to the center of literature, for example in the novels of Lucio Vicente López (1848-1894). His story La gran aldea (“The big village”, 1882), which depicts the civil war-like turmoil and social struggles in Buenos Aires after the overthrow of the Caudillo Juan Manuel de Rosas in a satirical exaggeration and at the same time in nostalgic memory of the “old” Buenos Aires , he produced in quick succession in the form of a feature section based on the model of French trivial novels.

Significant influence on the development of new literary forms had the from Nicaragua originating Rubén Darío lived (1867-1916), the longer time in Buenos Aires. His in the volume of poems Prosas profanas (1896) was characterized by aestheticism and symbolism ; he founded a completely new aesthetic . Darío is considered to be the founder of Modernismo in its Latin American form.

Leopoldo Lugones

The poet , essayist and narrator Leopoldo Lugones (1874–1938), who was heavily influenced by Darío, is often considered to be one of the most important exponents of modernism in Argentina; but it is more known as the forerunner of modern fantasy and science fiction literature and micro-narration . In his work a lush, lyrical, initially hallucinatory and later an objective style predominates. The stories of the successful volume La guerra gaucha (1905) about the guerrilla war against the Spaniards 1815-1825 were filmed in Argentina in 1941. As an anarchist and nationalist , Lugones supported the coup d'état of 1930. Other important writers of modernism were the poets Enrique Banchs , Baldomero Fernández Moreno and the Swiss-born Alfonsina Storni , who broke with symbolism and devoted herself to feminist topics.

The avant-garde movements that emerged from the 1920s can be divided into two opposing camps. The Grupo Florida ( Florida group), named after the then aristocratic street La Florida, paid homage to aestheticism and called for the dissolution of traditional syntax and metrics and the creation of new modes of expression. Their attitude was often perceived as snobbish . The literary platform of the Florida group, which was influenced by the Spanish Ultraísmo , became the magazine Martín Fierro . The members of the group were therefore often referred to as Martinfierristas . The group included a. Jorge Luis Borges , Oliverio Girondo , Norah Lange , Raúl González Tuñón and Francisco Luis Bernárdez .

In contrast, there is the Grupo Boedo (group Boedo), named after the working-class Boedo district , as a group of politically active and socially critical authors who mainly draw on Russian realism and the experience of social struggles in the big cities and the massacres of farm workers in Patagonia 1920s were coined. Its most important representative was the novelist , playwright and journalist Roberto Arlt (1900–1942). His famous column Aguafuertes porteñas , which appeared in the newspaper El mundo from 1928 , described daily life in Buenos Aires. Outstanding are the novels El juguete rabioso (1926), Los siete locos (1929), Los lanzallamas (1931) and El amor brujo (1932). Arlt devoted the last years of his life entirely to the avant-garde theater , for which he wrote numerous fantastic pieces in which he stylized the urban dwellers' feeling of being uprooted in a “pre-existent” way, so to speak to the Argentinean national feeling.

Rural realism found expression in the work of Juan Laurentino Ortiz (1896–1978). Ortiz immortalized the landscape peculiarities of the river province Entre Ríos in poetic form. Ricardo Güiraldes , Horacio Quiroga and Roberto Payró were also important representatives of the Boedo group .

Cosmopolitanism, Surrealism and Fantastic Literature (approx. 1930–1960)

The literary figures of the 1930s and 1940s made a cosmopolitan claim in which the position of Argentina in the world was discussed, while the country suffered massively under the influence of the global economic crisis and the middle classes were impoverished. Fewer and fewer authors could afford the expensive visits to Europe; Modernismo lost its role model. Victoria Ocampo founded the magazine Sur in 1931 with the aim of making Argentine authors known abroad and, conversely, to spread new European currents in Argentina. Macedonio Fernández belonged to Grupo Florida and the group of Surrealists influenced by the Spanish Ultraísmo ; his aesthetic theory of the unity of art and life referred to the later action art and the work of André Breton as early as the 1920s .

The best-known Argentine poet abroad (especially in Europe) is Jorge Luis Borges , who spent many years in Europe at an early age. With him, fantastic literature developed in a new direction and gained suggestive power, which culminated in the short story collections Ficciones (1944) and El Aleph (1949). Together with Adolfo Bioy Casares and Silvina Ocampo , Borges wrote fantastic and criminalistic literature, and together they published the crime series El séptimo círculo . Ernesto Sabato was another author whose novel El túnel (1948) was enthusiastically received in Europe.

Jorge Luis Borges, photographed by Grete Stern (1951)

The poet, playwright, storyteller and novelist Leopoldo Marechal attempted a symbolic interpretation of history in his partly autobiographical essay novel Adán Buenosayres (1948), which immediately after its publication made a strong impression on Julio Cortázar . He orientated himself on the Aristotelian poetics and on the Platonic dialogue as well as on Dante . The book, which became widespread only after the new edition in 1965, can be regarded as the forerunner of the experimental novel.

In lyric poetry , the descriptive and the nostalgic-reflective developed with Vicente Barbieri , Olga Orozco , León Benarós or Alfonso Sola Gonzáles . In the narrative literature there were representatives of idealism , u. a. María Granata , Adolfo Bioy Casares , Manuel Mujica Láinez as well as realism , etc. a. Ernesto L. Castro , Ernesto Sabato , Abelardo Arias .

In the 1950s, the avant-garde formed anew in the magazine Poesía Buenos Aires . Julio Cortázar published his first short stories. Later he went to Paris . Through his metaliterarian experimental novel Rayuela (1963) he exerted a great influence on the Latin American authors of the boom , e. E.g. Gabriel García Márquez ( Colombia ), Juan Rulfo ( Mexico ) or Mario Vargas Llosa ( Peru ). During this time, technical innovations were also tried out. Juan Gelman , along with Borges, Sabato and Casares, the last of four Argentine Cervantes Prize winners to date , cultivated a new slang tone in literature. Overall, there was a broad diversification of the spectrum of literary styles from the social to the existential to the fantastic.

Raúl Gustavo Aguirre , Edgar Bayley and Julio Llinás are to be mentioned as pioneers of neo-humanism who reconsidered things after the Second World War . The existentialists include José Isaacson , Julio Arístides and Miguel Ángel Viola . Alfredo Veirabé , Jaime Dávalos and Alejandro Nicotra played an intermediary role between the two currents with a regional influence .

El boom , dictatorship and post-boom (approx. 1960–2000)

In the 1960s, a new generation of authors influenced by Sartre and Camus came into play. In addition, established authors such as Borges, Arlt, Cortázar or Marechal determined the image of an incipient literary boom, with women still playing a limited role. Authors such as Horacio Salas , Alejandra Pizarnik and Ramón Plaza traced the metaphysical time and historicity ; others dealt with the urban and social upheavals such as Abelardo Castillo , Marta Traba or Manuel Puig or criticized a depraved political system and its elites like Marta Lynch , who herself repeatedly sought the proximity of different rulers.

Marta Lynch (1925–1985)

The authors of the 1960–1990 boom included Agustín Tavitiány , Antonio Aliberti , Diana Bellessi and Susana Thenon , in the epic Osvaldo Soriano , Fernando Sorrentino , Héctor Tizón , Juan José Saer , Rodolfo Fogwill and Hebe Uhart in the drama Griselda Gambaro , Ricardo Talesnik , who also worked as a television director, Roberto Mario Cossa , the founder of Nuevo Realismo , who became known as a film director, Angélica Gorodischer , who wrote science fiction and fantasy novels , also Carlos Somigliana , Ricardo Halac , Eduardo Pavlovsky , Osvaldo Dragún , Diana Raznovich , Mauricio Kartun , Eduardo Rovner , Susana Torres Molina and Carlos Gorostiza , who was Minister of Culture after the dictatorship. In this phase, a. the works of Éluard , Eliot , Montale and Neruda .

In the late 1970s and early 1980s, which were marked by the state terror of the military dictatorship , many authors were driven into exile , such as Juan Gelman , Antonio di Benedetto , Alicia Kozameh , Tununa Mercado , Mempo Giardinelli , Luisa Valenzuela , Diana Raznovich , Luisa Futoransky , Cristina Feijóo , Susana Szwarc , Reina Roffé , also the literary critic David Viñas , who opposed the trend towards magical realism and had written novels on historical-social topics and works on the social history of Argentine literature, and Osvaldo Bayer , who wrote his three-volume, by Héctor Olivera dedicated the film La Patagonia rebelde (1972–74) to the farm workers' uprising of 1920. The founder of the “nuevo realismo” of the Argentine theater and film, Carlos Gorostiza (1920–2016), was banned from working. The novelist and screenwriter Manuel Puig , who had to emigrate to Mexico, demonstrated the connection between sexual and political oppression in his novel El beso de la mujer araña (1976) (Eng. The Spider Woman's Kiss ).

In the 1980s, many authors returned from abroad and literature and theater took off in a kind of cultural reaction to the dictatorship. One of the protagonists of the Teatro Abierto movement was Osvaldo Dragún (1929–1999), but the boom ebbed in the late 1980s and 1990s - not least due to the renewed impoverishment of a large part of the middle class. There was a critical return to the multifaceted internal relationships in Argentina: to hybridación (“hybridization”, cultural fusion ), mestizaje ( “mestizization” ) and heterogeneidad multitemporal (“ non-simultaneity ” - a term used by the cultural critic Néstor García Canclini , * 1939). This is a postmodern alternative to thanking, which is one-sidedly fixated on modernization: From the failure of many modernization thrusts, the traditional arrogant centralism of Buenos Aires and the cultural dependence on Europe, the consequence was drawn to the local sources of culture, the long-neglected culturas to turn to popular things.

Thus the novel discourse increasingly opened the pop culture : trashy novels , Trivial movies, Kinowelt and modern mass culture found their way into fiction. Ricardo Piglia was influenced by US crime fiction . who in 1981 smuggled his strongly encrypted novel Respiración artificial ( Eng . Artificial Breathing, 2002), so to speak , past the censorship. The totality of everyday experiences, the circus, the melodrama, the tango, the cinema, but also the culture and rituals of the rural population, the mestizos and Indians moved into the focus of literature. The province was now also heard. In this context, the authors are Juan Laurentino Ortiz from the province of Entre Ríos (1896–1978), Luis Franco (1898–1988) from the province of Catamarca , Juan Bautista Zalazar (1922–1994) from the Argentine northwest ( Cuentos de Valle Vicioso , 1976), Alberto Alba (1935–1992) from the province of Santiago del Estero , Raúl Dorra , who has lived in Mexico since 1976, from the province of Jujuy and Tomás Eloy Martínez (1934–2010) from the province of Tucumán .

In addition, there was the overdue coming to terms with the dictatorship and the phenomenon of those displaced and disappeared under the dictatorship, for example by Elsa Osorio and Martín Caparrós (* 1957). In the documentary literature (span .: testimonio ) these topics are dealt with by Alicia Partnoy and Nora Strejilevich (* 1951), who were themselves victims of torture. The psychiatrist Eduardo Pavlovsky (1933–2015) dedicated his plays to the subject of the many "disappeared". María Rosa Lojo became known through documentary, critical and essayistic novels translated into many languages . Eduardo Belgrano Rawson (* 1943) dealt with contemporary historical materials a. a. in a novel about the Cuban Missile Crisis and in short stories about the Malvines or Falklands War . The journalist and human rights activist Edgardo Esteban (* 1962), whose text Iluminados por el fuego (1993) was filmed by Tristán Bauer , and the author, playwright ( Las Islas , 2011) and screenwriter Carlos Gamerro (* 1962) also deal with this topic .

In purely quantitative terms, César Aira (* 1949) surpasses all of the other newer Argentine authors with around 100 books, mostly novels and collections of short stories. He also works as an essayist and translator, editor and lecturer. He has published two to five books a year since the 1980s. Influenced by Surrealism and Dadaism, he uses automatic writing techniques, jumps from one genre and topic to another, delights in paradoxes, metaphors and fantasy and deals with both the past and the current crises in Argentina, whereby he is before the Do not shy away from telenovelas. His works employ numerous Spanish-speaking literary scholars, for whom he is considered a legacy of Borges in a somewhat playful and comic-like-garish form. They have been translated into German with increasing frequency since around 2003 (e.g. Der Literaturkongress , German 2012).

The poetry scene also experienced an upswing in the 1980s and 90s. a. through publishers such as Ediciones del Diego, Siesta, Eloísa Cartonera and festivals such as the Latin American Poetry Festival of Buenos Aires Salida al Mar and the International Poetry Festival Rosario , founded in 1993 ; but the number and importance of young storytellers and novelists has grown even faster since the 1990s.

Sylvia Iparraguirre (1982)

As a writer of short stories ( En el invierno de las ciudades , 1988), novelist ( La Tierra de Fuego , 1998, German: Land of Fire , 1999) and essayist, the sociolinguist Sylvia Iparraguirre (* 1947) gained notoriety beyond national borders; she was married to the writer and playwright Abelardo Castillo (1935-2017).

The 21st century

While the legacy of dictatorship still weighed on the country, the economic situation has deteriorated dramatically since 1998. While Argentina previously knew no poverty due to its exports, the 2001/02 financial crisis brought over a third of the population below the poverty line. The 2002 economic crisis also caused the book market to collapse. Books became priceless at times. There was another wave of emigration to southern Europe and the USA. Rodrigo Fresán (* 1963) is one of the authors living in Spain , whose work shows the influence of cinema, television and US literature.

Recently, the emergence of new groups of authors in the Argentine "off-scene" is remarkable, gathering in galleries, old factory halls, cultural centers and discotheques and using laser printers, independent magazines and the Internet as media for their often disrespectful contributions. An important literary form is the crónica , which stands between social reporting and blog . Ana María Shua , who comes from a Jewish-Arab family, is the author of micro-stories ( microcuentos ) and children's books . Alan Pauls (* 1959) became known as a screenwriter .

New storytellers are e.g. B. Washington Cucurto , also known as a poet, Fabián Casas , Félix Bruzzone , Alejandro López, Pedro Mairal and Alan Pauls . The Kafkaesque works of Samanta Schweblin , which have received numerous awards, are counted as neo-fantastic .

Claudia Piñeiro

Books on historical and contemporary subjects are very popular in Argentina. In the German-speaking world, the works that thematized life under the military dictatorship and its aftermath were particularly popular. These include the stories by Carlos María Domínguez (* 1955), who now lives in Uruguay , and the novels by the successful author Claudia Piñeiros (* 1960), who tracks down the aftermath of the dictatorship in the economic crisis and the fear of relegation of the middle classes. In Europe, the literary theorist, essayist and novelist Martín Kohan (* 1967) became known through Ciencias Morales (2007, German ethics 2010), an analysis of the inhuman discipline in schools under the dictatorship. Also Martín Caparrós (* 1959) deals in fictional and non-fictional works, the recent past. In El orígen de la tristeza (Eng. The Origin of Sadness 2007), Pablo Ramos (* 1966) deals with the fate of an adolescent in the suburbs under the military dictatorship. The novel Like an Invisible Band (German 2013) by the journalist Inés Garland about love in times of dictatorship was awarded as the best Argentinian book for young people in 2010. With Edgardo Esteban, she edited an anthology on the Falklands War in 2012 . María Sonia Cristoff (* 1965), who became famous for her reportages, switched to writing novels and traces the fate of the people who emigrated to Patagonia under the military dictatorship ( Let me out there , German 2015). The subject of dictatorship was also dealt with by the respected journalist Leila Guerriero (* 1967), who works for magazines and television. Her Crónicas on students trying to identify the dead of the dictatorship in mass graves appeared in German translation ( Strange Fruit: Crónicas 2014). María Cecilia Barbetta (* 1972) came to Germany as a student in 1996 and writes in German, but her Borges-influenced novels are set in Buenos Aires during her youth.

Many recent publications reflect the decline of the once rich Buenos Aires, which is central to Argentine literature, as a third of the country's inhabitants live here and in the surrounding area. The feeling of being at the mercy of the return of populism again and again is widespread among intellectuals. Migration, exile, uprooting and alienation are becoming more and more important topics.

Book market

After Brazil and before Mexico, Argentina is traditionally the Latin American country that produces the second most titles each year. Buenos Aires is still the metropolis of Latin American literature. Many Argentine publishers and around 80 percent of the bookstores are located here. The Book Fair in Buenos Aires is a big reading festival, similar to the Leipzig Book Fair. Only a few other cities like Mendoza, Rosario, Córdoba, Bariloche or Mar del Plata have larger bookshops.

From 2000 to 2002, however, book production in Argentina had declined by about 60 percent; since 2005 it has gradually recovered. In 2009, book production had more than doubled compared to 2002, with over 20,400 titles (including reprints) published by almost 500 active publishers. Global players such as Bertelsmann / Random House, Mondadori, Grupo Planeta and Grupo Santillana, however, used the crisis to take over local publishers.

Argentina was the guest country of the Frankfurt Book Fair in 2010 . Despite a large program of translation funding by the German Foreign Ministry on this occasion, which comprised well over 100 titles, Argentine authors have a hard time getting noticed in Germany. The boom in Latin American literature in Europe is over for the time being and the literary exchange between Argentina and neighboring countries is by no means more intense today than it was in the 1970s. After 2015 and even more since the debt crisis that flared up again in 2018, Argentine book production has declined again.

Literary prizes

Numerous literary prizes are awarded in Argentina, including a.

  • the Premio de la Academia Argentina de Letras (since 1984)
  • the Premio Fondo Nacional de las Artes
  • the Premio Konex (since 1984 every 10 years for literature)
  • the Literature Prize of the City of Buenos Aires
  • the Argentine Critics' Prize.

Individual evidence

  1. ↑ Dieter Janik: The Beginnings of a National Literary Culture in Argentina and Chile: A Contrastive Study on the Basis of the Early Periodicals (1800-1830). Tübingen 1995, p. 10.
  2. ↑ This movement and the role of immigrants are described by the literary critic Adolfo Prieto (1928–2016) in El discurso criollista en la formación de la Argentina moderna. Buenos Aires 1988, reprinted 2006.
  3. ↑ Michael Rössner: The Hispanoamerican literature. In: Kindler's new literature lexicon , ed. Walter Jens, Vol. 20, Munich 1996, pp. 40 - 56, here: pp. 44 f.
  4. ↑ Michael Rössner (ed.): Latin American literary history. 2nd Edition. Stuttgart, Weimar 2002, p. 176 ff.
  5. ↑ Online version at www.gutenberg.org
  6. ↑ Alfonso Sola González: Itinerario expresivo de Leopoldo Lugones: Del subjetivismo alucinatorio al objetivismo poético. Facultad de Filosofía y Letras de la Universidad Nacional de Cuyo, 1999.
  7. ↑ See Rössner 1996, p. 46 f.
  8. ↑ See Rössner 1996, p. 50.
  9. ↑ Birgit Scharlau: Thinking in Latin America: cultural-theoretical boundaries between modernity and postmodernism. 1994, p. 39 f.
  10. ↑ Some of these authors are represented in Viviana Pinto de Salem's anthology (with work assignments for students): Cuentos regionales argentinos: Catamarca, Córdoba, Jujuy, Salta, Santiago del Estero y Tucumán. Ediciones Colihue 1983.
  11. ↑ Leonie Meyer-Krentler: The dictatorship tells. ZEIT online , October 5, 2010.
  12. ↑ Pablo Decock: Las figuras paradójicas de César Aira: Un estudio semiótico y axiológico de la estereotipia y la autofiguració. Peter Lang, ISBN 978-3-0353-9978-3 .
  13. ↑ E. Chr. Meier: Aimé Tschiffely's ride north. NZZ, International Edition, September 16, 2015.
  14. ↑ Marco Thomas Bosshard (Ed.): Book market, book industry and book fairs in Germany, Spain and Latin America. Münster 2015, p. 83.
  15. ↑ Timo Berger: Steaks? Tango? Books! In: www.jungle-world, October 7, 2010.
  16. ^ Website of the academy

See also

literature

  • Florian Müller: Damage balance of a cultural policy. The Argentine military dictatorship from 1976 to 1983 waged war not only against people but also against books, in "Zwischenwelt. Literatur, Resistance, Exil," Zs. Der Theodor Kramer Gesellschaft , vol. 28, no . 4, January 2012 ISSN  1606- 4321 pp. 49-52
  • Volkmar Hölzer: Argentinian folk poetry: a contribution to Hispano-American literary history . Velhagen & Klasing, Bielefeld 1912 ( digitized )
Anthologies
  • Wilhelm Anton Oerley, Curt Meyer-Clason (selection and editing): The white storm and other Argentine stories. Book series Spiritual Encounter of the Institute for Foreign Relations Stuttgart, Vol. 7. Tübingen, Basel: Erdmann Verlag, 1969.
  • Explorations. 21 Narrators from the Rio de la Plata. Published by the House of World Cultures, Berlin 1993. ISBN 3-353-00960-4 .

Web links