Historia y cultura

Photography and heritage. First notes from the Colegio Nacional of Tucumán (Argentina, 1865-1920)

2025-05-26T09:54:51-03:00

From a first approach to the historical trajectory of the Colegio Nacional de Tucumán (Argentina), we reflect on a variety of cultural resources related to this institution. A set of photographs will allow us to investigate and retrace the trajectory of the Colegio Nacional from its origins (mid-1860s) to the first five years at its current location (1915-1920). During the period between 1865 and 1920, then, certain visual documents that record some sections of the Colegio Nacional (its Natural History Cabinet and its library), will make it possible to travel through the beginnings of this important educational establishment, the consolidation of photography in Tucumán and the consequences of the first archaeological excursion in northwestern Argentina. As a result of the analysis of certain photographs and the historical context in which they are framed, we provide reflections on the patrimonial relevance and the dynamics of the cultural and identity resources of the Colegio Nacional, a social space that functioned as a sounding board for what happened in the province during the last 160 years.

Intellectual networks in Tucumán

2025-05-26T10:06:47-03:00

The article analyzes the interaction between Miguel Lillo, Alberto Rougés, and Ernesto Padilla, three central figures in the cultural history of Tucumán during the early decades of the 20th century. The primary objective is to explore how their individual and collective actions contributed to the consolidation of a regional cultural identity within the framework of modernization. To this end, the study adopts a comparative and documentary analysis approach, reviewing selected correspondences and works by these authors. A detailed analysis of the social and intellectual dynamics of the early 20th century is conducted. A brief biographical synthesis contextualizes each figure within their political and social environment, enabling the identification of the connecting links that united their interests and efforts. This approach allows for an examination of their collaboration on key projects, such as the creation of the Miguel Lillo Institute, and their influence on the province’s educational and cultural policies. The analysis highlights the relationship between their personal trajectories and their collective contribution to strengthening the intellectual networks that defined Tucumán’s Generación del Centenario. The research concludes that the collaboration between Lillo, Rougés, and Padilla transcended the boundaries of their personal interests to form a shared legacy. This legacy not only preserved scientific and cultural values but also helped consolidate a regional vision integrated into the national project. The study thus seeks to provide a more nuanced understanding of the intellectual networks of Northern Argentina in the 20th century.

The meanings of Cultural Heritage. Theoretical bases of the Heritage Area of the Centro Cultural Alberto Rougés

2025-05-26T10:38:07-03:00

This paper shares some of the theoretical bases that support the work of the heritage area of ??the Centro Cultural Alberto Rougés. It is based on the hypothesis that cultural assets (including architectural heritage) do not carry a single inherent meaning that
can only be accessed by the scientific knowledge of a single discipline. On the contrary, if we pursue social appropriation and that they feel that heritage is part of their collective identity, it is necessary to study it in a transdisciplinary way and opening the
door to non-scientific knowledge, memories and affections. To explore the relevance of such hypothesis, the ideas of four authors from different disciplines are articulated throughout the work: the theory of things developed by the philosopher Michel Fou-
cault (1997); that of meanings and values ??of the specialist in heritage interpretation Don Enright (2018); the concept of tradition studied by Raymond Williams(1982) from cultural studies; and the denaturalization of meaning proposed by Roland Barthes
(1999; 2009) from Semiotics. The theoretical exposition is illustrated with examples taken from the heritage of San Miguel de Tucumán. Finally, I share the script that guides the guided tours and activities that the Alberto Rougés Cultural Center produces
around the house that serves as its headquarters.

Reflections on art installations in Argentina. The case of Tucumán from 1983 to 2007

2025-05-26T11:03:59-03:00

The main objective of this article is to present an advance of the research, which aims to analyze the historical origins of the contemporary artistic practice of installation art in Tucumán from 1983 to 2007. This chronological cut is made by the movements of
gradual change that are emerging in the Tucumán art scene after the return to democracy. The time frame of the research closes in 2007, the year in which the first edition of the national salon of contemporary art of the province was held at the Museum
of the National University of Tucumán, which was dedicated to hosting emerging and contemporary artistic productions, including installations. First, this article addresses different definitions of the concept of installation to conceptualize and explain what it
is about and how this practice is defined. Second, it investigates the emergence of new artistic movements in Argentina from the 1960s onwards, which introduced a series of questions or paradigm shifts. In Buenos Aires, a group of artists began a path towards
experimentation and abandonment of the most conservative art formats, such as the artists aligned with the Visual Arts Center of the Di Tella Institute and artists from the pop movement. Thirdly, the article analyzes how, in the post-dictatorship context, a
series of changes began to take shape in the Tucuman scene and new concerns appeared in relation to artistic production, leaving behind the primary role of the most traditional art disciplines, so that artists began to experiment with practices typical of
contemporary art, such as installations. Fourthly, the article analyzes the characteristics and typologies of these practices within the artistic circuit of the province of Tucuman in the 1990s and the first decade of the 2000s.

Poets and visual atists in La Carpa. “The integralist desire to live poetry and art”

2025-05-27T08:27:37-03:00

In the process of modernization, affirmation, and institutionalization of the specific fields of arts and social sciences in northwestern Argentina, the 1940s and the emergence and actions of the group of poets and visual artists gathered around the La Carpa
group hold particular significance. In this paper, we will make a first approximation to the relationships between the poets and the visual artists of La Carpa in order to demonstrate that this, as a cultural formation centered in Tucumán, was not a purely
poetic phenomenon, but rather proposes an opening and a dialogue between all forms of art as an alternative for designing a regional identity. In this sense, from its inception, visual arts, performing arts, design, held as much importance as literature, as all of
them shared the cultural climate of the 1940s, which was characterized by a rejection of folklorism and localisms and a thematic renewal with a more human and universal projection. Throughout its publications – the notebooks and bulletins – the images,
design, literary texts, news articles, reviews, demonstrate this “integralist desire to live poetry and art”, as expressed by its organizers in the credit pages of the bulletins. This desire spread to the rest of the region, as is the case of the magazine Ángulo, which will also be referred to, to confirm their coincidences and affinities.

Popular song and folklore. Poetics, aesthetics and identity discourses in the work of Gustavo “Cuchi” Leguizamón

2025-05-26T11:21:54-03:00

We propose to tackle the ideas of popular song and folklore in the work of Gustavo “Cuchi” Leguizamón with the end of understanding the unique position of this composer in the field of folklore, which is, at the same time, representative of an
outstanding trend in that context as identity ascription and aesthetic orientation. In the song, both as material and symbolic production, diverse senses of the national, the popular, the territorial, the creation, and the creativity are at play, as well as the
very concept of folklore, from dissimilar political and ideological orientations. For this reason, we are interested in exploring at least two main interwoven channels in the popular folklore song: the identity and aesthetic issue, to think about its tensions
and consider the heterogeneity, plurality, and diversity of insights that come into play around the representativeness, the authenticity, what is and what is not art, what is and what is not popular.

Review, critical and refounding. The Generación del Centenario in Santiago del Estero and their links with same generation in Tucumán (1910-1960)

2025-05-26T11:25:53-03:00

This articule analyze the generation called “Generación del Centenario” in Tucumán and Santiago del Estero. The historical framework take into account the social, economic and political circumstances of the northwest region in the first half of the 20th
century. In this context, this paper places the work of intellectuals and artists in that period and the disciplinary orientations in their production. It analyzes the public profile of 16 cases of this generation´s members in Tucumán and Santiago del Estero. It
observes their interests, contributions and work method; it emphasize the sociography and literature as forms of social life description. Also the articule propose an analysis of the links between the cultural movements of Santiago and Tucumán and focus in
the cooperation between the Universidad Nacional de Tucumán and the Asociación La Brasa especially on similar projects and commones interests for to strengthen the regionally thinking. It mentioned the PINOA, a regional congress held in Santiago del
Estero in 1946. Finally, the paper tackles the main characteristics of this comparison: the terms cooperation, criticism and refoundation.

Culture and philosophy

2025-05-26T08:51:12-03:00

El temario de estas reuniones propone la correlación de tres términos: cultura, filosofía y región. Tal propuesta abre un campo temático de posibilidades casi infinitas. De entre ellas elegiremos unas cuantas líneas de análisis con el objeto de “dar que pensar”, como quieren los filósofos.

María Eugenia Valentié. The soul’s reflections

2025-05-26T09:51:47-03:00

Cuando me avisaron que Genie Valentié había muerto no pude dejar de pensar en las palabras del poeta que más amó, Jorge
Luis Borges, rebelándose ante la posibilidad de desaparición de un ser amado en “Abramowicz” de Los conjurados: “Cómo puede morir una mujer o un hombre o un niño que han sido tantas primaveras y tantas hojas, tantos libros y tantos pájaros y tantas mañanas y tantas noches” (Borges, 1989, p. 467).

Primeras páginas

2025-05-26T08:29:16-03:00

Presentación

2025-05-26T08:33:06-03:00

Héctor Tizón creía que ninguna cultura desaparece por completo, sino que su esencia persiste en lo que le sucede. La revista "Historia & Cultura" se inspira en esta idea para explorar el legado regional, recuperando el pasado como una herencia inevitable.

The art’s textures. Aesthetic journey and visual memory of the Centro Cultural Alberto Rougés, 2024

2025-05-26T11:31:18-03:00

Si algo distingue al ser humano del resto del reino animal es su capacidad para pensarse a sí mismo como individuo, pero también
como integrante de una comunidad. Uno de los objetivos medulares del Centro Cultural Alberto Rougés desde su fundación en 1990
ha sido generar herramientas para pensarnos y para pensar la cultura del noroeste argentino, para que nuestro transcurrir por este territorio adquiera cierta densidad existencial. A ello nos abocamos desde las áreas de Biblioteca y Artes Visuales, pero también cada vez que recibimos propuestas de cualquier naturaleza cultural, como presentaciones de libros, charlas, seminarios, recitales poéticos o musicales, espectáculos teatrales, etc.

The reading’s crumbs. Rastros lectores, divulgation’s cycle of Rougés Cultural Center’s libraries: memory and retrospective

2025-05-26T11:34:31-03:00

Para la escritora cordobesa María Teresa Andruetto (2022) “donde hay un lector, antes hubo otro que extendió la mano”. En ese
gesto de “posta”, de traspaso, se inscribe Rastros lectores, ciclo de promoción y difusión de las colecciones bibliográficas del Centro Cultural Alberto Rougés (CCAR) de la Fundación Miguel Lillo. El ciclo se propuso poner de manifiesto el particular sistema de conformación de las colecciones del CCAR: integrado por bibliotecas privadas de especialistas y/o personalidades destacadas de la cultura de la provincia y por pequeñas donaciones espontáneas de escritores tucumanos y del noroeste argentino.

Centro Cultural Alberto Rougés

2025-05-26T11:37:55-03:00

El Centro Cultural Alberto Rougés (CCAR) se constituye como el ámbito de investigación y extensión cultural de la Fundación Miguel Lillo. En sus 34 años se ha convertido en un centro de estudios de referencia de la historia y las artes de Tucumán y el noroeste argentino por los acervos que posee —de los que darán cuenta Verónica Estévez y Martín Aguierrez en estas Jornadas— y porque ha promovido la difusión de la ciencia y las artes de Tucumán y la región con publicaciones, exposiciones y actividades culturales en consonancia con la visión integral que propone la Fundación Miguel Lillo.