Martes a Sabado y Feriados de 09:00 a 14:00 hs y de 17:00 a 22:00 hs –  Domingos de 17:00 a 22:00hs            

  • Español

      Architect Rodolfo Legname

    “It is only at the end of the 19th century that writing in Santiago del Estero seems to have an intention to say itself in Pablo Lascano’s “Siluetas Santiagueñas” or Lorenzo Fazio’s “Memoria Descriptiva”, not only to “say itself”, but also to say itself for others.

    The 20th century opened with the unveiling of the popular by Andrés Chazarreta in his compilation of popular dances and songs and “El País de la Selva” by Ricardo Rojas, which gives an account of the mythical universe of Santiago de Compostela.

    In the two central quarters of the 20th century, the craft of history, interest in local cultures and thinking emerged. Andrés Figueroa, from the Revista del Archivo, will be continued by the intellectuals of La Brasa: the writing of Di Lullo, the reflection of Canal Feijóo and the exhumation of the Chaco-Santiagueño civilisation by the Wagner family.

    This is the moment of enunciation of what we could call the “canon” of Santiago del Estero , disseminated throughout the 20th century from museums and educational institutes, and which will contribute to defining the ways in which the people of Santiagodel Estero in the 20th century self-perceived themselves. The writings of Alen Lascano, Achával, Martínez Moreno and many others are discursive continuities of this foundational writing.

    From literature and folklore, the voices of Clementina Quenel, Blanca Irurzun, or Julio Argentino Jerez will speak of the same theme of eviction from the land and nostalgia, which appear in all of Santiago’s production.

    In the 1960s, Francisco René Santucho opened up a social and political indigenous vision, which found its popular counterpart in the Alero Quichua Santiagueño, promoted by Sixto Palavecino and Felipe Benicio Corpos, among others, while Domingo Bravo systematised the Santiago Quichua language. Twenty years later, Raúl Dargoltz reviewed the productive processes of Santiago del Estero, interpreting the provincial failures as the actions of an external and centralist power.

    Finally, the 21st century will give rise to new readings: the articulation of popular and academic cultural production in the brief biographies put together by Teresa Pappalardo; the re-reading of the processes of power in the 19th century carried out by María Cecilia Rossi and, accompanying these readings, the look at subalternity proposed by Marcelo Ahumada.

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