In the early part of the twentieth century, Buenos Aires erupted from its colonial past as a city in its own right, expressing a unique and vibrant cultural identity.Intersecting Tango engages the city at this key moment, exploring the sweeping changes of 1900-1930 to capture this culture in motion through which Buenos Aires transformed itself into a modern, cosmopolitan city. Taking the reader through a dazzling array of sites, sources, and events, Bergero conveys the city in all its complexity. Drawing on architecture and gendered spaces, photography, newspaper columns, schoolbooks, "high" and "low" literature, private letters, advertising, fashion, and popular music, she illuminates a range of urban social geographies inhabited by the city's defining classes and groups. In mining this vast material, Bergero traces the profound change in social fabric by which these diverse identities evolved, through the processes of modernization and its many dislocations, into a new national identity capable of embodying modernity. In her interdisciplinary study of urban development and cultural encounters with modernity, Bergero leads the reader through the city's emergence, collecting her investigations around the many economic, social, and gender issues remarkably conveyed by the tango, the defining icon of Buenos Aires. Multifaceted and original, Intersecting Tango is as rich and captivating as the dance itself.

Intersecting Diasporas examines literary expressions of allyship between Italian America and other diasporic communities in modern and contemporary US fiction. Rewriting the Anglo-American genre of the "Italian novel," authors like James Baldwin, Bernard Malamud, Carolina De Robertis, and Chang-rae Lee have disrupted misconceptions of Italian and Italian American identity while confronting Italians' own complicity with white racism. Likewise, Italian American authors from John Fante to Tina De Rosa have written in solidarity with Black, Chicanx, Filipinx, Jewish, Romani, and Irish diasporic communities on US shores, unsettling stereotypes and dissecting Italian America's history of flawed allyship across diasporas. Suzanne Manizza Roszak traces these gestures of literary solidarity; considers how they relate to the writers' critiques of toxic masculinity, antiqueerness, and socioeconomic injustice; and proposes interdiasporic allyship as a practice of reconciliation and healing.

From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors—including specialists in dance, music, anthropology, linguistics, literature, film, and fine art—take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries. Contributors. Esteban Buch, Oscar Conde, Antonio Gómez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti

In a highly original and interdisciplinary work bridging French and Francophone studies, cultural studies, media studies, and gender and sexuality studies, Luis Navarro-Ayala examines the transnational queer body as a physical and symbolic entity intrinsically connected with space. Through a transcultural and intersectional approach to bodily representations, socioeconomic conditions, and postcolonial politics, Navarro-Ayala analyzes queerness and Frenchness in narratives from North Africa and Latin America, revealing that Frenchness is coded to represent a sexually deviant “Other.” France and Frenchness, in two distinct regions of the global South, have come to represent an imagined queer space enabling sexual exploration, even in social conditions that would have otherwise prevented queer agency.

In Argentina, tango isn’t just the national music—it’s a national brand. But ask any contemporary Argentine if they ever really listen to it and chances are the answer is no: tango hasn’t been popular for more than fifty years. In this book, Morgan James Luker explores that odd paradox by tracing the many ways Argentina draws upon tango as a resource for a wide array of economic, social, and cultural—that is to say, non-musical—projects. In doing so, he illuminates new facets of all musical culture in an age of expediency when the value and meaning of the arts is less about the arts themselves and more about how they can be used. Luker traces the diverse and often contradictory ways tango is used in Argentina in activities ranging from state cultural policy-making to its export abroad as a cultural emblem, from the expanding nonprofit arts sector to tango-themed urban renewal projects. He shows how projects such as these are not peripheral to an otherwise “real” tango—they are the absolutely central means by which the values of this musical culture are cultivated. By richly detailing the interdependence of aesthetic value and the regimes of cultural management, this book sheds light on core conceptual challenges facing critical music scholarship today.

This volume investigates identity discourses and self-constructions/de-constructions in various texts through imagological readings of films, narratives, and art works, examining different layers of cultural identities, on the one hand, and measuring the literary reception of ethnic identity constitution to reveal both the self and hetero images, on the other. The book features theoretical and analytical approaches with insights borrowed from multiple disciplines, and mainly focuses on the application of imagological perspectives in the fields of literature and translation, and specifically in literary works “carried over” from one culture to another. It will be of interest for scholars and researchers working in the fields of literature, translation, cultural studies, and imagology, as well as for students studying in these fields.

Between 1905 and 1930, more than one hundred thousand Jews left Central and Eastern Europe to settle permanently in Argentina. This book explores how these Yiddish-speaking Ashkenazi immigrants helped to create a new urban strain of the Argentine national identity. Like other immigrants, Jews embraced Buenos Aires and Argentina while keeping ethnic identities—they spoke and produced new literary works in their native Yiddish and continued Jewish cultural traditions brought from Europe, from foodways to holidays. The author examines a variety of sources including Yiddish poems and songs, police records, and advertisements to focus on the intersection and shifting boundaries of ethnic and national identities. In addition to the interplay of national and ethnic identities, Nouwen illuminates the importance of gender roles, generation, and class, as well as relationships between Jews and non-Jews. She focuses on the daily lives of ordinary Jews in Buenos Aires. Most Jews were working class, though some did rise to become middleclass professionals. Some belonged to organizations that served the Jewish community, while others were more informally linked to their ethnic group through their family and friends. Jews were involved in leftist politics from anarchism to unionism, and also started Zionist organizations. By exploring the diversity of Jewish experiences in Buenos Aires, Nouwen shows how individuals articulated their multiple identities, as well as how those identities formed and overlapped.