La Campana de Palo (Buenos Aires, Argentina). -- No. 4 (Ago. 21, 1925)
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The article defines the characteristics of the Buenos Aires literary group “Florida”, however, in accordance with the personalities, which have been identified as protagonists, it denies the existence of this group, an adversary of the “Boedo” group. Instead, it proposes the dichotomy between “Florida” and “Arrabal”, where the latter had consisted of a group of young people, still dispersed, yet with the same concerns for art with an ideological and social function. The text proposes that La Campana de Palo was a place capable of drawing together this Buenos Aires youth, as long as it opposed the “Florida” fraction.
O artigo define as características do grupo literário “Florida” de Buenos Aires, ao mesmo tempo em que nega a existência do grupo de “Boedo” pelo simples fato de se opor às personalidades identificadas como os seus protagonistas. Ao contrário, propõe a dicotomia “Florida” / “Arrabalde”, na qual este último ficaria configurado como um grupo ainda espalhado de jovens, mas partilhando preocupações semelhantes que visam uma arte ideológica e com função social. O texto propõe a publicação La Campana de Palo [O sino de pau] como um lugar possível onde essa juventude se reúna, procurando estar sempre contra o segmento “Florida”.
La Campana de Palo [The Wooden Bell] (Buenos Aires) published its first six issues between June and December 1925. After a period of not being published, it reappeared in September 1926, with a continuous numbering, although with different formatting and a new subtitle, Periódico Mensual. Bellas Artes y Polémica [Monthly Newspaper. Fine Arts and Polemics]. During this second period, lasting until September–October 1927, eleven issues were published. It was directed by art critic and anarchist writer Atalaya (also known as Alfredo Chiabra-Acosta) as well as by the painter and engraver Giambiagi. By around 1924, two literary groups began to be identified as stemming from different neighborhoods and districts in Buenos Aires. One of these, the working class neighborhood of Boedo, served to identify the leftist writers, the majority of them linked to Claridad Editorial, a publishing house that took care of promoting authors that were socially and politically committed. For its part, Florida Street was considered the most elegant one in the city, with art galleries, photography halls, luxury shops, and cafés; it was associated with writers who advocated for change in the aesthetic standards in accordance with the proposals of the avant-garde. In this sense, it was also associated with a renovation in arts and literature. Traditionally, this division and opposition between Florida and Boedo served to define ideological stances and aesthetic standards. Among the figures tied to the Boedo group are Álvaro Yunque, Elías Castelnuovo, Roberto Mariani, and César Tiempo. The Florida group’s members were Ricardo Güiraldes, Oliverio Girondo, Jorge Luis Borges, and Leopoldo Marechal. La Campana de Palo, however, did not identify with either group.