Abstract:

Early twentieth-century nativist dramaturgy explored Conservative Argentina’s dreams of racial purity and “peace and administration” in the context of transatlantic migratory flows and major changes in the urban design of Buenos Aires. Nativism aimed at identifying and preserving ways of being criollo by turning to the Pampas as an idyllic space of agglutination of national values, particularly in the figure of the gaucho. But nativist drama not only grounded its ethics on principles of moral conduct but also functioned as a space for the distribution and popularization of the latest expert knowledges imported from Europe, mainly degeneration theory. This article explores a series of dramatic texts that staged the lives of the extremely impoverished, criminalized, and destitute, whom a series of scientific and literary works, ranging from criminology to psychiatry and philology, called lunfardos. Trash pickers, sex workers, unwanted immigrants, petty criminals, beggars, and marginalized children composed a living tapestry that illustrated the conditions of homeless life and its successive displacements and migrations. Enrique de Vedia’s Transfusión (1914)—a novel written almost entirely in dialogue form—and the plays En el barrio de las ranas (1910) by Enrique García Velloso, ¡Al campo! (1902) by Nicolás Granada, and Yerba Mala (1908) by José Eneas Riú warned of the endangered biological futures of healthy sectors of the population. Before the emergence in the political field of figures of deviance, drama culture put on a show to suggest that Argentine society needed to be defended against the abnormal. Animated by dreams of social prophylaxis, these fictions suggested that deviant forms of life were disassociated from progress.

摘要：

二十世纪早期的本土主义戏剧在跨大西洋移民潮和布宜诺斯艾利斯城市设计的重大变化的背景下探索了保守党阿根廷对种族纯洁和“和平与管理”的梦想。本土化旨在确定和保护被方式克里奥洛通过将潘帕斯草原视为民族价值观凝聚的田园诗般的空间，尤其是在高乔人的形象中。但本土主义戏剧不仅将其伦理学建立在道德行为的原则之上，而且还充当了传播和普及从欧洲引进的最新专业知识，主要是退化理论的空间。本文探讨了一系列戏剧性的文本，这些文本描绘了极度贫困、犯罪和赤贫者的生活，他们的一系列科学和文学作品，从犯罪学到精神病学和语言学，被称为lunfardos. 拾荒者、性工作者、不受欢迎的移民、小罪犯、乞丐和边缘化儿童组成了一幅生动的挂毯，展示了无家可归者的生活状况及其连续的流离失所和迁移。恩里克·德·韦迪亚的《Transfusión》（1914 年）——一部几乎完全以对话形式写成的小说——以及恩里克·加西亚·韦洛索的戏剧En el barrio de las ranas（1910 年），¡ (1902) 尼古拉斯·格拉纳达 (Nicolás Granada) 和玛拉( Yerba Mala)（1908 年）José Eneas Riú 警告说，健康人群的生物未来会受到威胁。在异端人物出现在政治领域之前，戏剧文化就上演了一场表明阿根廷社会需要抵御反常现象的表演。这些小说以社会预防的梦想为动力，暗示异常的生活方式与进步脱节。