A Little Girl who Plays in a Little House “Square on the Outside and Round on the Inside”. Reflections on a Pair of Records

María Elena Walsh left an indelible mark on the subjectivities of children born in the 1960s. We grew up listening to her songs repeatedly thanks to vinyl records. The songs emerging from these records, sung in the clear and measured voice of their author—with a cadence that reflects the early stage...

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Autor principal: Punte, María José
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2025
Materias:
María Elena Walsh
childhoods
queer theory
songs
infancias
teoría queer
canciones
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17401
Aporte de:
Filología de Universidad de Buenos Aires
id I28-R253-article-17401
record_format ojs
spelling I28-R253-article-174012025-12-19T20:20:40Z A Little Girl who Plays in a Little House “Square on the Outside and Round on the Inside”. Reflections on a Pair of Records Una nena que juega en una casita “cuadrada por fuera y redonda por dentro”. Reflexiones en torno a un par de discos Punte, María José María Elena Walsh childhoods queer theory songs María Elena Walsh infancias teoría queer canciones María Elena Walsh left an indelible mark on the subjectivities of children born in the 1960s. We grew up listening to her songs repeatedly thanks to vinyl records. The songs emerging from these records, sung in the clear and measured voice of their author—with a cadence that reflects the early stages of her career as a singer of Argentine and Latin American folk music—lead us on a journey through fabulous and nonsensical worlds, ruled by alternative logics, opening up new possibilities for what it means to know and to wield power. This analysis focuses on two albums—Canciones para mí (1963) and El País de Nomeacuerdo (1967)—which include some of her most unforgettable songs, reading them through queer theory (Sara Ahmed, J. Halberstam, Kathryn Bond Stockton) in order to trace new trajectories within her work. María Elena Walsh dejó una marca indeleble en las subjetividades infantes nacidas en la década de los años sesenta. Crecimos escuchando una y otra vez sus canciones gracias a los discos de vinilo. Los textos que emergen desde allí cantados por la voz clara y pausada de su autora, con una cadencia que denota los inicios de su carrera como cantora a través de la música folclórica argentina y latinoamericana, nos llevan de viaje por mundos fabulosos y disparatados, en donde reina otro tipo de lógica, así como una concepción alternativa de lo que significan saber y poder. El presente análisis se concentra en dos discos, Canciones para mí (1963) y El País De Nomeacuerdo (1967), que contienen algunas de sus más inolvidables canciones, para hacer una lectura desde la teoría queer (Sara Ahmed, J. Halberstam, Kathryn B. Stockton), y diseñar de ese modo trayectorias novedosas para acceder a su obra. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2025-12-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17401 10.34096/filologia.n57.17401 Filología; Vol. 2 No. 57 (2025); 71-84 Filología; Vol. 2 Núm. 57 (2025); 71-84 2422-6009 0071-495X spa https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17401/15641 Derechos de autor 2025 María José Punte https://creativecommons.org/licenses/by-sa/4.0
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-253
container_title_str Filología
language Español
format Artículo revista
topic María Elena Walsh
childhoods
queer theory
songs
María Elena Walsh
infancias
teoría queer
canciones
spellingShingle María Elena Walsh
childhoods
queer theory
songs
María Elena Walsh
infancias
teoría queer
canciones
Punte, María José
A Little Girl who Plays in a Little House “Square on the Outside and Round on the Inside”. Reflections on a Pair of Records
topic_facet María Elena Walsh
childhoods
queer theory
songs
María Elena Walsh
infancias
teoría queer
canciones
author Punte, María José
author_facet Punte, María José
author_sort Punte, María José
title A Little Girl who Plays in a Little House “Square on the Outside and Round on the Inside”. Reflections on a Pair of Records
title_short A Little Girl who Plays in a Little House “Square on the Outside and Round on the Inside”. Reflections on a Pair of Records
title_full A Little Girl who Plays in a Little House “Square on the Outside and Round on the Inside”. Reflections on a Pair of Records
title_fullStr A Little Girl who Plays in a Little House “Square on the Outside and Round on the Inside”. Reflections on a Pair of Records
title_full_unstemmed A Little Girl who Plays in a Little House “Square on the Outside and Round on the Inside”. Reflections on a Pair of Records
title_sort little girl who plays in a little house “square on the outside and round on the inside”. reflections on a pair of records
description María Elena Walsh left an indelible mark on the subjectivities of children born in the 1960s. We grew up listening to her songs repeatedly thanks to vinyl records. The songs emerging from these records, sung in the clear and measured voice of their author—with a cadence that reflects the early stages of her career as a singer of Argentine and Latin American folk music—lead us on a journey through fabulous and nonsensical worlds, ruled by alternative logics, opening up new possibilities for what it means to know and to wield power. This analysis focuses on two albums—Canciones para mí (1963) and El País de Nomeacuerdo (1967)—which include some of her most unforgettable songs, reading them through queer theory (Sara Ahmed, J. Halberstam, Kathryn Bond Stockton) in order to trace new trajectories within her work.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2025
url https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17401
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