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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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2025
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17401 |
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| Sumario: | 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. |
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