Diferencia entre revisiones de «Imprenta de Eduardo Guerrero/ENG»

< Imprenta de Eduardo Guerrero
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<div style="text-align:justify"><big>[[File:Eng-spa.png|25px|link={{PAGENAME}}/ENG]] Among the presses of the Mexican capital, Eduardo Guerrero’s print shop stands out for having filled the void left by the late Antonio Vanegas Arroyo. Both publishers also worked simultaneously, as we know that Guerrero’s press was established around 1900 <ref><div style="text-align:justify">Raúl Cano Monroy, ''Con licencia eclesiástica. El impreso religioso mexicano de los siglos XIX y XX'', México, Instituto Nacional de Bellas Artes, 2017, p.56</div><br /></ref>, even if his period of major productivity spanned from 1910 to 1934. <ref><div style="text-align:justify">Aurelio González, “Corrido”, ''Diccionario Español Términos Literarios Internacionales'', Madrid, Consejo Superior de Investigaciones Científicas, 2015, p.7</div><br /></ref><br />
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<div style="text-align:justify"><big>[[File:Eng-spa.png|25px|link={{BASEPAGENAME}}]] Among the presses of the Mexican capital, Eduardo Guerrero’s print shop stands out for having filled the void left by the late Antonio Vanegas Arroyo. Both publishers also worked simultaneously, as we know that Guerrero’s press was established around 1900 <ref><div style="text-align:justify">Raúl Cano Monroy, ''Con licencia eclesiástica. El impreso religioso mexicano de los siglos XIX y XX'', México, Instituto Nacional de Bellas Artes, 2017, p.56</div><br /></ref>, even if his period of major productivity spanned from 1910 to 1934. <ref><div style="text-align:justify">Aurelio González, “Corrido”, ''Diccionario Español Términos Literarios Internacionales'', Madrid, Consejo Superior de Investigaciones Científicas, 2015, p.7</div><br /></ref><br />
 
{{Tab}}Already in 1921, the Guerrero press was acknowledged as one of the major popular publishers by Gerardo Murillo—better known as Dr. Atl—in his work ''Las artes populares en México'':</big></div><br />
 
{{Tab}}Already in 1921, the Guerrero press was acknowledged as one of the major popular publishers by Gerardo Murillo—better known as Dr. Atl—in his work ''Las artes populares en México'':</big></div><br />
  
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{{Tab}}The users can access an important part of the musical (song) material of the Guerrero press on this website, be it in broadsheet format or as song chapbooks.</div><br />
 
{{Tab}}The users can access an important part of the musical (song) material of the Guerrero press on this website, be it in broadsheet format or as song chapbooks.</div><br />
  
=== The Print Catalogue ===
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=== Press Catalogue ===
 
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Revisión actual del 09:34 2 nov 2021




Eng-spa.png Among the presses of the Mexican capital, Eduardo Guerrero’s print shop stands out for having filled the void left by the late Antonio Vanegas Arroyo. Both publishers also worked simultaneously, as we know that Guerrero’s press was established around 1900 [1], even if his period of major productivity spanned from 1910 to 1934. [2]
      Already in 1921, the Guerrero press was acknowledged as one of the major popular publishers by Gerardo Murillo—better known as Dr. Atl—in his work Las artes populares en México:

The Guerrero house, located in calle Correo Mayor no. 12, is very old and publishes “corridos” and contemporary songs. Its publishings are sold in the capital and in the states of the centre. They are very much appreciated by street vendors who sell them at markets and fairs. They are printed on very ordinary polychrome paper. [3]

As pointed out by Murillo, the Guerrero press was known to publish mostly verses, be it corridos, lyric songs, or jocular and satirical verses. Therefore, at least as far as we can tell by the prints contained in this archive, he does not seem to have continued the news-related prints that were staple in Vanegas Arroyo. This is due to factors such as the consolidation of the industrial press and the specialisation of certain newspapers and magazines in sensationalism and crime.

      Another shift in the editorial dynamics of the Eduardo Guerrero press, in contrast with others, is the question of authorship. In many of the broadsheets and chapbooks featuring songs published by Guerrero, the texts are signed with the name of their author, sometimes Guerrero himself, who signed under the pseudonym “E. Warman”.
      According to Tomás Cornejo, we could speculate that this authorial factor is related to a context in which “the increasing presence of the record labels in all countries of Latin America modified the landscape, and authorial attribution began to be mandatory around 1920” [4]. In this sense, the prints produced by Guerrero are more embedded in other cultural fields which were being influenced by the mass culture industry.

      The users can access an important part of the musical (song) material of the Guerrero press on this website, be it in broadsheet format or as song chapbooks.

Press Catalogue


LINK INCIPIT PUBLISHER (declared) PUBLISHER (atribution) TYPE OF PRINT
14 colección de canciones Imprenta Guerrero Cuadernillo
14 colección de canciones Imprenta Guerrero Cuadernillo
2a. Colección de canciones de Luis Arcaráz Eduardo Guerrero Cuadernillo
38a. Colección de canciones Imprenta Guerrero Cuadernillo
Acción de gracias para el día último del año Eduardo Guerrero Cuadernillo
Acción de gracias para el día último del año Eduardo Guerrero Cuadernillo
Acción de gracias para el día último del año Imprenta Guerrero Cuadernillo
Acuérdate de mí Imprenta Guerrero Hoja volante
Adiós a Uruapan Imprenta Guerrero Hoja volante
Adiós, Veracruz hermoso Eduardo Guerrero Hoja volante
Aladino o la lámpara maravillosa Eduardo Guerrero Cuadernillo
Amor consentido Imprenta Guerrero Hoja volante
Amoríos de Ana Imprenta Guerrero Hoja volante
Andándome yo paseando Imprenta Guerrero Hoja volante
Avecilla mensajera Eduardo Guerrero Hoja volante
Ay, ay, ay Imprenta Guerrero Hoja volante
Boicot de las pelonas Segunda Imprenta Guerrero Hoja volante
Bola a los jóvenes modernos Eduardo Guerrero Hoja volante
Bola colimense Imprenta Guerrero Hoja volante
Bola de Domitila Imprenta Guerrero Hoja volante
Bola de Mariquita Eduardo Guerrero Hoja volante
Bola de hombres y mujeres Imprenta Guerrero Hoja volante
Bola de los muchachos Imprenta Guerrero Hoja volante
Bola del tapatío Imprenta Guerrero Hoja volante
Borracho impertinente Imprenta Guerrero Hoja volante
Caballo bayo Eduardo Guerrero Hoja volante
Calla, jilguero Eduardo Guerrero Hoja volante
Calla, jilguero Imprenta Guerrero Hoja volante
Cancionero de México núm. 160 Eduardo Guerrero Cuadernillo
Cancionero estilo tapatío Eduardo Guerrero Cuadernillo
Cancionero estilo tapatío Eduardo Guerrero Cuadernillo
Cancionero estilo tapatío Eduardo Guerrero Cuadernillo
Cancionero tamaño tapatío Eduardo Guerrero Cuadernillo
Canciones Eduardo Guerrero Cuadernillo
Canción Mi nena Imprenta Guerrero Hoja volante
Canción Titina Imprenta Guerrero Hoja volante
Canción a Conchita Imprenta Guerrero Hoja volante
Canción a Eulalia Imprenta Guerrero Hoja volante
Canción a Valentina Imprenta Guerrero Hoja volante
Canción a una floja Imprenta Guerrero Hoja volante
Canción bohemia Imprenta Guerrero Hoja volante
Canción de "La ramera" Eduardo Guerrero Hoja volante
Canción de amor Eduardo Guerrero Hoja volante
Canción de amor a Lupe Eduardo Guerrero Hoja volante
Canción de amor vaciladora Eduardo Guerrero Hoja volante
Canción del desprecio Imprenta Guerrero Hoja volante
Canción del desprecio Imprenta Guerrero Hoja volante
Canción del interior Eduardo Guerrero Hoja volante
Canción del interior Imprenta Guerrero Hoja volante
Canción del interior Imprenta Guerrero Hoja volante
… siguientes resultados


References


  1. Raúl Cano Monroy, Con licencia eclesiástica. El impreso religioso mexicano de los siglos XIX y XX, México, Instituto Nacional de Bellas Artes, 2017, p.56

  2. Aurelio González, “Corrido”, Diccionario Español Términos Literarios Internacionales, Madrid, Consejo Superior de Investigaciones Científicas, 2015, p.7

  3. Gerardo Murillo (Dr. Atl), Las artes populares en México, volumen segundo, México, Secretaría de Industria y Comercio / Editorial Cultura, 1922, p.196

  4. Tomás Cornejo, “Fábricas de cultura popular. Consideraciones sobre la circulación de cancioneros impresos desde Santiago de Chile a Ciudad de México (1880-1920)”, Trashumante. Revista Americana de Historia Social, núm. 15, 2020, p.22


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