(Con)Sequences

Works Cited

Archetti, Eduardo. (1999). Masculinities: football, polo and the tango in Argentina. Oxford: Berg.

Azzi, Maria Susana. Antropología del Tango: Los Protagonistas. Buenos Aires: Ediciones de Olavarría. 1991.

Caratenuto, Aldo. Eros and Pathos, Shades of Love and Suffering. Toronto, CA: Inner City Books. 1989.

Collier, Simon. "The popular roots of the Argentine tango." History Workshop Journal 34, 92-100. 1992.

Collier, Simon, Cooper, Artemis, Azzi, Maria Susana & Martin, Richard. Tango! The Dance, the Song, the Story. London: Thames and Hudson. 1995.

Connell, R. W & Messerschmidt, James W. "Hegemonic masculinity: Rethinking the concept." Gender & Society, 19(6), 829-859. 2005

Dinzel, Rodolfo. El tango: Una Danza. Buenos Aires: Corregidor. 1994

Drago, Alejandro Marcelo. Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla, Performance and Notational Problems: A Conductor’s Perspective. The University of Southern Mississippi. DAI-A 69/08. 2008.

Elshtain, Jean Bethke. Public Man, Private Woman. Princeton, NJ: Princeton University Press. 1981.

Firestone, Shulamith. The Dialectic of Sex. New York, NY: Bantam Books. 1970.

Granados, Ysomar. A Pianist’s Guide to the Argentine Tango. University of Miami. DAI-A 62/11. 2001.

Guim, George. The Ontology of Social Organization Revealed through an Appropriation of Autopoiesis and Hermeneutic Principles in the Re-interpretation of the Argentine Tango. University of San Francisco. DAI-A 62/02. 2001.

Halabi, Eduardo Abufhele. Por Siempre Tango. Santiago de Chile: Editorial Universitaria. 1985.

Ham, Lisa. An Analysis of the Influence of Tangos on Selected Organ Works by Pamela Decker: “Flores del Desierto” University of Washington. DAI-A 70/09, Mar 2010.

Herda, Ellen A. Research Conversations and Narrative. Westport, CT: Praeger. 1999.

Lewis, Marvin A. Afro-Argentine Discourse: Another Dimension of the Black Diaspora. Columbia, MO: University of Missouri Press. 1996.

Lorber, Judith and More, Lisa Jean. Gendered Bodies: Feminist Perspectives. Los Angeles: Roxbury. 2007.

Luker, Morgan James. "Tango Renovación: On the Uses of Music History in Post-Crisis Argentina." Latin American Music Review, 28(1), 68-93. 2007.

Maturana, Humberto R. & Varela, Francisco J. Autopoiesis and Cognition: The Realization of the Living. Boston, MA: D. Reidel. 1980.

---.The Three Knowledges. Boston, MA: Shambhala. 1998.

Meret, C. L. Transforming Bodies: Tango in the Michigan Argentine Tango Club. MAI 43/06. 2005.

Merritt, Carolyn P. Locating the Tango: Place and the Nuevo Social Dance Community. Temple. DAI-A 69/08. 2008.

Natale, Oscar. Buenos Aires, Negros y Tango. Buenos Aires: Peña Lillo. 1984.

Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of Chicago Press (original text 1990). 1994.

Savigliano, Marta E. "Whiny Ruffians and Rebellious Broads: Tango as a Spectacle of Eroticized Social Tension." Theatre Journal, 47(1): 83-104. 1995.

---. Tango and the Political Economy of Passion. Boulder: Westview Press. 1993.

Seyler, Elizabeth Marie. The Tango Philadelphia Story: A Mixed-Methods Study of Building Community, Enhancing Lives and Exploring Spirituality through Argentine Tango. Temple University. DAI-A 69/12. 2008.

Taylor, Julie. M. Tango: Theme of Class and Nation. Ethnomusicology, 20(2): 273-291. 1976.

Tsai, I-Ching. The Evolution of the Tango and Astor Piazzolla’s Tango Nuevo. DAI-A 66/10. 2005.

Vidart, Daniel. El Tango y Su Mundo. Montevideo: Ediciones Tauro; Assuncao. 1967.

Viladrich, Anahi. "Tango Immigrants in New York City". Journal of Contemporary Ethnography, 34(5): 533-559. 2005.

Notes

• 1) A milonga is the social setting, often in a large hall, where Argentine tango is danced. The term milonga is also used to describe one dance at the milonga.
• 2) This style of dance has shifted, and, as a result, today’s milonguero style includes complicated figures.
• 3) A man who dances tango is referred to as a tanguero and/or milonguero; a women is referred to as a tanguera and/or/milonguera. Both dress well in order to impress. There are large pillars in some of the rooms where milongas are held in Buenos Aires. If one is seated at a table next to one of these pillars, the pillar will not only obstruct the view of the person seated at it, but also the ability of one trying to make eye contact with the person seated there.
• 4) A cortina (several measures from a song) signals the end of the tanda and allows the dancers sufficient time to leave the floor and return to his/her seat.
• 5) This description reinforces the idea that the tango is danced as a conversation–not with one person dominating but rather a give-and-take experience of both dancers.
• 6) There are numerous types of embellishments by both men and women.
• 7) See Guim (2001) for its use in the ontology of social organization as it applies to Argentine tango.