<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0121-8530</journal-id>
<journal-title><![CDATA[La Palabra]]></journal-title>
<abbrev-journal-title><![CDATA[La Palabra]]></abbrev-journal-title>
<issn>0121-8530</issn>
<publisher>
<publisher-name><![CDATA[Universidad Pedagógica y Tecnológica de Colombia]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0121-85302022000100004</article-id>
<article-id pub-id-type="doi">10.19053/01218530.n42.2022.14400</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Las letras de Pascual Contursi en la consolidación formal del tango]]></article-title>
<article-title xml:lang="en"><![CDATA[Pascual Contursi's Lyrics in Tango's Formal Definition]]></article-title>
<article-title xml:lang="pt"><![CDATA[A letra de Pascual Contursi na consolidação formal do tango]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Longoni]]></surname>
<given-names><![CDATA[Bruno Andrés]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Industrial de Santander  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2022</year>
</pub-date>
<numero>42</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0121-85302022000100004&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0121-85302022000100004&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0121-85302022000100004&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Los estudios en tango han erigido a Pascual Contursi (1888 -1932) a la condición de fundador del tango-canción y sus dos situaciones axiales, amuros y milonguitas, encarnados respectivamente en "Mi noche triste" y "Flor de fango". Sin embargo, una revisión estilística de sus tangos pone de relieve el crucial aporte de Contursi a los principios de simetría contrastiva y condensación que consolidaron la estructura del tango en sus diversas expresiones artísticas. En lo formal, el afianzamiento de versos isométricos aunados por la rima aguda, la tensión entre la descripción estática y la narración dinámica, la ambientación minimalista, el dialogismo teatral del apóstrofe, contrapunto entre el yo y tú líricos, así como el sistemático empleo del lunfardo cuya adopción entraña, de suyo, una oposición a la variedad estándar de la lengua. Hallazgos semejantes contribuyen a recalibrar la impronta contursiana de poeta ingenuo y esquemático.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Pascual Contursi (1888-1932) is considered the creator of tango-canción and the themes amuros and milonguitas, published in "Mi noche triste" and "Flor de fango" are also considered the foundation of this musical style. However, a stylistic and formal review of his tangos highlights Contursi's crucial contribution to the principles of contrastive symmetry and condensation that consolidated the structure of tango in all of its artistic manifestations. Formally, the strengthening of isometric verses coupled with rhyme on the last syllable, the tension between static description and dynamic narration, the minimalistic setting, the theatrical dialogue of the apostrophe, a counterpoint between the first and second person, as well as the systematic use of lunfardo whose adoption entails, by itself, a contrast against the standard variety of language. Such findings contribute to temper Contursi's presumed image as a naive and schematic poet.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Os estudos em tango elevaram Pascual Contursi (1888-1932) ao status de criador do tango-canção e de suas duas situações axiais, amuros e milonguitas, encarnadas respetivamente em "Mi noche triste" e "Flor de fango". No entanto, uma revisão estilística de seus tangos sublinha a crucial contribuição de Contursi para os princípios de simetria contrastiva e condensação que consolidaram a estrutura do tango nas suas várias manifestações artísticas. Formalmente, a união de versos isométricos aliados à rima afiada, a tensão entre a descrição estática e a narração dinâmica, a ambientação minimalista, o diálogo teatral do apóstrofo, um contraponto entre o eu e você lírico, bem como o uso sistemático de lunfardo cuja adoção envolve, em si, um contraste com a variedade padrão da língua. Achados semelhantes contribuem para construir a marca contursiana de um poeta ingênuo e esquemático.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Pascual Contursi]]></kwd>
<kwd lng="es"><![CDATA[tango]]></kwd>
<kwd lng="es"><![CDATA[estilo]]></kwd>
<kwd lng="es"><![CDATA[letras]]></kwd>
<kwd lng="es"><![CDATA["Mi noche triste"]]></kwd>
<kwd lng="en"><![CDATA[Pascual Contursi]]></kwd>
<kwd lng="en"><![CDATA[tango]]></kwd>
<kwd lng="en"><![CDATA[style]]></kwd>
<kwd lng="en"><![CDATA[lyrics]]></kwd>
<kwd lng="en"><![CDATA["Mi noche triste"]]></kwd>
<kwd lng="pt"><![CDATA[Pascual Contursi]]></kwd>
<kwd lng="pt"><![CDATA[tango]]></kwd>
<kwd lng="pt"><![CDATA[estilo]]></kwd>
<kwd lng="pt"><![CDATA[letras]]></kwd>
<kwd lng="pt"><![CDATA["Mi noche triste"]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Conde]]></surname>
<given-names><![CDATA[Oscar]]></given-names>
</name>
</person-group>
<source><![CDATA[Las poéticas del tango-canción: rupturas y continuidades]]></source>
<year>2014</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Biblos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dalbosco]]></surname>
<given-names><![CDATA[Dulce]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA["La construcción simbólica del arquetipo de la milonguera en las letras del tango"]]></article-title>
<source><![CDATA[Amaltea: revista de mitocrítica]]></source>
<year>2010</year>
<numero>2</numero>
<issue>2</issue>
<page-range>29-45</page-range></nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dalbosco]]></surname>
<given-names><![CDATA[Dulce]]></given-names>
</name>
</person-group>
<source><![CDATA[Amurados: el tango y su poética del abandono]]></source>
<year></year>
<conf-name><![CDATA[ CuartoCongreso Internacional CELEHUIS de Literatura]]></conf-name>
<conf-date>9 de noviembre de 2011</conf-date>
<conf-loc>Mar del Plata </conf-loc>
<page-range>1-6</page-range></nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Demare]]></surname>
<given-names><![CDATA[Lucas]]></given-names>
</name>
</person-group>
<source><![CDATA[Mi noche triste. Estudios Mapol]]></source>
<year>1952</year>
<publisher-name><![CDATA[YouTube]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ferrer]]></surname>
<given-names><![CDATA[Horacio]]></given-names>
</name>
</person-group>
<source><![CDATA[El tango: su historia y evolución]]></source>
<year>1999</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Continente]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ferrer]]></surname>
<given-names><![CDATA[Horacio]]></given-names>
</name>
</person-group>
<source><![CDATA[El tango: arte y misterio]]></source>
<year>2013</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Losada]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Flores]]></surname>
<given-names><![CDATA[Rafael]]></given-names>
</name>
</person-group>
<source><![CDATA[El tango, desde el umbral hacia adentro]]></source>
<year>1993</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Euroliceo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gobello]]></surname>
<given-names><![CDATA[José]]></given-names>
</name>
</person-group>
<source><![CDATA[Crónica general del tango]]></source>
<year>1980</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Fraterna]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gobello]]></surname>
<given-names><![CDATA[José]]></given-names>
</name>
</person-group>
<source><![CDATA[Breve historia crítica del tango]]></source>
<year>1999</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Corregidor]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Higa]]></surname>
<given-names><![CDATA[Jorge]]></given-names>
</name>
</person-group>
<source><![CDATA[Poetas, malandras y otras yerbas]]></source>
<year>2015</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Corregidor]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kohan]]></surname>
<given-names><![CDATA[Pablo]]></given-names>
</name>
</person-group>
<source><![CDATA[El ADN del tango. Estudios sobre los estilos compositivos del tango (1920 -1935)]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Gourmet Musical]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lugones]]></surname>
<given-names><![CDATA[Leopoldo]]></given-names>
</name>
</person-group>
<source><![CDATA[Romancero]]></source>
<year>1924</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Babel]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Real]]></surname>
<given-names><![CDATA[Martini]]></given-names>
</name>
<name>
<surname><![CDATA[Carlos]]></surname>
<given-names><![CDATA[Juan]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Los poetas (I)]]></article-title>
<source><![CDATA[Historia del tango]]></source>
<year>1980</year>
<volume>17</volume>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Corregidor]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Matamoro]]></surname>
<given-names><![CDATA[Blas]]></given-names>
</name>
</person-group>
<source><![CDATA[La ciudad del tango]]></source>
<year>1982</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Galerna]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mina]]></surname>
<given-names><![CDATA[Carlos]]></given-names>
</name>
</person-group>
<source><![CDATA[Tango, la mezcla milagrosa]]></source>
<year>2007</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Sudamericana]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Piglia]]></surname>
<given-names><![CDATA[Ricardo]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El tango y la tradición de la traición]]></article-title>
<source><![CDATA[La Argentina en pedazos]]></source>
<year>1993</year>
<page-range>78-80</page-range><publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones de la Urraca]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Romano]]></surname>
<given-names><![CDATA[Eduardo]]></given-names>
</name>
</person-group>
<source><![CDATA[Sobre poesía popular argentina]]></source>
<year>1983</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Centro Editor de América Latina]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rossler]]></surname>
<given-names><![CDATA[Osvaldo]]></given-names>
</name>
</person-group>
<source><![CDATA[Buenos Aires dos por cuatro]]></source>
<year>1964</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Losada]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Salas]]></surname>
<given-names><![CDATA[Horacio]]></given-names>
</name>
</person-group>
<source><![CDATA[El tango]]></source>
<year>1986</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Planeta]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ulla]]></surname>
<given-names><![CDATA[Noemí]]></given-names>
</name>
</person-group>
<source><![CDATA[Tango, rebelión y nostalgia]]></source>
<year>1982</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Centro Editor de América Latina]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vilariño]]></surname>
<given-names><![CDATA[Idea]]></given-names>
</name>
</person-group>
<source><![CDATA[Las letras de tango]]></source>
<year>1965</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Schapire]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
