| Latin American Vanguards |
| Acknowledgments |
 | Abbreviations |
| • | 1. Works and Collections |
| • | 2. Translations |
| Introduction— Contentious Encounters in Life and Art |
| • | The Context and Character of the Vanguards |
| • | (Re)Reading Vanguardist Activity |
| • | Regional Differences through Common Ground |
| • | A Rehumanization of Art |
| 1— Constructing an Audience, Concrete and Illusory: Manifestos for Performing and Performance Manifestos |
| • | Palpable Public Display: Manifestations and Manifestos |
| Enacting Artistic Encounters: The Performance Manifesto |
| • | Performing Modernismo's Reception: "As Enfibraturas Do Ipiranga" |
| • | Contending for Mexico's Audiences—Magnavox 1926: Discurso Mexicano |
| • | Art of the People or Art for the Few: The Chinfonia Burguesa |
| • | Cultural Collisions through Performance: El milagro de Anaquillé |
| • | Conclusion |
| 2— Outward Turns of the Vagabond Eye/I: The Vanguards' Portraits of the Artist |
| • | The Artist in Vanguardist Manifestos |
| The Artist in Vanguardist Prose Fiction |
| • | Art as Larcenous Fabrication: Arlt's El juguete rabioso |
| • | The Artist's "Disorderly Humanity": Torres Bodet's La educación sentimental |
| • | The Tachygraphy of a Wayfaring Observer: Adán's La casa de cartón |
| • | From Idle Pursuits to Critical Voracity: Memórias sentimentais de João Miramr and Serafim Ponte Grande |
| • | Conclusion |
| 3— "Surely from His Lips a Cockatoo Will Fly": The Vanguards' Stories of the New World |
| • | America in Vanguardist Manifestos |
| America in the Vanguards' Experimental Texts |
| • | America as the Vanguards' Ground Zero: A Challenge to the Discourse of Origins |
| • | Columbus's Egg: Discoveries in the Eye of Their Beholder |
| • | America's New World Rhapsody: From Totality to the Nonorganic |
| • | Conclusion |
| 4— On the Interstices of Art and Life: Theatrical Workouts in Critical Perception |
| Theater and Performance in the Vanguardist Project |
| • | Theater in the Subjunctive Mode: Arlt's Trescientos millones |
| • | Theater of the Threshold: Villaurrutia's Parece mentira |
| • | A Theater of Critical Mimicry: Huidobro's En la luna |
| • | A Theater of Autopsy: Oswald de Andrade's A morta |
| • | Conclusion |
| 5— From Early Words to the Vernacular Inflection: Vanguard Tales of Linguistic Encounter |
| • | Language in the International Vanguards |
| • | The Poetics of Linguistic Beginnings |
| Language Identities in a Vanguardist Idiom |
| • | Nation and Ethnicity in Language Activities |
| • | Ancestral Voices and National Essence |
| Linguistic Estrangement as Cultural Critique |
| • | Grammar through History and on the Streets |
| • | Polyphony, Dissonance, Impurity |
| • | A Play of Linguistic Confusion: Asturias's Cuculcán |
| • | Conclusion |
| Notes |
| • | Introduction— Contentious Encounters in Life and Art |
| • | 1— Constructing an Audience, Concrete and Illusory: Manifestos for Performing and Performance Manifestos |
| • | 2— Outward Turns of the Vagabond Eye/I: The Vanguards' Portraits of the Artist |
| • | 3— "Surely from His Lips a Cockatoo Will Fly": The Vanguards' Stories of the New World |
| • | 4— On the Interstices of Art and Life: Theatrical Workouts in Critical Perception |
| • | 5— From Early Words to the Vernacular Inflection: Vanguard Tales of Linguistic Encounter |
| Works Cited |
| Index |
| • | A |
| • | B |
| • | C |
| • | D |
| • | E |
| • | F |
| • | G |
| • | H |
| • | I |
| • | J |
| • | K |
| • | L |
| • | M |
| • | N |
| • | O |
| • | P |
| • | Q |
| • | R |
| • | S |
| • | T |
| • | U |
| • | V |
| • | W |
| • | Y |
| • | Z |
