Juan Bautista Alberdi was an Argentine political theorist and diplomat. Although he lived most of his life in exile in Montevideo, Uruguay and in Chile, he influenced the content of the Constitution of Argentina of 1853.
Valeria Raquel Mazza is an Argentine model and businesswoman. Mazza rose to prominence in the 1990s and became a household name after appearing on the cover of the Sports Illustrated Swimsuit Issue of 1996
Alfonsina Storni was a Swiss-Argentine poet and playwright of the modernist period.
Uruguayan literature has a long and eventful history.
María Dhialma Tiberti was an Argentine writer. Married to the well known scientist Gregorio Baro, she studied at the Escuela Normal Nº1 Mary O’Graham, and later on, literature and history, at the Universidad Nacional de La Plata. She was responsible for the Del Bosque editions, composed of works of other well-known writers, such as Raúl Amaral, Horacio Ponce de León, Ana Emilia Lahite, and María de Villarino, who were all part of the so-called Generation del 40.
Josefina Passadori was an Italian-Argentine academic, educator, and writer. She published several textbooks as well as poetry under the pen name Fröken Thelma.
Laura Ana "Tita" Merello was an Argentine film actress, tango dancer and singer of the Golden Age of Argentine Cinema (1940–1960). In her six decades in Argentine entertainment, at the time of her death, she had filmed over thirty movies, premiered twenty plays, had nine television appearances, completed three radio series and had had countless appearances in print media. She was one of the singers who emerged in the 1920s along with Azucena Maizani, Libertad Lamarque, Ada Falcón, and Rosita Quiroga, who created the female voices of tango. She was primarily remembered for the songs "Se dice de mí" and "La milonga y yo".
El Mono relojero is a 1938 Argentine animated short film directed by Quirino Cristiani. It is the only film from this director that exists up to this day, since all his other productions were lost in a series of fires at the facilities where the negatives and copies were stored; Sin dejar rastros was confiscated on the day of its premiere, and is believed to have been immediately destroyed. El mono relojero was saved from the fires because, by chance, the author of its script Constancio C. Vigil had a copy of his own.
Roberto Sánchez-Ocampo, better known by his stage names Sandro or Sandro de América, was an Argentine singer and actor. He is considered a pioneer of Argentine rock for being one of the first rock artists to sing in Spanish in Latin America. He edited 52 official records and sold eight million copies although other sources state that he sold over 10 million. Some of his most successful songs are "Dame fuego", "Rosa, Rosa", "Quiero llenarme de ti", "Penumbras", "Porque yo te amo", "Así", "Mi amigo el Puma", "Tengo", "Trigal", and "Una muchacha y una guitarra". The single "Rosa, Rosa" sold two million copies, being his most recognizable and famous song. Another of his hits, "Tengo" was given 15th place among the 100 best Argentine rock songs by both MTV and Rolling Stone magazine. In Latin America he was often compared to Elvis Presley at the height of his popularity.
Alejo Peyret was a French-born Argentine writer, agronomist, colonial administrator, and historian. Emigrating to Argentina when he was 25, he became a prominent figure in the history of Entre Ríos Province.
El Gráfico is an Argentine online sports magazine, originally published by Editorial Atlántida as a print publication between 1919 and 2018. El Gráfico was released in May 1919 as a weekly newspaper, and then turned to a sports magazine exclusively. It began to be scheduled monthly from 2002, and was discontinued in 2018, continuing only online.
Constancio Cecilio Vigil Olid was a Uruguayan-Argentine writer and prominent publisher.
Editorial Atlántida is a prominent Argentine publishing house and the country's leading magazine publisher and distributor.
Bernardo Kliksberg is an Argentine Doctor of Economics, recognized around the world as the founder of a new discipline, social management, and a pioneer of development ethics, social capital and corporate social responsibility. His books, papers, advisory work, and research, applies an interdisciplinary approach integrating contributions of different social sciences.
Jineteada gaucha or doma gaucha is a traditional sport in the gaucho culture of Argentina and the Cono Sur – Paraguay, Uruguay, Chile and the Rio Grande do Sul of Brazil. The objective is for the rider to stay on an untamed horse for a number of seconds. The specified time varies from 8 to 14 seconds, depending on the category. In Uruguay a law was enacted in 2006 establishing it as the national sport. In Argentina it may be considered a part of the national intangible cultural heritage.
Atlántida was a general interest and women's magazine published in Argentina between 1918 and 1970.
Horacio Arturo Ferrer Ezcurra was a Uruguayan-Argentine poet, broadcaster, reciter and tango lyricist. He is particularly well known for having composed the lyrics for tangos by Astor Piazzolla, such as Balada para un loco and Chiquilín de Bachín.
Ricardo Daniel Eliçabe EchaveFRPSL was an Argentine physician who had a career in the petroleum industry. In 1925, he co-founded the Refinería de Petróleo "La Isaura" S.A. in Bahía Blanca, a company of which he was later president. The Dr. Ricardo Eliçabe Refinery in Bahía Blanca is named for him.
Editorial Haynes was an Argentine publishing company founded by Alberto M. Haynes in 1904. The publisher released several magazines such as El Hogar, Mundo Deportivo, Mundo Argentino, Mundo Agrario, Mundo Infantil, and newspaper El Mundo, among other imprints.
Marilú was an Argentine composition doll produced between 1932 and 1960, considered the most prominent and enduring doll in the country, and an icon in the history of national toys. It was created by Alicia Larguía, who was inspired by the French predecessor of Bleuette, a doll available through the famous magazine for girls La Semaine de Suzette. Seeking to replicate this model, Larguía launched Marilú in association with Editorial Atlántida, which was responsible for publishing advertisements and clothing patterns for the doll in its children's magazine Billiken, the most widely distributed in Latin America at the time. In view of the doll's immediate success, Atlántida also published a weekly magazine for girls, Marilú, between 1933 and 1936. The doll was originally imported from Germany, manufactured by the firm Kämmer & Reinhardt. Sometime between 1935 and 1936, Larguía changed suppliers and began to order the dolls from König & Wernicke, which was also German. During its first two years, Marilú was sold in an Atlántida store in Buenos Aires. The doll was sold along with a variety of other products, such as clothing, accessories and furniture. In 1934, Larguía became independent from the publishing house and opened her iconic store—Casa Marilú—on Florida Street, which in addition to selling the doll and its accessories, functioned as a prestigious prêt-à-porter fashion house for girls and young women.
