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1
Dieckman, Lisa Ann. "Bearing Witness in the Face of 'Overwhelming Evil': The Role of the Buenos Aires Herald During the Argentinean Dictatorship." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555351733297253.
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Paz-Mackay, María Soledad. "Historia, memoria y novela en la Argentina de la posdictadura. La cuestión de la responsabilidad extendida." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24048.
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In Argentina, the violence of the recent past has become the central analysis of History and Collective Memory. The crimes and human rights violations that occurred during the last dictatorship (1976-1983) have been the object of dispute. The “two demons” theory that derived from the report of the “National Commission of the Disappeared” assigned equal responsibility to the two parties involved in the conflict: the dictatorship and the militant opposition. The theory positioned Argentinean society as a spectator or victim of the violence. Since the return of democracy in 1983, Argentinean social discourse has shown fluctuations in the conflictive relationship between History and Collective Memory regarding this traumatic time period. The literary discourse, as an integrated part of the social discourse, shares common arguments and topics which are inscribed and transformed in post dictatorship literary texts. This dissertation analyses the fictional representation of History and Collective Memory in four Argentinean novels published between 1995 and 2002: Dos veces junio (2002) by Martín Kohan, El secreto y las voces (2002) by Carlos Gamerro, Ni muerto has perdido tu nombre (2002) and Villa (1995) by Luis Gusmán.
I argue that these novels present the necessary equilibrium between the two narrations of the past. By introducing narrating voices outside the dual format of victims and victimizers, the characters seem to extend responsibility for what had happened to other groups of individuals. These novels also introduce the children of the disappeared, who want to recover their “incomplete” family identity. I assert that these characters bring into question the theory of the “two demons”. They signal that there are other protagonists of the crimes: the witnesses who kept silent for many years. The question of social responsibility during the last dictatorship is embedded in the representation of the conflictive relationship between Collective Memory and History. Impunity for the human rights violations intertwines the four novels by highlighting the omission, silence and cowardly attitudes possessed by the characters. Those who witnessed the crimes that erased many identities, and remained silent, share part of the responsibility.
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Santos, Debora Duarte dos. "\"Un mundo más allá del mío\": violência e inocência em La casa de los conejos, de Laura Alcoba." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-22042014-124630/.
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Este trabalho apresenta uma leitura crítica do romance La casa de los conejos, da escritora Laura Alcoba, publicado em 2006 sob o título Manèges: petite histoire argentine e traduzido ao espanhol por Leopoldo Brizuela no ano de 2008. A análise em questão se enviesa pelos distintos transbordamentos temáticos e estratégias discursivas explorados no romance alcobiano, tais como: o elemento histórico, visto que o pano de fundo que sustenta a obra é o da última ditadura militar argentina, ocorrida na década de 70; a violência, que inclusive é um tema recorrente no modo alcobiano de narrar; a problemática dos gêneros, eixo de suma relevância nas discussões sobre literatura hispano-americana na contemporaneidade e, principalmente, a ficcionalização da voz infantil, ou da inocência, já que o enredo se concebe sob a perspectiva narrativa de uma niña, filha de militantes Montoneros, movimento de oposição à ditadura militar. Ademais, desde uma perspectiva teórica, interessa-nos refletir sobre os conceitos de trauma e de testemunho, tendo em vista que este trabalho também se esteia na necessidade de explorar o lugar que a escritora Laura Alcoba assumiu para contar os retalhos de sua infância argentina e as experiências que, enquanto sobrevivente, estabeleceu com os espaços em branco, deslocamentos e olvidos, próprios da memória.<br>This paper is on a critical reading of the novel La casa de los Conejos, by Laura Alcoba, published in 2006 under the title of Manèges: petite histoire argentine and translated to Spanish by Leopoldo Brizuela in 2008. The analysis in question is skewed by distinct thematic overflows and discursive strategies explored in Alcobas novel, such as: historic element, since the backdrop that sustains the work is the last Argentinean military dictatorship, which took place in the 70s; violence, which is a recurrent theme in Alcobas narrative style; the gender problem, a central feature of vital concernment on discussions about Hispano-American literature in the contemporary world and, mostly, the fictionalization of childs voice, or the innocence, since the plot is on the narrative perspective of an niña, daughter of Montoneros militants, a movement in opposition to the military dictatorship. Furthermore, from a theoretical perspective, it concerns us to reflect about the concepts of trauma and witness, bearing in mind that this paper is also on the need to explore the place which Laura Alcoba took over to tell the shreds of her Argentinean childhood and the experiences as a survivor that were established with the blank spaces, displacements and oblivion, from her own memory.
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Page, Philippa Jane. "Politics and performance in post-dictatorship Argentine film and theatre." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611380.
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Greenberg, Daniel Joseph. ""The Dictatorship of the Chimneys" : sugar, politics and agrarian unrest in Tucuman, Argentina /." Thesis, Connect to this title online; UW restricted, 1985. http://hdl.handle.net/1773/15499.
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Blejmar, Jordana. "The truth of autofiction : second-generation memory in post-dictatorship Argentine culture." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610798.
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Maguire, Geoffrey William. "Political postmemory : childhood, memory and politics in Argentina's post-dictatorship generation (2003-2013)." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709107.
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Druliolle, Vincent. "Commemorative practices and the (re-)construction of democracy in post-dictatorship Argentina : Envisioning politics." Thesis, University of Essex, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531556.
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Hall, Theodore. "Impacts of Former Military Dictatorships on the Female Presidents of Brazil and Argentina." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1234.
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In this paper I compare two female presidents in Latin America, Argentina’s Cristina Kirchner and Brazil’s Dilma Rousseff. Both have had major policy actions they have taken during their time in office that have meet with resistance from the elite members of society who were either happy under the military dictatorships that recently ruled that nations, or are unhappy that their Presidents are trying to change the way thing are. I look at two examples in particular, the first is Media Law 25.552 in Argentina which sought to break up the media conglomerates that held a monopoly on the media, the second, the scandal involving the state-run oil company of Brazil, and subsequent protests and how the elites are using those protests to call for President Rousseff’s resignation, due to their dislike of her social programs to help the poor. For both presidents, they face many difficulties in getting their legislation through and this paper examines the difficulties that exist due to the former military regimes in each nation.
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Starkman, Juliana. "Caveat emptor, consumer culture and the post-dictatorship Nuevas narrativas of Argentina, Chile and Spain." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ57628.pdf.
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Starkman, Juliana Carleton University Dissertation Comparative Literature. "Caveat emptor: consumer culture and the post-dictatorship nuevas narrativas of Argentina, Chile and Spain." Ottawa, 2000.
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Anderson, Reilly J. "Contextualizing Post-Dictatorship Argentina: Quantifying the Impact of La Dictadura and Art as a Method of Processing and Gaining Closure." Scholarship @ Claremont, 2017. https://scholarship.claremont.edu/scripps_theses/994.
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Argentina’s government was in and out of periods of military occupation of the government throughout the 1900s, with a notable period of stability during Juan Perón’s time as president in the 1950’s before he was exiled to Spain. Upon his return, and his rather immediate death, his wife and vice president Isabel Perón was elected to office. This was a time when the “red scare” of communism had the Americas tight in its grasp and Peronistas developed warring factions that were either more or less socialist. With Isabel Perón’s ascension, and the changing political climate, came the start of the disappearances. The torture, forced disappearances, and deaths started in 1975, with estimates of around 100 people in that year, while Isabel Perón was still in power; that el terror started with Isabel is one of the best-known state secrets in Argentina.1 Following her failure to reignite the economy, and her weakening power as an executive, the military staged a coup that lead to the worst dictatorship in Argentina’s history, with the forced disappearance and presumed death of many Argentine citizens. What impact have la dictadura y los desaparecidos had on Argentines? I will address that impact through a historical analysis of the impact of releases of declassified documents and argue that art, especially public art, has been beneficial in assisting Argentines in commemorating los desaparecidos and moving forward through the intersection of art protest and social justice.
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Herbert, Laura M. "The history of Argentine Jewish youth under the 1976-1983 dictatorship as seen through testimonial literature." Connect to resource, 2007. http://hdl.handle.net/1811/28374.
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Thesis (Honors)--Ohio State University, 2007.<br>Title from first page of PDF file. Document formatted into pages: contains 64 p.; also includes graphics. Includes bibliographical references (p. 61-64). Available online via Ohio State University's Knowledge Bank.
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Sosa, Cecilia. "Performance, kinship and archives : queering acts of mourning in the aftermath of Argentina's 1976-1983 dictatorship." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8629.
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In the aftermath of Argentina’s last dictatorship (1976-1983), the organisations created by the relatives of the disappeared deployed the trope of a ‘wounded family’. The unspoken rule was that only those related by blood to the missing were entitled to ask for justice. This thesis queers this biological tradition. Drawing from performance studies and queer theory, it develops an alternative framework for understanding the transmission of trauma beyond bloodline inscriptions. It shows how grief brought into light an idea of community that exceeds traditional family ties. In order to demonstrate this, the thesis builds an archive of non-normative acts of mourning. This archive crosses different generations. The introduction utilises the Mothers of Plaza de Mayo’s statement ‘Our Children gave birth to us’ as the departure for a non-biological linage. Chapter 1 shows how the black humour that informs H.I.J.O.S., the association created by the children of the disappeared, works as a form of affective reparation in the face of loss. Chapter 2 proposes a dialogue between Los Rubios (Albertina Carri, 2003), M (Nicolás Prividera, 2007) and La mujer sin cabeza (Lucrecia Martel, 2008) to show how these films manage to displace the normative cult of the victim. Chapter 3 conceives the cooking sessions that take place at ESMA former detention camp as a form of conversion of this site of death. Chapter 4 explores Lola Arias’ Mi vida después (2009) as an intergenerational artefact for the transmission of trauma on- and off-stage. Chapter 5 considers Félix Bruzzone’s novella Los topos (2008) as the announcement of a new language of kinship. In conclusion, the thesis argues that the aftermath of violence not only produced pain but also new forms of pleasure. Ultimately, it sheds light on a new sense of ‘being together’ that has emerged in the wake of loss.
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Anderson, Kirsten N. "Challenging state human rights practices from the outside Argentina's transnational advocacy network during dictatorship, transition, and democratic rule /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0005400.
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BurucuÌa, Mariana Constanza. "Cleansing the dirty war : the representation of the 1976-1983 military dictatorship in Argentine cinema, 1983-1993." Thesis, University of Warwick, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425540.
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Older, Aguilar Sarah Michelle. "Witnessing media the reproduction and transmission of history in Southern Cone post-dictatorship fiction /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1872211281&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Burdick-Will, Alexis. "Unresolved debates over memory and history: La Nación and the evolving portrayals of the last dictatorship in Argentina." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1368473549.
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Silva, Thaíse dos Santos. "Educação e segurança nacional no Brasil e Argentina (1969-1981)." Pós-Graduação em História, 2018. http://ri.ufs.br/jspui/handle/riufs/8375.
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Fundação de Apoio a Pesquisa e à Inovação Tecnológica do Estado de Sergipe - FAPITEC/SE<br>The research analyzes, in a comparative way, the Brazilian and Argentine dictatorships in the period of Emílio Garrastazu Medici and Jorge Rafael Videla (1969-1981) governments, in order to identify traits of anti-communism in educational policies focused on Basic Education, which resulted in authoritarian practices in Schools and political persecution. In this period, Argentina and Brazil were immersed in the context of the Cold War, which presented itself through disputes over hegemony and influence between the capitalist bloc represented by the US and the communist, led by the USSR. The research also sought to understand how education became one of the most targeted fields by the military in power influenced by the ideology of National Security in combating Marxist infiltration. Governments have instituted changes in curricula, educational legislation, and defined behavioral practices in school communities in both countries. The main thrust was that the enemy would be scattered and disguised in the social milieu and could be a national, with school being an important place for the dissemination of ideas to be fought. Based on the comparison of school policies and practices in these two Latin American countries, which have lived and lived with difficulties resulting from income concentration, inequalities and poverty increase, we sought to examine the similarities and singularities as well as differences in the form of organization And execution of an authoritarian Basic Education. Among the main sources, we selected resolutions, leaflets, decrees, minutes, reports, denunciations, interviews, judicial processes and bulletins of the armed forces of the two countries.<br>A pesquisa analisa, de forma comparativa, as ditaduras brasileira e argentina no período dos governos Emílio Garrastazu Médici e Jorge Rafael Videla (1969-1981), para identificar traços do anticomunismo nas políticas educacionais voltadas para a Educação Básica, que resultaram em práticas autoritárias nas escolas e perseguições políticas. Neste período, Argentina e Brasil estavam imersos no contexto da Guerra Fria, que se apresentava por meio das disputas por hegemonia e influência entre o bloco capitalista, representado pelos EUA e o comunista, liderado pela URSS. A investigação busca compreender ainda, como a educação tornou-se um dos campos mais visados pelos militares no poder influenciados pela ideologia de Segurança Nacional no combate à infiltração marxista. Os governos instituíram mudanças nos currículos, na legislação educacional e definiram práticas de controle do comportamento das comunidades escolares nos dois países. A orientação principal era de que o inimigo estaria espalhado e disfarçado no meio social, sendo a escola um importante lugar para a disseminação de ideias a serem combatidas. A partir da comparação das políticas e práticas escolares nesses dois países latino-americanos, que conviveram e convivem com dificuldades advindas da concentração de renda, desigualdades e aumento da pobreza, procurou-se examinar as similitudes e diferenças na forma de organização e execução de uma Educação Básica autoritária. Entre as fontes principais, selecionamos resoluções, folhetos, decretos, atas, relatórios, denúncias, entrevistas, processos judiciais e boletins das forças armadas dos dois países.<br>São Cristóvão, SE
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Gillett, Jonathan. "Television and Transculturation: An Examination of Japanese Anime in Post-Dictatorial Argentina." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555429612160638.
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Triquell, Ximena. "Projecting history : a socio-semiotic approach to the representations of the military dictatorship (1976-1983) in the cinematic discourses of Argentine democracy." Thesis, University of Nottingham, 2000. http://eprints.nottingham.ac.uk/11710/.
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This thesis analyzes a series of films that, in different ways, seek to represent the last Argentine dictatorship. The possibility of interpreting the thematic and formal recurrences of the films as a defining characteristic of a specific genre is posed as a first hypothesis. The second hypothesis postulates the possibility of relating certain aesthetic and rhetorical changes of the series to certain socio-political processes. After presenting a general overview of some of the various forms in which the relationship between cinema and society has been theorized before, the work proposes the instance of enunciation as a principle of articulation between textual and social systems, analysing the subjects involved in each of these levels and the relationship that can be established between them. The apparatus of enunciation (between textual figures), which can be related to the reading contract (between social subjects) can also be associated with the notion of genre. In this context, the thesis explores the possibility of a redefinition of cinematographic genres from the perspective of the Semiotics of Passions. Having established in the previous chapters the theoretical and methodological basis, the second part of the work consists of the analysis of the enunciation in the films of the corpus, in order to establish the main characteristics of the reading contract proposed to the spectator. The analysis starts with the consideration of the genre known in television as "docudrama", paying particular attention to the relationship between what is filmed and the "real", that this genre seeks to establish. This is followed by the partial conclusions of the analysis of the totality of films included in the corpus. A first systematisation of the general characteristics of the films considered allows for a definition of a new genre which we termed "documelodrama".
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Repezza, Paula Fernandes. "A fotografia como possível suporte reflexivo dos direitos humanos em contextos pós-ditatoriais: um estudo do caso argentino." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6613.
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Previous issue date: 2016-10-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Between 1976 and 1983, Argentina lived a violent military dictatorship, in which practices of state terrorism resulted in a tragic number of tortures, disappearances and deaths, traumas that still haunt the country nowadays. Among multiple forms of reflect about those painful memories and fight for the construction of a memory that doesn’t neglect or nor make this past an euphemism, photography is highlighted for its extensive use both in people’s intimacies and in the creation of works of art that use it as basis to think about grief, memory, identity and human rights. Among many works produced inside this genre, Buena Memoria, by Marcelo Brodski, stand out for its pioneering, complexity and national and international recognition. This dissertation uses the analysis of this work of art, with focus on the centrality of the photographic and the memory in its construction to reflect on how contemporary works of art may/can be used as reflective basis for the human rights, understood under a cultural perspective, especially in a society in which images attain each time a bigger influence in many the layers of our individual and social reality.<br>Entre 1976 e 1983, a Argentina viveu uma violenta ditadura militar, em que práticas de terrorismo de Estado resultaram em assombroso número de torturados, desaparecidos e mortos, trauma que assombra permeia o país até a atualidade. Dentre as diversas formas de refletir sobre essas memórias de sofrimento e lutar pela construção de uma memória que não negligencie nem transforme esse passado em um eufemismo, a fotografia ganha destaque por seu uso extensivo, tanto na experiência íntima como na produção de obras de arte que usam dela como suporte para pensar sobre luto, memória, identidade e direitos humanos. Diversos trabalhos foram produzidos com base nessa prática, constituindo um corpo sólido de arte da memória de base fotográfica no cenário artístico argentino. Dentre diversas obras produzidas dentro desse gênero, Buena Memoria de Marcelo Brodski se destaca por seu pioneirismo, complexidade e reconhecimento nacional e internacional. A presente dissertação lança mão da análise dessa obra, com foco na centralidade do fotográfico e da memória em sua construção, para refletir sobre como obras de arte contemporâneas podem servir/servem como suporte reflexivo para os direitos humanos, entendidos sob perspectiva cultural, especialmente numa sociedade em que imagem ganham uma importância cada vez maior em várias as camadas de nossa realidade individual e social.
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Wirshing, Irene. "National trauma in postdictatorship Latin American literature Chile and Argentina /." Diss., Online access via UMI:, 2006.
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Sciacca, Emilie. "La reconstruction de l’identité argentine dans la Telenovela Montecristo (Argentine, Telefe, 2006)." Thesis, Rennes 2, 2011. http://www.theses.fr/2011REN20049/document.
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Montecristo est une telenovela argentine, émise en 2006 sur Telefé. Il s’agit de l’adaptation de l’oeuvre d’Alexandre Dumas. Dans un premier temps, cette thèse est basée sur la question d’un renouvellement de la forme. La telenovela pousse l'incorporation du réel dans la fiction jusqu'a son paroxysme. En effet, en plus d’être l’adaptation d’un roman, elle transpose les aventures de Edmond Dantes aux années post-dictatoriales de l’Argentine avec pour toile de fond la torture, la collaboration des civils, les disparus et la recherche de l’identité. En effet, le pays connu en 1976 une des plus féroces dictatures d’Amérique Latine (1976-1983). Nous analyserons également dans cette thèse l’évolution socio-culturelle depuis les années 70 jusqu’en 2006 afin de déterminer quel fut le contexte d’émergence d’un nouveau discours contre hégémonique. Enfin, l’axe le plus important de ce travail est la question de l’identité. En effet, au cours des trois années d’investigations sur Montecristo, nous nous sommes demandé si, à travers les aventures de Santiago, le public ne vivait pas, comme par procuration, une quête de sa propre identité. En ce sens, nous approfondirons le concept de sujet culturel défini dans un espace complexe, hétérogène, conflictuel, dans lequel les marques sémiotico-idéologiques se trouvent redistribuées<br>Montecristo is an Argentinian screenplay showed by telefe in 2006. It is the screen version of Alexandre Dumas' novel. At first, this research is based on the issue of the renewal of the form. The drama includes the reality into the fictional story in a paroxysmal way. This, indeed, apart from being the adaptation of a story, sets Edmond Dantes' adventures in a post-dictatorial Argentina in which background we can find tortures, the civilians' collaboration, the desaparecidos and the search for an identity. In 1976, in fact, the country was subdued to one of the fiercest dictatorships all over Latin America (1976-1983). In this work, we will furthermore analyze the social and cultural evolution from the decade of the 70s up to 2006 in order to determine in which context the new anti dictatorial ideas began to rise. The pivotal point of this work is represented by the issues of identity and memory. In effect, throughout this investigation on Montecristo, we wonder if the public identifies itself with Santiago to such an extent as to live, through his adventures, the search of its own identity. In this sense, we'll go deep inside the concept of cultural subject, defined in a complex, heterogeneous, controversial context, in which the semiotic ideological characters are allocated<br>Montecristo es una telenovela argentina que fue emitida en 2006 en telefe. Se trata de la adaptación de la obra de Alexandre Dumas. En un primer tiempo, esta búsqueda se basa sobre la cuestión de la renovación de la forma. La novela lleva la incorporación de lo real en la ficción hasta su paroxismo. En efecto, además de ser una adaptación de un relato, transpone las aventuras de Edmond Dantes en los anos post-dictatoriales de Argentina con tela de fondo la tortura, la colaboración de los civiles, los desaparecidos y la búsqueda de la identidad. En efecto, el país conoció en 1976 unas de las dictaduras más feroces de América-Latina (1976-1983). Analizamos además, en este trabajo, la evolución socio-cultural desde la década de los 70 hasta 2006 para determinar en qué contexto pudo aparecer un nuevo discurso contra hegemónico. El eje más importante de este trabajo es la cuestión de la identidad y de la memoria. En efecto, a lo largo de estas investigaciones sobre Montecristo, nos preguntamos si, a través de las aventuras de Santiago, el público no vivía, como por poderes, una busca de su propia identidad. En este sentido, profundizamos el concepto de sujeto cultural definido en un espacio complejo, heterogéneo, conflictivo, en donde están distribuidos los marcos semiotico-ideológicos
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Pereira, Aldacor Emilio. "Human Rights Violations in Argentina and Uruguay : A study with focus on the legal status of the amnesty laws." Thesis, Stockholms universitet, Latinamerikainstitutet, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-113529.
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This essay analyzes in a comparative manner, the cases of Argentina and Uruguay regarding the amnesty laws that both issued to members of the armed forces after the transition to democracy from the authoritarian regime, for violations of human rights committed during the military dictatorship. The research seeks to understand the causes that have made the amnesty law in Argentina from 1986 and 1987, together with the presidential pardoning of 1989 to be declared unconstitutional in 2005 and 2007 by the Argentinian Supreme Court, while the Uruguayan amnesty law issued in 1986 is at the time when this research was made still in force. The focus of this study relies on four main actors that have made an impact on this issue: the Executive; the Supreme Court; the Inter-American system of Human Rights; and the human rights movement. Our research intakes a qualitative nature that is the most appropriate method for this kind of study. A comparative methodology is developed studying the cases of Argentina and Uruguay in order to outline similarities and differences between them both, which let us see the different variables that both cases have in an effort to better understand the causes that led to different outcomes regarding the present legal status of the amnesty laws. This essay utilizes as its theoretical framework, theories of Transitional Justice and Human Rights from below, which are applied to the material presented in both cases. In Argentina, the Supreme Court, the Executive, the human rights movement and the Inter-American system of Human Rights, have worked together in the last decade to abolish the amnesty laws and the pardoning in the country. The Supreme Court in Uruguay acting against the Executive power in the last time is seen as a keen factor to why the amnesty law is still in force today. Here, the referendums in 1989 and 2009 supporting the further upholding of the law influenced the decision of the Supreme Court, and also made a negative impact in the human rights movement.
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Zeni, Bruno José. ""Entre a câmera e o fuzil" : cinema e propaganda político-ideológica nas ditaduras militares do Brasil e Argentina (1978-1979) /." Assis, 2019. http://hdl.handle.net/11449/181023.
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Orientador: Carlos Alberto Sampaio Barbosa<br>Banca: José Luis Bendicho Beired<br>Banca: Fábio da Silva Sousa<br>Resumo: A ditadura Militar brasileira e Argentina interferiram de diversas formas nas atividades artísticas, sejam elas na censura de obras, morte e desaparecimento de atores culturais. Contudo, este trabalho tem por objetivo problematizar como ambas as Ditaduras Militares se utilizaram do Cinema para fomentar certos valores que eram prezados pelos governos. Assim, recorremos a duas películas que foram produzidas durante as ditaduras, uma de produção brasileira e outra de produção Argentina. A película brasileira selecionada foi Batalha de Guararapes (1978) dirigida por Paulo Thiago, e a produção Argentina é De Cara al Cielo (1979) dirigida por Enrique Dawi. Em ambos os filmes trabalhamos como os conceitos de Nacionalismo, Inimigos, Identidade e Civilização foram articulados para uma possível propaganda dos regimes. Além da análise desses conceitos, trabalhamos como os militares regulamentaram e fomentaram as culturas nacionais, seja por meio de criação de agências reguladoras ou por meio de financiamento de obras artísticas. Neste sentido, o nosso trabalho pensa as ditaduras por outro viés, ao olharmos as políticas culturais oficiais, estamos enxergando uma nova dimensão de atuação das ditaduras, e como os atores culturais puderam utilizar aos seus proveitos estes projetos que partiram do governo<br>Abstract: The Brazilian military dictatorship and Argentina interfered in various ways in the artistic activities, be they in the censorship of works, death and disappearance of cultural actors. However, this work aims to problematize how both Military Dictators used Cinema to foster certain values that were prized by governments. Thus, we resorted to two films that were produced during the dictatorships, one of Brazilian production and another of Argentine production. The Brazilian film selected was Batalha de Guararapes (1978) directed by Paulo Thiago, and the Argentine production is De Cara al Cielo (1979) directed by Enrique Dawi. In both films we worked as the concepts of Nationalism, Enemies, Identity and Civilization were articulated for a possible propaganda of the regimes. In addition to the analysis of these concepts, we work as the military regulates and fosters national cultures, either through the creation of regulatory agencies or through the financing of artistic works. In this sense, our work thinks dictatorships for another bias, when we look at official cultural policies, we are seeing a new dimension of dictatorships, and how cultural actors could use these projects that came out of government<br>Mestre
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Machado, Patrícia da Costa. "As supremas cortes de Brasil e Argentina frente aos crimes de lesa humanidade perpetrados pelas ditaduras." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/134209.
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Entre as décadas de 1960 e 1980, Brasil e Argentina vivenciaram ditaduras de segurança nacional. As diferentes experiências vividas por essas nações possuem alguns elos em comum: a tomada do poder pelas Forças Armadas, a aplicação da Doutrina de Segurança Nacional, suspensão de direitos e garantias fundamentais, o consequente estabelecimento do Terrorismo de Estado e, por fim, a aprovação de algum tipo de anistia ao fim desses regimes. Tendo diferentes designações, as leis aprovadas visavam um mesmo objetivo: impossibilitar a responsabilização de militares e civis pelas inúmeras violações a direitos humanos cometidas durante as ditaduras. O discurso de “virar a página e olhar para o futuro” esteve presente em ambos os países, e foi usado para propagar a ideia da pacificação nacional. A partir dos anos 2000, já em um contexto de democracias consolidadas, o quadro difere imensamente. Enquanto na Argentina, entre 2004 e 2007, a Corte Suprema de la Nación julgou inconstitucionais todos os dispositivos que representavam obstáculos ao julgamento dos crimes da ditadura (Lei de Obediência Devida, a Lei do Ponto Final e os indultos concedidos por Carlos Menem), no Brasil, o Supremo Tribunal Federal julgou improcedente, em 2010, uma ação ajuizada pela Ordem dos Advogados do Brasil (OAB) e considerou a Lei da Anistia (Lei n. 6.683/79) fruto de um acordo político e, por consequência, impossível de ser revisado. Partindo dessas premissas, o presente trabalho tem por objetivo analisar o posicionamento das Cortes Supremas de Brasil e Argentina no que diz respeito à responsabilização penal dos crimes de lesa humanidade cometidos pelas ditaduras. As decisões dos fallos Arancibia Clavel, Simón e Mazzeo, e a sentença da Arguição de Descumprimento de Preceito Fundamental (ADPF) n. 153, serão comparadas sob o viés histórico do contexto democrático nas quais foram geradas, buscando compreender a discrepância entre os entendimentos das Cortes e do quadro atual de ambos os países no que diz respeito à efetivação de mecanismos de justiça de transição.<br>Between the decades of 1960 and 1980, Brazil and Argentina have experienced dictatorships. The different experiences for these nations have some links in common: the seizure of power by the armed forces, the application of the national security doctrine, suspension of fundamental rights and guarantees, the consequent establishment of State terrorism and, finally, the adoption of some kind of amnesty in the end of those regimes. Having different designations, the laws adopted had the same goal: make it impossible the accountability of military and civilians by the numerous human rights violations committed during the dictatorships. The speech of "turn the page and look to the future" was present in both countries, and was used to propagate the idea of “national pacification”. From the year 2000, in a context of consolidated democracies, the situation differs immensely. While in Argentina, between 2004 and 2007, the Supreme Court ruled unconstitutional all devices that represent obstacles to the prosecution of crimes commited by the dictatorship ( the Due Obedience Law, the Final Point Law and pardons granted by President Carlos Menem), in Brazil, the Supreme Court dismissed, in 2010, an action filed by the Bar Association of Brazil, and considered the Amnesty Law (Law n. 6.683/79) the result of a political agreement and, consequently, impossible to review. Starting from these premises, the present study aims to analyze the positioning of the Supreme Courts of Brazil and Argentina, with regard to the criminal liability of the crimes against humanity committed by dictatorships. Decisions of “fallos” Arancibia Clavel, Simón and Mazzeo, and the sentence in the Arguição de Descumprimento de Preceito Fundamentl (ADPF) n. 153 will be compared under the historical bias of the democratic context in which they were generated, seeking to understand the discrepancy between the understandings of the courts and of the current framework of both countries regarding the establishment of transitional justice mechanisms.
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Silva, Fabrício. "LETRAS DE UMA RESISTÊNCIA: FANTASMAS TRANSGENERACIONAIS E DITADURA. BRASIL, ARGENTINA E CUBA 1964-2002." UKnowledge, 2017. http://uknowledge.uky.edu/hisp_etds/32.
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During the period of military government in Argentina, Brazil (1964 –1982) and the present day communist Cuban regime, a machinery of cultural repression was established in these countries, these states had a systematic plan of cultural repression of any kind of opposition, dictatorships had an organized and sophisticated operating control over the press and all publications. The dissident writers examined in this dissertation developed strategies of resistance that depended largely on allegory to carry their messages against their respective oppressive regimes. By means of a detailed rhetorical analysis, our study examines the lookings of allegory and cultural resistance under the constraints of repression. Our corpus includes six novels written by dissident writers during the period studied in this dissertation. The fictional narratives selected in this study are divided into novels from Brazil, Argentina and Cuba. The Brazilian novels: of Jorge Amado Dona Flor e seus dois maridos (1966) and Érico Verissimo, Incidente en Antares (1971); two Argentine novels: Ricardo Piglia’s, Respiración artificial (1980) and Martin Khoan’s, Dos veces junio (2002); and by two Cubans: Jesús Díaz, Las iniciales de la tierra (1987) and Zoé Valdés, La nada cotidiana (1995). This dissertation demostrates that allegory and ghosts, as literary figures, can evolve and assume new functions of resisting oppressive governments through confronting, denouncing, identifying and conjuring national traumas as well as adapting themselves to the different political circumstances in which they are used.
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Munhoz, Solange Chagas do Nascimento. "Narrar a vida à margem: o exílio em \'La casa y el viento\', de Héctor Tizón; \'En estado de memoria\', de Tununa Mercado; e \'Rabo de foguete - os anos de exílio\', de Ferreira Gullar." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-13082007-140216/.
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Este trabalho dedica-se à leitura comparada de três obras contemporâneas que versam sobre o tema do exílio: as argentinas La casa y el viento (1984), de Héctor Tizón, e En estado de memoria (1990), de Tununa Mercado; e a brasileira Rabo de foguete. Os anos de exílio (1998), de Ferreira Gullar. Nosso objetivo é delimitar a configuração de uma voz narrativa que conta uma experiência de exílio que, para tanto, move-se entre estratégias de autorepresentação vinculadas à autobiografia e, ainda, à ficção. Para levar a cabo nosso estudo, partimos de um breve panorama histórico das últimas ditaduras da Argentina e do Brasil que nos ajuda na aproximação ao tema do exílio explorado nas três obras, isto é, o exílio como uma experiência ligada aos processos políticos desses países que, na sua dimensão subjetiva, significa perdas, fissuras, identidades em crise. Logo, procuramos demonstrar que, nas três obras, a negatividade dessa experiência compromete a possibilidade de narrar os eventos de modo linear e estável, afetando, por um lado, a construção dos textos como relatos autobiográficos nos moldes canônicos, e, por outro, a construção fictícia dos acontecimentos, uma vez que a experiência está diretamente relacionada com a vida de Héctor Tizón, Tununa Mercado e Ferreira Gullar. Interessa-nos o percurso que realizam os narradores para contar sua história, marcado por uma zona de instabilidade da enunciação que se propaga por todas as categorias dos relatos (tempo, espaço e personagens) e questiona a definição de gênero.<br>This work dedicates the comparative reading of three contemporary works which turn on the subject of the exile: the Argentine La casa y el viento (1984), of Héctor Tizón, and En estado de memoria (1990), of Tununa Mercado; and the Brazilian Rabo de foguete. Os anos de exílio (1998), of Ferreira Gullar. Our objective is to delimit the configuration of a narrative voice that counts an exile experience which, for in such a way, moves itself between entailed strategies of auto-representation related to the autobiography and, still, to the fiction. To take handle our study, we make initially of a brief historical panorama of the last dictatorships of Argentina and Brazil that help us approaching to the subject of the exile explored in the three workmanships, that is, the exile as an experience to the politicians processes of these countries that, in its subjective dimension, mean losses, fictions, identities in crisis. Soon, we try to demonstrate that, in the three workmanships, the negativities of this experience compromises the possibility to tell the events in linear and stable way, affecting, on the other hand, the construction of the texts as autobiographical stories in the canonic molds, and, for another one, the fictitious construction of the events, a time that the experience is directly related to the life of Héctor Tizón, Tununa Mercado and Ferreira Gullar. It interests us the passage that carries through the narrators to tell its history, marked for a zone of instability of the articulation that propagates for all the categories of the stories (time, space and personages) and questions the sort definition.
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Fávaro, Ana Roberta Ferreira. "DEMOCRACIA COMO DIREITO HUMANO NO CONTEXTO DA REDEMOCRATIZAÇÃO NA AMÉRICA DO SUL: BRASIL, ARGENTINA E CHILE." Pontifícia Universidade Católica de Goiás, 2016. http://localhost:8080/tede/handle/tede/2748.
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Previous issue date: 2016-03-08<br>The history of human rights is reflected in a series of social movements and revolutions that
have sought to be heard, and have their rights affirmed and respected. Throughout history, the
world has been a scenario of such struggles, from the Liberal Revolutions to the recent Arab
Spring. Therefore, it is in the context of this historical and social evolution of human rights
that many rights have been internationalized and have become protected and promoted in
domestic legal systems. In order to study democracy as a constitutionally safeguarded human
right by Brazilian, Chilean and Argentinean laws, it is required to study the influence of the
Cold War and the US policy to support the military dictatorships that happened in these
countries, taking into account the serious human right violations that occurred during these
years. Thus, from these studies, to be able to prove that democracy is a fundamental human
right that is the result of the struggle for democracy in the Southern Cone, especially in these
three major countries.<br>A história dos direitos humanos se traduz em uma série de movimentos sociais e revoluções
que buscam ser ouvidos e ter seus direitos afirmados ou respeitados. Ao longo da história, o
mundo foi cenário dessas lutas, desde as Revoluções Liberais até a recente Primavera Árabe.
É, portanto, no contexto dessa evolução histórica e social dos direitos humanos que muitos
direitos se internacionalizaram e passaram a ser protegidos e promovidos no ordenamento
jurídico interno dos países. Para estudar a democracia como direito humano
constitucionalmente tutelado pelos ordenamentos jurídicos do Brasil, Chile e Argentina,
estuda-se a influência da Guerra Fria e a política estadunidense como influenciadores diretos
na eclosão dos golpes militares nesses países, levando em consideração as graves violações de
direitos humanos ocorridas à época. Assim, por esses estudos, pode-se afirmar que a
democracia é um direito humano fundamental, fruto da luta pela redemocratização no Cone
Sul, especialmente nesses três países.
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Fernández, Jorge Christian. "Anclaos en Brasil : a presença argentina no Rio Grande do Sul (1966-1989)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/71934.
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A Argentina das décadas de 1960 e 1970 foi palco de intensa movimentação social e política, em meio a uma profunda crise estrutural e que já impulsionava cidadãos a emigrar. Frente à crescente insatisfação popular e os movimentos contestatórios, os militares desencadearam uma política repressiva inspirada nas Doutrinas de Segurança Nacional. O golpe de 1976 implantou o Terror de Estado plasmando um clima de medo e insegurança onde o conjunto da população tornava-se potencialmente “subversiva”. O caráter totalizante da repressão disparou uma corrente migratória específica, o exílio político. Contudo, desde 1980, aos efeitos da perseguição política se justapuseram as consequências econômicas e sociais da implantação do modelo econômico neoliberal da ditadura, aumentando o fluxo migratório. Assim, este trabalho focaliza a presença dos argentinos e a conformação de uma comunidade argentina no Rio Grande do Sul, de 1966 a 1989. Tal fenômeno migratório é abordado desde uma perspectiva histórica, contudo sua complexidade e caráter plural exigiu também um olhar multidisciplinar. Para mapear a dinâmica e a abragência destes fluxos de migração, a pesquisa abarcou o coletivo da comunidade argentina, mas procurou evidenciar e enfatizar, dentro desta, a existência de grupos e indivíduos com características diferenciadas e específicas. A partir da análise das fontes documentais foi reconstruída historicamente a presença e as atividades desses argentinos, assim como a complexa relação entre si e com a sociedade de acolhida. No trabalho destaca-se ainda a polifonia das fontes orais e sua riqueza narrativa, em que a rememoração das vivências, experiências e percepções dos atores sociais permitem tanto delinear e/ou diferenciar as identidades subjetivas dos atores, quanto à (re)construção da memória social e histórica desse coletivo étnico-nacional no sul do Brasil.<br>The Argentina of the 1960s and 1970s was a scenario of intense social and political movement, in the midst of a deep structural crisis and that it drove citizens to emigrate. Because of the growing popular discontent and anti-establishment movements, the military launched a repressive policy inspired by the Doctrine of National Security. The coup of 1976 established the state terror forging a climate of fear and insecurity where the whole population became potentially "subversive." The character of totalitarian repression triggered a specific migratory flux: the political exile. However, since 1980, the effects of political persecution are juxtaposed with economic and social consequences of the implementation of dictatorship´s neoliberal economic model, also increasing the flow of migration. Thus, this paper focuses on the presence of the Argentine and the formation of an Argentine community in Rio Grande do Sul, from 1966 to 1989. This migration phenomenon is approached from a historical perspective, yet its complexity and plural character also required a multidisciplinary look. To map the dynamics and the spread of these migration flows, the research encompassed the collective community of Argentina, but sought to highlight and emphasize, within this, the existence of groups and individuals with different and specific characteristics. From the analysis of documentary sources we historically reconstructed the presence and activities of these Argentines as well as the complex relationship between themselves and the host society. At work still stands out the polyphony of oral sources and their wealth narrative, in which the recollection of experiences, and perceptions of social actors allow both design and/or differentiate the subjective identities of the actors, as well as to the (re)construction of social and historical memory of this ethno-national collective of southern Brazil.
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Dornelles, Roberto Anderson. "Acontecimento e história nas páginas da revista Veja : uma análise das reportagens sobre o primeiro governo da ditadura civil-militar argentina (1976-1981)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55347.
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Este trabalho procura analisar as relações entre jornalismo impresso e política numa perspectiva histórica. Especificamente, o tema da pesquisa é a cobertura jornalística de uma revista brasileira de periodicidade semanal e de circulação nacional, a revista Veja, sobre os acontecimentos sociais, políticos e militares, ocorridos durante o primeiro governo da ditadura civil-militar argentina entre os anos de 1976 e 1981. Este tema surge da constatação da importância do jornalismo impresso no processo de divulgação de informações ligadas à política, principalmente no período contemporâneo da história. Em termos gerais, esta pesquisa pode ser compreendida em duas dimensões: a primeira relacionada diretamente ao objeto empírico. Neste caso optamos por trabalhar com o conteúdo publicado pela revista Veja sobre os acontecimentos sociais ocorridos na Argentina entre os anos de 1976 e 1981, que corresponde ao período do primeiro governo ditatorial comandado pelo general Jorge Rafael Videla, por ter sido o governo que instaurou o regime e esteve a maior parte do período ditatorial no poder. A segunda dimensão está relacionada ao objeto teórico – que se circunscreve, num primeiro momento, à discussão da possibilidade de o jornalismo constituir-se como uma forma de conhecimento social, e, num segundo momento, na relação do acontecimento social com o acontecimento jornalístico no âmbito de um registro de uma história imediata. O método que fundamenta esta dissertação é o Materialismo Histórico-Dialético, tendo nas categorias de totalidade, historicidade e contradição o suporte para a condução da pesquisa. A metodologia articuladora da pesquisa foi Análise de Conteúdo que auxiliada pela Pesquisa Teórica Bibliográfica possibilitaram a análise das reportagens da revista Veja sobre os acontecimentos ocorridos durante o primeiro governo da ditadura civil-militar argentina. Como principais resultados, averiguamos que a cobertura de Veja se constituiu por meio da ênfase em quatro grandes temáticas: (a) Militares no poder; (b) Violência; (c) Disputa interna e (d) Relações internacionais; também constatamos que a abordagem da revista os acontecimentos relacionais à Argentina foi mediada por uma forma de concepção da realidade fundamentada na tradição liberal de pensamento.<br>This paper analyzes the relationship between print journalism and politics in historical perspective. Specifically, the research theme is the coverage of a brazilian weekly magazine and national circulation, Veja magazine, about the social, political and military, which occurred during the first administration of civil-military dictatorship in Argentina between the years 1976 and 1981. This issue arises from the realization of the importance of print journalism in the process of dissemination of information related to politics, especially in the contemporary period of history. In general, this research can be understood in two dimensions: the first directly related to the empirical object. In this case we chose to work with content published by Veja magazine about the social events that occurred in Argentina between 1976 and 1981, which corresponds to the first period of dictatorial government led by General Jorge Rafael Videla, because it was the government that initiated the and the system has been most of the period dictatorial power. The second dimension is related to the theoretical object – which is limited at first, to discuss the possibility of journalism constitute itself as a form of social knowledge, and, secondly, in respect of the social event with the event in journalism part of a record of an immediate history. The method underlying this dissertation is the Historical and Dialectical Materialism, and the categories of totality, contradiction and historical support for the conduct of research. The methodology of articulating research was aided Analysis of Contents that allowed by the Bibliographical Research Theoretical analysis of Veja magazine reports on the events during the first administration of civil-military dictatorship in Argentina. The main results, we observed that the coverage See constituted by an emphasis on four major themes: (a) Military in power, (b) Violence, (c) Internal dispute and (d) International relationships; also found that the approach to review the relational events in Argentina was mediated by a form of conception of reality grounded in the liberal tradition of thought.
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Schneider, Megan C. "Constructing Memory in the Wake of Tragedy: An Analysis of Film as a Tool of Collective Memory in the Aftermath of the Dictatorships in Argentina and Chile." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2256.
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Acting as an audiovisual vector of catharsis, film has proved an innovative and effective tool in the process of reconstructing collective memory in the aftermath of traumatic events. This thesis focuses on the emergence of filmmakers and their movies in the post-dictatorial periods in Argentina and Chile as both nations sought to confront their violent pasts. A general overview of the process of memory construction is included to provide background for the subsequent analysis of film as a vector of collective memory following trauma. An examination and comparison of various films produced for both domestic and international audiences detail each country’s engagement with the political and cinematic process of dealing with ideas of truth, memory, and identity. Central themes include the reconstruction of the identity of the desaparecidos and the challenges of producing films of a faithful, factual, reconstructive nature that also result in commercial success and appeal.
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Melo, Clayton Rodrigues de. "O romance A quem de direito, de Martin Caparrós: vozes e silêncios da história argentina." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/2183.
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Previous issue date: 2014-02-04<br>Universidade Presbiteriana Mackenzie<br>This paper proposes a study of romance, A quien corresponda (2008), of Martín Caparrós, an Argentinian writer. For that study we will travel the following course: an abbreviation explanation on the context of the historical period of the dictatorship for the literary glance. We will travel the historical aspects approaching, in a brief way, the political context of the civil dictatorship that had begun in the decade of 70. We will reflect concerning the philosophical thought that it permeates the romance of Thomas Hobbes thought, philosopher of the century XVI, concerning the forms of power. Finally, we will analyze the romance, in order to identify the present voices in the political conflict of Argentina in the period that refers to the military dictatorship based on the following dialogues: the character Carlos and the torturer; Carlos with their three friends in the restaurant; Carlos and his supposed girlfriend'.<br>O presente trabalho tem como objetivo estudar o romance, A quien corresponda (2008), do escritor argentino Martín Caparrós. Para esse estudo faremos o seguinte percurso: uma breve explanação sobre o contexto do período histórico da ditadura pelo olhar literário. Percorreremos, também, os aspectos históricos abordando, de forma breve, o contexto político da ditadura civil que teve seu início na década de 70. Refletiremos acerca do pensamento filosófico que permeia o romance utilizando-se do pensamento de Thomas Hobbes, filósofo do século XVI, acerca das formas de poder de um Estado Civil. Por fim, analisaremos o romance, a fim de identificar as vozes presentes no conflito político da Argentina no período que se refere à ditadura militar baseado nos seguintes diálogos: o personagem Carlos e os ex-torturadores; Carlos com seus três amigos no restaurante; Carlos e a suposta namorada .
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Critchfield, Katherine. "Radical democracies : the politics of the aesthetic in the Southern Cone." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269815.
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The transitions to democracy in Argentina and Chile have been critiqued by numerous artists and analysts alike, both because of the social and economic continuity from dictatorship to democracy, and because of the democratic states’ occlusion of the violence of the preceding dictatorships. Yet while this compromised democracy has been subject to numerous artistic critiques, this does not necessitate an aesthetic abandonment of democracy as an ideal, but rather a challenge to its consensual nature. This study identifies a specific set of texts – by the art collective CADA, by writers Pedro Lemebel and Néstor Perlongher, and by poets Juan Gelman and Raúl Zurita – and locates within them a desire to radicalise the democratisation processes that were only superficially carried out in the 1990s. And as this work describes, this is a uniquely aesthetic project. In its association of the aesthetic and the political domains, this work draws substantially on the theoretical work of Jacques Rancière. Yet the juxtapositions of the artworks with the theoretical perspective is aimed not only at elucidating the particular nature of the relationship between aesthetics and politics to be found in these works, but also at productively complicating or expanding upon certain aspects of Rancière’s theoretical framework. The artists and authors discussed here call for a new understanding of the aesthetic as an intrinsically political category, seeking at once to revolutionise both politics and aesthetics. The texts analysed as part of this work all appear at a time when the political aesthetic functions primarily according to a revelatory paradigm, as exemplified by the testimonial genre. At the same time, the category of the aesthetic is treated with scepticism in the light of the apparent ability of the marketplace to assimilate even the most radically oppositional text into its hegemonic narrative. The notions of both political and aesthetic dissensus, therefore, find themselves under threat at this particular historico-political juncture. In contrast, the texts I examine in this work undertake an aesthetic investment in alternative significatory sensibilities in order to counter political consensus. In other words, they locate the political in a different aesthetic sensorium: that of the human body, of emotions, and of the affective connections between subjects. In so doing, they move beyond the denunciatory text as the political aesthetic par excellence, pointing instead to aesthetic distributions that remain excessive, or that overspill any effort to order the sensus communis.
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Lombardo, Martín. "Effets discursifs de la représentation de la loi dans la littérature argentine : dictature et post dictature." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30030/document.
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La problématique de cette thèse se centre sur la manière dont plusieurs textes de fiction, évoquant des événements emblématiques des années 1976-2001, représentent la loi à travers ses effets discursifs. Lors de l’analyse des effets discursifs de la représentation de la loi dans les textes de fiction certaines questions s’imposent : de quelle manière le discours littéraire configure-t-il les frontières entre l’espace public et l’espace privé, caractérise les espaces rendus visibles ou invisibles, fait apparaître les énoncés refoulés, décrit les individus auxquels il confère la légitimité d'exercer le pouvoir et ceux qui s'y trouvent marginalisés ou définis en tant que criminels. Tous ces éléments sont les effets discursifs de la loi qui non seulement la représentent mais dénotent les intérêts qui l'ont dictée. Nous centrons notre étude sur la représentation de la loi qui dicte la limite interne de l’État évoquée par Michel Foucault dans son concept de biopolitique. Nous analysons différents romans qui abordent les moments les plus représentatifs de la période de notre recherche : la répression militaire, la guerre des Malouines, le retour à la démocratie, l’instauration du néolibéralisme et enfin la crise de 2001. Les romans de Daniel Moyano, El vuelo del tigre, de Rodolfo Fogwill, Los pichiciegos, de Juan Martini, El fantasma imperfecto, de Claudia Piñeiro, Las viudas de los jueves, de Juan Martini, Colonia, et de Pedro Mairal, El año del desierto, guident notre recherche car ils représentent, à travers ses effets discursifs, l’exception de la loi en place. Sur le plan théorique, les conceptualisations de Walter Benjamin, Michel Foucault, Giorgio Agamben et Andrea Cavalletti sur la violence, la biopolitique, l’état d’exception et la sécurité nous permettent d’analyser le lien entre le texte littéraire et le moment historique<br>The central issue of this dissertation focuses on the manner in which several fictional texts, evoking events emblematic of the years 1976-2001, represent the law through their discursive effects. In the process of analyzing the discursive effects of the representation of the law in these fictional texts, certain questions must be posed: in which way does literary discourse configure the borders between public and private space, how does it characterize the spaces made visible or invisible, bring repressed statements to the surface, describe the individuals to whom it bestows the right to exercise power and those who there find themselves marginalized or defined as criminals. All of these elements are the discursive effects of the law that not only represent the law, but also denote the interests that have dictated it. We are centering our study on the representation of the law that dictates the internal boundary of the State evoked by Michel Foucault in his concept of biopolitics. We will analyze different novels that address the most representative moments of the period of our research: the military repression, the Falklands War, the return to democracy, the establishment of neoliberalism and finally the crisis of 2001. The novels of Daniel Moyano, El vuelo del tigre, Rodolfo Fogwill, Los pichiciegos, Juan Martini, El fantasma imperfect, Claudia Piñeiro, Las viudas de los jueves, Juan Martini, Colonia, and Pedro Mairal, El año del desierto, will guide our research since they represent, through their discursive effects, the exception to the law in place. The theoretical ideas of Walter Benjamin, Michel Foucault, Giorgio Agamben and Andrea Cavalletti regarding violence, biopolitics, the state of exception, and security will allow us to analyze the relationship between literary text and historical moment
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Sanjurjo, Liliana Lopes 1981. "Sangue, identidade e verdade : memórias sobre o passado ditatorial na Argentina." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279974.
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Orientador: Bela Feldman Bianco<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-23T03:27:24Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: Esta tese trata do campo de ativismo político das organizações de direitos humanos argentinas integradas por familiares de desaparecidos da última ditadura militar (1976-1983). O objetivo é compreender os processos sociais que levam essas organizações a assumirem o lugar de protagonistas na construção das memórias sobre o passado ditatorial, bem como analisar as disputas que envolvem a consolidação de uma memória pública sobre a ditadura nesse espaço nacional. Partindo de uma perspectiva histórica e processual da cultura, o intuito é analisar como os familiares de desaparecidos, ancorados nas relações de parentesco com as vítimas da repressão, atribuem sentido às suas próprias experiências e identidades, ao passo que encontram legitimidade social para suas demandas e ações políticas. Exploro assim como noções sobre política, parentesco, sangue, identidade e verdade atravessam os embates pelas memórias da ditadura na Argentina<br>Abstract: The thesis deals with the political activism of the Argentinean human rights organizations composed of the families of the disappeared people in the last military dictatorship (1976-1983). The goal is to understand the social processes that lead these organizations to play a major role in the construction of the memories concerning the dictatorial past, as well as analyzing the disputes over the definition of a public memory about the dictatorship in this national space. From a historical and procedural perspective of the culture, the intention is to analyze how the family members of the disappeared people, anchored in the kinship relations with the victims of the repression, give meaning to their own identities and experiences, whilst finding social legitimacy for their political actions and demands. Therefore, I explore how the notions concerning politics, kinship, blood, identity and truth integrate the disputes over the memories from the dictatorship in Argentina<br>Doutorado<br>Antropologia Social<br>Doutor em Antropologia Social
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Poncioni, Consuegra Mérian Antonio. "Propagande et représentations sous l'ère rosiste [1835-1852]." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030024/document.
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Comment la propagande et la représentation, ces armes de la politique, viennent-elles influencer la mémoire des peuples et, donc, leur histoire ? Comment, dans le contexte spécifique de l’Argentine rosiste, le rapprochement de ce binôme a-t -il opéré pour que des espaces et des populations disparates parviennent, peu à peu, à se réunir et à se reconnaître dans des principes fédérateurs ? Ce travail se propose d’explorer les ressorts d’un pouvoir et d’un système construits autour d’un homme – despote éclairé pour d’aucuns – dans le cadre d’un vaste processus dont on constate rétrospectivement qu’il a facilité l’émergence d’un sentiment d’appartenance dont nous dirons qu’il fut d’appartenance, à défaut d’être national.A partir de Buenos Aires, sa province natale, Juan Manuel de Rosa a dicté pendant près de vingt-trois années le sort d’une population forte d’une histoire dépourvue de mémoire propre. Tel est le fait historique. Sa contribution, indéniable, à la construction tout à la fois nationale, politique et identitaire d’un pays en devenir est l'objet d'analyses radicalement opposées que, poussés par des raisons diverses et également opportunistes, des mémorialistes et des politiques ont présentées et que des historiens ont soutenu et soutiennent avec une vigueur parfois proche de la polémique. Rosas, restaurateur de la Loi et père de la nation argentine, tyran et fossoyeur de la République : c ’ est dans le tiraillement entre ces deux pôles que nous avons essayé de nous situer pour analyser, sans prendre parti , l’apport de l’homme aux fondations du grand édifice , l’Argentine moderne, parfaità la suite de Caseros par les grands penseurs romantiques et libéraux qui avaient tant combattu le « Restaurador de las Leyes »<br>How do propaganda and representation, these two political weapons, influence people's memory and, thus, their history? How, in the specific context of Rosist Argentina, did the approximation of this binomial operate so that disparate spaces and populations were, little by little, brought together and could share in fine unifying principles? This work aims to explore the bases of a power and a system built around a man - for some, an enlightened despot - as part of a vast process, which in retrospect, proved critical for the emergence of a common, if not national, sense of belonging.From Buenos Aires, his home province, Juan Manuel de Rosas dictated f o r nearly twenty-three years the fate of a large population that had a history of its own but was deprived from a proper memory. This is a historical fact. Rosas’ undeniable contribution to a country’s national, political and identity build-up o f a country in motion inspired radically opposed analyses, which, moved by diverging and sometimes opportunistic reasons, memoirists and politicians have presented and historians have questioned and argued with force close sometimes to controversy. Rosas, the restorer of the Law and father of the Argentine nation, tyrant and destroyer of the Republic ; it is the tension between these two poles that we have tried to position ourselves in order to analyze, without taking sides , the contribution of this man to the foundations of a large building, modern Argentina, which was perfected, following Caseros, by the Romantic and Liberal thinkers who had fought so fiercely y the « Restaurador de las Leyes »
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Dansilio, Maria Florencia. "La théâtralité retrouvée. Étude socio-esthétique du théâtre indépendant à Buenos Aires (1983-2003)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA098/document.
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Cette thèse se propose de rendre compte du changement dans les manières de faire et de penser le théâtre indépendant en Argentine entre 1983 et 2003. Le contexte socio-politique étant fortement marqué dans les années post-dictature, l’activité théâtrale se reconfigure, et ce changement suppose une modification de l’ordre des pratiques. Il implique, pour la communauté théâtrale, à la fois des bouleversements d’ordre symbolique des catégories de perception et d’appréciation.À travers une approche située au croisement de l’analyse sociologique du phénomène et de l’analyse de ses spécificités esthétiques, nous suivrons trois objectifs. Premièrement, il s’agira de procéder à une analyse sociohistorique du concept polysémique d’indépendance théâtrale, afin de déterminer ses différents usages et significations. Deuxièmement, nous analyserons la reconfiguration de l’espace théâtral indépendant à travers ses différents acteurs (artistes, médiateurs, critiques), les oeuvres qui ont fait date et les espaces de création, de circulation et de légitimation. In fine, nous identifierons les formes de production d’une nouvelle théâtralité (c’est-à-dire les modalités spécifiques du jeu des comédiens dans la fabrique de la fiction théâtrale et dans leur rapport au réel) ainsi que la possible émergence d’une politicité au cœur de la production de la nouvelle scène indépendante et contemporaine en Argentine<br>The aim of this thesis is to account for the changes occurred in the ways independent theatre is performed and thought about in Argentina, between 1983 and 2003. The social-political context is strongly marked by the post dictatorship years therefore the activity linked to theatre is reconfigured and this change implies a revision of this very practice. For the performing community, it implies a reworking of the symbolic order in relation to both perception and appreciation of theatre.In this approach at the crossroad of sociological analysis of the artistic phenomena and the comprehension of its esthetical specificity, we will pursue three goals. First, we will embark in a socio-historical analysis of the polysomic concept of theatrical independence, in order to define its meanings and practices. Secondly, we will analyse the reconfiguration of independent theatre through its various players (artists, facilitators critics), as well as the major theatre works that have been a landmark and the analysis of spaces for creativity, movement and legitimation of such works. Finally, we will identify the forms of production for a new theatrical approach (the way comedians act, create a new type of fiction and how they connect to reality) as well as the possible emergence of a political pledge at the very heart of the new independent and contemporary scene of Argentina’s theatre
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Zumpano, Coacci Julián. "Espacios tortuosos en la última dictadura cívico-militar de la República Argentina (1976- 1983) : Espacio y trauma en la narrativa de Luisa Valenzuela." Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193900.
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A partir de la teoría del trauma propuesta por Cathy Caruth en los años noventa del siglo pasado, los estudios del trauma volvieron a obtener la atención de la crítica literaria. Si bien el enfoque de Caruth es en primer lugar psicoanalítico se fundamenta también en perspectivas historiográficas y sociológicas. En consecuencia, su teoría nos es muy útil para analizar una selección de obras de Luisa Valenzuela cuya trama se desarrolla bajo la última dictadura militar argentina (1976-1983). Específicamente queremos analizar la influencia que el encierro tiene sobre los personajes, partiendo de un análisis que trabaje conjuntamente tanto la representación del espacio narrativo como la representación del trauma. El método que se utilizará será el de una lectura minuciosa —close reading— de los relatos, articulando las nociones de casa y la dialéctica de lo dentro y lo de fuera de Bachelard para trabajar el encierro en los espacios públicos y privados, por un lado, y una construcción del trauma siguiendo a Caruth desde tres perspectivas psicológicas para entender mejor la tortura, por el otro. De esta forma, nuestra contribución consiste en llevar a cabo una lectura de la obra seleccionada de Valenzuela para poder entender en qué medida el encierro influye sobre el trauma provocado por la tortura durante la época dictatorial.<br>Since the theory of trauma was proposed by Cathy Caruth in the nineties of the last century, trauma studies have once again obtained the attention of literary criticism. Although Caruth’s approach is primarily psychoanalytical, it is also based on historiographical and sociological perspectives. Consequently, her theory is especially useful to the current study when analyzing a selection of works by Luisa Valenzuela, that take place during the last Argentinian military dictatorship (1976-1983). Specifically, it is intended to analyze the influence that confinement has on characters, beginning from an analysis that regards both the representation of the narrative space and the representation of trauma. The method applied will be that of a close reading of the stories, articulating Bachelard's notions of house and dialect of inside and outside to examine, on the one hand, confinement in public and private spaces and, on the other hand, a construction of trauma that follows Caruth’s theory from three different psychological perspectives to better understand torture. Along these lines, this study’s contribution consists of carrying out a reading of Valenzuela's selected literary works, in order to understand to what degree confinement influences the trauma that torture causes during the dictatorship.
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Cerutti, Amandine. "Fils et filles de disparus en Argentine et au Chili : identité(s), mémoire(s) et résilience." Thesis, Limoges, 2017. http://www.theses.fr/2017LIMO0047/document.
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Notre travail a pour objet d'étudier la construction identitaire des fils et/ou filles de ceux que les sociétés argentine et chilienne nomment aujourd'hui les « disparus ». Une notion nécessairement complexe, lorsque l'on sait qu'elle fait aujourd'hui référence à toute une politique de répression, de torture et d'extermination massives et systématiques, mises en place par les juntes militaires parvenues au pouvoir à partir de 1973 (Chili) et 1976 (Argentine). Cet héritage familial a impliqué, pour la « deuxième génération », une déconstruction et reconstruction de la vérité, ainsi que le tissage de tout un réseau d'éléments identificatoires et mémoriels. Dans ce parcours identitaire sinueux et complexe, chacun s'efforce également de développer une forme de résilience<br>We will focus on studying the identity construction of the sons and/or daughters of those who are nowadays called « the Missing » by the Argentinian and Chilean societies. An inevitably complex notion, when we know that it refers to a whole policy of repression, torture and systematic mass extermination, organized by the military juntas who reached power from 1973 (Chile) and 1976 (Argentina). For the « second generation », this family legacy implied reconstructing the truth as well as weaving a whole network of memory elements. In this sinuous and complex identity quest, they also gradually develop some resilience
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Pizzutiello, Andrea Nora. "Documentários-propaganda das ditaduras militares do Brasil (1964-1985) e da Argentina (1976-1983): uma comparação enunciativo discursiva." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-26062017-114942/.
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Neste trabalho comparamos dois documentários-propaganda das ditaduras do Brasil (1964-1985) e da Argentina (1976-1983). Nossa pesquisa busca desenvolver uma análise enunciativo discursiva dos dois documentários que permita estabelecer relações com aspectos das suas condições de produção e com as características do enunciador e do co-enunciador. Trata-se dos filmes, Brasil de Ontem, Hoje e Amanhã, exibido em 1975 no programa Amaral Netto, o Repórter da Rede Globo e Ganamos la Paz, exibido em 1977 no canal 7 da televisão argentina. Os dois filmes expõem a versão dos governos militares da situação política e social daqueles anos, justificando a necessidade de intervenção das forças armadas, que se apresentam como a única instituição capaz de conter o avance de um mesmo inimigo: o comunismo. A noção de condições de produção mostrou-se especialmente produtiva porque nos permitiu indagar o âmbito institucional dos dois países e a circulação de superfícies discursivas produzidas a partir de uma mesma doutrina na qual ambos os regimes se fundamentaram: a de Guerra Revolucionária francesa. O estudo do funcionamento e da modalidade de representação expositiva do gênero documentário (Nichols, 1997), as categorias de discurso constituinte (Maingueneau, 2008) e de heterogeneidade discursiva (Authier Revouz, [1982] 2011) foram fundamentais em nossa análise. Dessa forma, pudemos estabelecer não apenas relações interdiscursivas, mas também entre os diferentes lugares de dizer que o enunciador ocupa, a representação do inimigo e a interlocução representada nos dois filmes.<br>In this study we compare two propagandistic documentary films of the Brazilian (1964-1985) and Argentinean (1976-1983) dictatorships. Our research aims at carrying out a discourse and enunciation analysis in order to relate some aspects of their production conditions with the enunciator´s and co-enunciator´s characteristics. The films under study were Brasil de Ontem, Hoje e Amanhã, exhibited in 1975 on Rede Globo´s Amaral Netto, o Repórter show, and Ganamos la Paz, exhibited in 1977 on channel 7 in Argentina. Both films exposed the military government version of the political and social situation in those years, justifying the intervention of the armed forces which introduce themselves as being the sole institution capable of hindering the progress of the same enemy: communism. The production condition notion has proved to be productive since it allowed us to get into the institutional framework of both countries and into the circulation of discursive surfaces produced based on the same doctrine to which both governments adhere, namely the French Revolutionary War. The study of the functioning and representation mode of the documentary genre (Nichols, 1997), the constitutive discourse categories (Maingueneau, 2008), and the discursive heterogeneity (Authier Revouz, [1982] 2011) were of the utmost importance in our analysis. Therefore we were able to assess not only interdiscursive relations, but also the place of speech the enunciator occupies, the representation of the enemy and the interlocution represented in both films.
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Tolentino, Marcos Oliveira Amorim 1986. "O 16 de setembro sob a ótica da DIPBA - Dirección de Inteligencia de La Policía de la Provincia de Buenos Aires (1990-1996)." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278611.
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Orientador: José Alves de Freitas Neto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-21T21:13:34Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: Esta dissertação visa analisar as comemorações anuais em torno do episódio La noche de los lápices, entre os anos de 1990 e 1996. Tal episódio refere-se a uma série de procedimentos orientados à repressão do movimento estudantil secundarista, ocorridos entre 15 e 21 de setembro de 1976, na cidade de La Plata. Trata-se de um dos casos emblemáticos que se instauraram na memória coletiva da sociedade argentina no período da reconstrução democrática, acerca da violência e da repressão sistemática dos sete anos da mais recente ditadura civil-militar no país (1976-1983). O nosso objetivo é discutir as relações da sociedade e das instituições estatais argentinas com as memórias do episódio em questão, e consequentemente com o mais recente passado ditatorial, a partir da formação de circuitos de memórias nos quais discursos e práticas de rememoração garantem a permanência deste como um passado presente. Para tanto, utilizamos a documentação produzida e arquivada no Arquivo da antiga Dirección de Inteligencia de la Policía de la Provincia de Buenos Aires (DIPBA), serviço de inteligência que funcionou na Argentina entre os anos de 1956 e 1998. A nossa escolha permite mapear as diferentes iniciativas ocorridas anualmente no dia 16 de setembro, além de identificar os critérios que (re) significaram a elaboração de memórias em torno da data. A documentação em questão traz ao circuito de memórias um ator estatal, o órgão de vigilância política e social, e a necessidade de problematizarmos o seu funcionamento durante o período democrático que seguiu a mais recente ditadura civil-militar<br>Abstract: This dissertation analyses the annual commemoration of the episode La noche de los lápices, from 1990 to 1996. This episode refers to a series of procedures aimed at the repression of the sophomore student movement, occurred between 15 and 21 September 1976 in the city of La Plata. This is one of the emblematic cases which have consolidated in the collective memory of Argentine society in the period of democratic reconstruction, about violence and the systematic repression of the seven years of the most recent civil-military dictatorship in Brazil (1976-1983).Our goal is to discuss the relations of society and Argentine state institutions with memories of the episode in question, and therefore with the most recent dictatorial past, from the formation of circuits in which memories discourses and practices of remembering guarantee the permanence of that as a last present. We used the documents produced and filed in the Archives of former Dirección de Inteligencia de la Policía de la Provincia de Buenos Aires (DIPBA), an intelligence service that worked in Argentina from 1956 to 1998. Our choice enables mapping the different initiatives that occur annually on the 16th of September, in addition to identifying the criteria that (re) mean the creation of memories about the date. The referred documents bring to the circuit of memories a new actor in this study, the national surveillance social policy. And most of all its necessary to question its operation during the democratic period that followed the latest civil-military dictatorship<br>Mestrado<br>Politica, Memoria e Cidade<br>Mestre em História
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Verstraeten, Alice. "La disparition sur la scène sociale argentine : modalités de résistance à l’impunité." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20021.
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Entre 1976 et 1983, la dictature militaire argentine orchestre la disparition d’environ trente mille personnes. Son but n’est pas seulement la mort, mais l’empêchement de toute forme de différence et de toute forme de résistance chez les vivants. Dans un parcours menant d’une esquisse de la terreur à une anthropologie des possibles résistances, cette thèse confronte la recherche à l’effacement, à la déliaison puis à la possible reconstruction. Elle apparaît comme une démarche exploratoire et impliquée, aux côtés de (sur)vivants qui sont parvenus à recréer des liens de sens et des liens sociaux et donc, à refaire émerger du politique. Leurs témoignages, déclinés autour de ceux des « Mères de la Place de Mai », ont permis une résistance par les mots, par les corps et par les images à l’indicible, l’invisible et l’irreprésentable. Au fil de l’émergence d’un réseau de lutte contre l’effacement des traces et des preuves de la disparition, avec en ligne de mire les objectifs utopiques de « mémoire, vérité et justice », les résistants développent une forme de paradigme indiciaire qui n’a de cesse de rappeler à l’anthropologie l’importance des détails et des petits liens. En comprenant le social comme un théâtre, nous parvenons à appréhender diverses modalités de mise en scène de la disparition qui, toutes, révèlent l’importance cruciale de l’articulation entre l’intime et le collectif dans la reconstruction du social.Parce que les gouvernements démocratiques ont perpétué les représentations sociales qui ont rendu possible cette extermination politique, la résistance est toujours soumise à de nouvelles défiances révisionnistes. Elle est toujours renouvelée. Les questions qu’elle soulève restent, quant à elles, toujours aussi brûlantes<br>From 1976 to 1983 the military dictatorship in Argentina engineered the “disappearance” of an estimated thirty thousand people. Its aim was not merely to put people to death but to eradicate all forms of diversity and every trace of resistance in the living.By sketching the reign of terror and by proposing an anthropological analysis of the different possible forms of resistance, this thesis confronts the research to effacement, dismemberment and then to the possibilities of reconstruction. It is an explorative and involved research by the side of survivors who succeeded in reconstruct sense and social relationships and have thus contributed to a political renaissance. Their testimonies - with those of the “Mothers of the Plaza de Mayo” as a heart - are resisting to what is unspeakable, impossible to see and to portray: they are based on words, on bodies and on images. A network, whose utopian motto was “memory, truth and justice”, gradually emerged to fight against the concealment of every trace of evidence of the “disappeared”. Its members developed a form of indicative paradigm which serves as a constant reminder to the anthropologist of the importance of details and minor connections.If we see society as theatre we may understand the different ways the forced disappearance was staged, which illustrate the crucial importance of the links between the intimate and the collective in social reconstruction.The resistance network is still constantly subject to revisionist suspicion, because democratic governments have maintained the social representations which made this political extermination possible. Resistance has to bee constantly re-invented. The questions this movement raises are, for their part, still a burning issue
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Soca, Diego Antônio Pinheiro. "Os voos da morte como método de desaparecimento, extermínio e ocultação de cadáveres na Argentina (1976-1983)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149525.
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O presente trabalho tem como objetivo discorrer a respeito dos desdobramentos da operacionalização dos voos da morte na Argentina, durante a última ditadura civil-militar daquele país, entre os anos de 1976 a 1983. É possível afirmar que os voos da morte configuraram, simultaneamente, uma prática de desaparecimento, extermínio e ocultação de cadáveres de opositores políticos em poder do Estado, escolhida, planejada e sistematizada pelos militares que tomaram o poder através do golpe de Estado em 1976. A metodologia empregada nesta prática de desaparecimento variou conforme o tempo e as condições apresentadas nos centros clandestinos de detenção (CCD). Levando-se em consideração esse fato, foi uma opção do presente trabalho debruçar-se mais pormenorizadamente no caso mais emblemático, a ESMA, a Escuela de Mecánica de la Armada, um dos maiores campos de concentração ativos durante o período da ditadura militar. Para as considerações deste trabalho, foram analisados documentos produzidos pelo Judiciário argentino relativos aos julgamentos dos repressores acusados de crimes de lesa-humanidade, assim como testemunhos pessoais de repressores e sobreviventes da ESMA. A prática dos voos da morte e suas consequências são transcendentes ao espaço físico que ocuparam os CCD. Estes desdobramentos ultrapassam inclusive os limites territoriais da própria Argentina, devido ao fato de que através das correntes marítimas do Rio da Prata e do Oceano Atlântico, cadáveres foram levados às praias do Uruguai, nação que também à época vivia sob um regime ditatorial. Além de uma metodologia de desaparecimento, os voos da morte também podem ser entendidos como uma metodologia de ocultação de cadáveres, como permite compreender o caso dos corpos lançados no delta do rio Paraná, na província de Entre Rios, e as diversas testemunhas das aparições e dos lançamentos. Há também o caso dos cadáveres aparecidos na costa brasileira, em abril de 1978, documentados por jornalistas, que levantam suspeitas a respeito da conivência das autoridades brasileiras com a ocultação dos restos mortais das vítimas dos voos da morte. Para as considerações sobre estes desdobramentos, são analisadas fontes testemunhais O entendimento do funcionamento dessa metodologia de desaparecimento e ocultação de cadáveres é fundamental para a compreensão destes desdobramentos citados.<br>This paper aims to discuss about the developments of the operation called "death flights" in Argentina, during the last civil-military dictatorship in that country between the years 1976 to 1983. It can be said that the “death flights” configured simultaneously, a practice of disappearance, death and concealment of corpses of political opponents by the state. This methodology used in the practice of disappearance varied as time and the conditions in the Clandestine Detention Centers (CCD). Taking into account this fact, it was an option of this work to address in more details the most emblematic case, the ESMA (Escuela de Mecánica de la Armada), one of the largest active concentration camps during the period of military dictatorship. For considerations of this work, documents produced by argentine courts at the time of the trials of repressors accused of crimes against humanity, as well as personal testimonies of repressors and survivors of ESMA were analyzed. The practice of the “death flights” and its consequences transcend the physical space that occupied the CCD. These developments even beyond the boundaries of Argentina itself, due to the fact that through the currents of the Rio de la Plata and the Atlantic Ocean, corpses were taken to the beaches of Uruguay, a nation that also at the time lived under a dictatorial regime. In addition of being a methodology of disappearance, the “death flights” can also be understood as a methodology of concealment of corpses, once is it possible to understand the case of the bodies thrown into the Parana River delta, in the province of Entre Rios, and several witnesses of the apparitions. There is also the case of the corpses appeared on the Brazilian coast, in April 1978, documented by journalists, raising suspicions about the connivance of the Brazilian authorities with the concealment of the remains of victims of the “death flights”. For consideration of these developments, witness sources are analyzed. The understanding of the operations of disappearance methodology and concealment of corpses is essential to understand these developments cited.
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Cotter, Brianne. "Las “brujas” en las carceles clandestinas de Argentina: La prisionera politica embarazada y otra madres en la imaginaria cultural del terrorismo estatal." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589746381503724.
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Gillier, Baptiste. "Punto de Vista (1978-2008) : politique d'une critique." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH092.
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En mars 2008 a paru le 90ème et dernier numéro de la revue culturelle argentine Punto de Vista (1978-2008). Beatriz Sarlo – directrice officielle de la publication depuis 1981 – signe personnellement le dernier éditorial dans lequel elle souligne que la revue fut une « manière d’écrire sur la littérature et la politique ». En accordant une attention toute particulière à la matérialité et à la singularité de l’objet revue, cette recherche se propose de rendre compte de cette « manière d’écrire », c’est-à-dire de la critique de Punto de Vista. Dans une perspective socio-historique, cette étude retrace dans un premier temps la trajectoire du collectif éditorial au travers de ses interventions dans le champ politique et intellectuel argentin. Apparue en pleine dictature militaire, la revue devient à partir de la transition démocratique un référent important du champ intellectuel argentin, avant de s’inscrire de manière plus périphérique dans une fin-de-siècle marquée par la crise sociale et par l’essoufflement du modernisme. Dans un second temps, ce travail de recherche interroge le projet critique de la revue qui repose sur une reconfiguration des relations entre la culture et la politique à la lumière du nouveau paradigme démocratique. À travers une réinvention de la tradition et une mise à jour de la critique, la revue va construire une perspective singulière à la fois sur le présent et sur la passé marquée par le paradigme moderne. Enfin, par le biais d’un « retour critique », cette étude se propose de renverser sa propre perspective et de rendre compte, à travers la politique de la littérature, des emprunts de la critique<br>In March, 2008, the Argentine cultural journal Punto de Vista publishes its ninetieth and final issue. Beatriz Sarlo –the journal’s editor since 1981– personally signs the last editorial, in which she points out that the journal was a « way of writing about literature and politics ». Underscoring the materiality and uniqueness of the journal object, this study aims to account for this « way of writing », that is, of Punto de Vista’s critique. From a socio-historical perspective, this research reconstructs, in the first place, the trajectory of the editorial collective through its interventions in the Argentine political and intellectual field. Born in the midst of the military dictatorship, the journal becomes an important model in the Argentine cultural field and registers itself, peripherally, at the end of the century marked by the social crisis and the exhaustion of modernism. Second, this research examines the journal’s critical project, which is based on a reconfiguration of the relations between culture and politics in the light of the new democratic paradigm. Through a reinvention of the tradition, as well as an update of the critique, the journal builds a singular perspective on the present and the past, marked by the modern paradigm. Finally, by means of a « critical return », this study proposes to invert its own perspective and to account, through the politics of literature, for the contributions of the critique<br>En marzo de 2008 aparece el nonagésimo y último número de la revista cultural argentina Punto de Vista. Beatriz Sarlo –directora oficial de la revista desde 1981– firma el último editorial, en el cual señala que la revista fue una « manera de escribir sobre literatura y política ». Subrayando la materialidad y la singularidad del objeto revista, este estudio se propone dar cuenta de esta « manera de escribir », esto es, de la crítica de Punto de Vista. A partir de una perspectiva socio-histórica, esta investigación reconstruye, en primer lugar, la trayectoria del colectivo editorial a través de sus intervenciones en el campo político e intelectual argentino. Nacida en plena dictadura militar, la revista se vuelve un referente importante del campo cultural argentino y se inscribe, de manera periférica, en un fin de siglo marcado por la crisis social y el agotamiento del modernismo. Por otra parte, este trabajo de investigación interroga el proyecto crítico de la revista, que se fundamenta en una reconfiguración de las relaciones entre cultura y política a la luz del nuevo paradigma democrático. A través de una reinvención de la tradición, así como de una puesta al día de la crítica, la revista va construyendo una perspectiva singular sobre el presente y el pasado, marcada por el paradigma moderno. Finalmente, mediante un « retorno crítico », este estudio se propone invertir su propia perspectiva y dar cuenta, a través de la política de la literatura, de los préstamos de la crítica
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Bolte, Rike. "Gegen(-) Abwesenheiten." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2014. http://dx.doi.org/10.18452/16907.
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Während der letzten argentinischen Diktatur (1976-1983) wurden zehntausende Menschen in geheimen Lagern festgehalten, gefoltert und ermordet – dann ''verschwanden'' sie. Die meisten Fälle sind nur schwer rekonstruierbar, viele Täter kamen ungestraft davon. Für diese staatsterroristische Praxis wurde die Bezeichnung erzwungenes Verschwinden eingeführt (spanisch desaparición forzada). Die Untersuchung beschäftigt sich mit medialen und ästhetischen Verfahrensweisen, die in Argentinien in der Auseinandersetzung mit der desaparición forzada entwickelt wurden. Im Vordergrund steht die These, dass die gewaltsame Depräsentation der Opfer zu einem gesellschaftlichen ''Wahrnehmungsmord'' ("percepticidio") geführt hat. Die medialen Strategien und ästhetischen Produktionen, die die Untersuchung analysiert, markieren den gegenwärtigen Stand einer transgenerationellen kulturellen Bearbeitung dieser wahrnehmungsrelevanten sozialen und politischen Erfahrung. Es handelt sich um Produktionen im Bereich Narrativik, Lyrik, Fotografie, Film und Theater, die im Kontext der Memoria-Hochkonjunktur nach 1989 und der digitalen Globalisierung stehen. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni und Lucila Quieto sowie Albertina Carri und Lola Arias haben Kontra(re)präsentationen zum gewaltsamen Verschwinden entworfen, die materiell, meta-medial und kontrainformativ verfahren. Nach diskursanalytischen, repräsentations- und medientheoretischen Einführungen sowie einer Reihe terminologischer Definitionen arbeitet die Untersuchung an diesen Produktionen einer postdiktatorischen Generation, die als "Camada Cadáver" bezeichnet wird, heraus, dass ein ''Phänomen'' wie das erzwungene Verschwinden – das in vielfache Referenzlosigkeit führt – ästhetische Strategien motiviert hat, die als beispielhaft emergent und experimentell einzustufen sind, weil sie neue Erkenntnisse für die noch unabgeschlossene Erforschung eines der vielen Terrorregimes des 20. Jahrhundert liefern.<br>During the Argentinean dictatorship (1976-1983), tens of thousands of people were kept in secret camps, were tortured, murdered, and ''disappeared''. Most cases are difficult to reconstruct. Many of the offenders have remained unpunished. The term "forced disappearance" (Spanish desaparición forzada) was introduced for this act of state terrorism. This study addresses medial and esthetic processes that were developed in light of the debate on desaparición forzada in Argentina. At the heart of the study is the hypothesis that the violent ''depresentation'' of the victims has led to ''cognitive murder'' ("percepticidio"). The media strategy and esthetic productions analyzed in the study represent the current state of the art of the trans-generational cultural work on cognition relevant social and political experiences. The productions in the field of the study of narration, poetry, photography, film, and theater have emerged in context of the post 1989 memory-boom and digital globalization. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni, and Lucila Quieto as well as Albertina Carri and Lola Arias have conceptualized counter(re)presentations to violent disappearance which proceed materially, meta-medially, and counter-informatively. Following introductions on discourse analysis, representation theory, and media theory as well as a number of terminology definitions, the study analyzes the above mentioned productions created by a post dictatorship generation, which are being referred to as the "Camada Cadáver", and shows that the ''phenomenon'' of forced disappearance, which leads to a repeated lack of reference, has motivated esthetic strategies that are to be classified as exemplarily emergent and experimental, because they have produced new insights for the unfinished research on one of the many terror regimes of the twentieth century.
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Sanchez, Joana. "Un imaginaire du lien : famille et société dans le théâtre indépendant argentin (1975-2015)." Thesis, Strasbourg, 2019. https://publication-theses.unistra.fr/restreint/theses_doctorat/2019/Sanchez_Joana_2019_ED520.pdf.
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À partir d’une approche transdisciplinaire croisant la sociologie, l’anthropologie, l’histoire et la philosophie, il s’agit d’abord de penser comment la famille, lieu quotidien d’un maillage dialectique entre le même et l’autre, peut être le support privilégié d’un « imaginaire du lien ». C’est au regard de cette hypothèse, et depuis une perspective sociocritique, que la thèse questionne les croisements entre le lien familial (exposé sur la scène), le lien social (qui s’y projette, par la médiation de l’imaginaire) et le lien théâtral (qui structure les dramaturgies et définit une théâtralité spécifique), durant deux périodes particulièrement complexes d’un point de vue socio-politique : la dernière dictature militaire puis la post-dictature. À la croisée des études théâtrales et des sciences sociales, cette recherche explore les enjeux politiques et sociaux du sujet, tout en plaçant l’analyse dramaturgique du corpus au premier plan de la démonstration<br>From a transdisciplinary approach at the crossroads of sociology, anthropology, history and philosophy, this research, in a first instance, considers how the family, everyday playground of a dialectic mesh between the same and the other, can be the privileged substrate of an “imaginary of the bond”. In the light of this hypothesis, and through the social criticism, this thesis interrogates the intersections between family bond (exhibited on stage), social bond (projected on it) and theatrical bond (which structures the dramaturgy and defines a specific theatricalness), during two timeframes particularly intricate on a socio-political standpoint: the last military dictatorship and the post-dictatorship. On the crossroads of theatrical studies and social sciences, this research explores political and social issues while bringing to the forefront the dramaturgical analysis of the corpus<br>¿Por qué el teatro, y en particular en Argentina, parece tan obsesionado con el tema de la familia ? Rechazando la retórica de la «familia disfuncional», esta tesis analiza las ficciones familiares en su relación con lo social. Desde una perspectiva pluridisciplinar (con herramientas de sociología, antropología, historia y filosofía), se trata primero de pensar cómo la familia, espacio cotidiano de una dialéctica entre lo mismo y lo otro, puede ser el soporte de un «imaginario del vínculo». A partir de esta hipótesis, y con las herramientas de la teatrología y la sociocrítica, la tesis interroga los cruces entre vínculo familiar, vínculo social y vínculo teatral (el que estructura la dramaturgia y la teatralidad), durante dos períodos complejos a nivel sociopolítico: la última dictadura militar y la posdictadura. Respecto al teatro producido durante la dictadura, se matiza la idea de una intención sistemáticamente metafórica (al asumir que un teatro concebido como mero código sería un vínculo teatral profundamente vertical que no corresponde con gran parte de las obras), y se analizan «manchas temáticas» recurrentes, que plasman en las ficciones familiares un «vínculo tiránico», a la par de la política de terror de la Junta militar.En la posdictadura, se sigue profundizando una dinámica de fragmentación social, que también se puede vislumbrar en la producción teatral. Mientras que las condiciones de producción del teatro independiente (en espacios cada vez más íntimos) favorecen la multiplicación de dramas familiares, las nuevas dramaturgias, a pesar de reivindicar su autonomía, también están atravesadas por el contexto social e histórico (mediante motivos temáticos recurrentes y formas dramáticas fragmentadas). Entre los estudios teatrales y las ciencias sociales, este trabajo de investigación explora la dimensión política y social del tema familiar, con el análisis dramatúrgico del corpus en el primer plano de la reflexión
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Olaso, Ruiz María Julieta. "«Me gusta cuando callas...»análisis de los sistemas represivos de Argentina y España y sus huellas a partir de la (re)construcción de la memoria democrática." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/399305.
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En aquest treball s'analitzen dos processos construïts per i des de la violència política: l'última dictadura argentina i el
franquisme a Espanya. En tots dos es devela el funcionament i la dinàmica del sistema repressiu, els seus resultats i
els seus abastos fins als nostres dies. S'indaga en el cas argentí les condicions socials i polítiques en què es van
conformar Moviments Socials de Drets Humans liderats per dones i les seves estratègies per reclamar pels seus
familiars i per justícia, en un context signat per la violència política, els segrestos, la tortura i “desaparició” de
persones. També s'analitza durant la democràcia les lluites per la construcció de la justícia i la memòria del Terrorisme
d'Estat i els seus resultats en l'actualitat.
Després s'examina el cas espanyol, reconeixent els motius pels quals les lluites per construcció de la memòria i la
justícia de la repressió del franquisme assumeix característiques específiques tant durant el franquisme, com en la
transició i la democràcia.
Per comprendre les diferents respostes polítiques, jurídiques, dels grups socials, dels familiars i del gènere femení a
través del temps, aquest assaig explica la manera en què els repressors van exercir i van introduir la violència en el
teixit social de tots dos països, i descriu els mètodes que van emprar.<br>el franquismo en España. En ambos se devela el funcionamiento y la dinámica del sistema represivo, sus resultados y
sus alcances hasta nuestros días. Se indaga en el caso argentino las condiciones sociales y políticas en que se
conformaron Movimientos Sociales de Derechos Humanos liderados por mujeres y sus estrategias para reclamar por
sus familiares y por justicia, en un contexto signado por la violencia política, los secuestros, la tortura y “desaparición”
de personas. También se analiza durante la democracia las luchas por la construcción de la justicia y la memoria del
Terrorismo de Estado y sus resultados en la actualidad.
Luego se examina el caso español, reconociendo los motivos por los cuales las luchas por construcción de la memoria
y la justicia de la represión del franquismo asume características específicas tanto durante el franquismo, como en la
transición y la democracia.
Para comprender las diferentes respuestas políticas, jurídicas, de los grupos sociales, de los familiares y del género
femenino a través del tiempo, este ensayo explica el modo en que los represores ejercieron e introdujeron la violencia
en el tejido social de ambos países, y describe los métodos que emplearon.<br>This essay analyzes two processes built by and from political violence: the last military dictatorship in Argentina and
Francoism in Spain. Both processes reveal the workings and dynamics of a repressive system, its results and its
repercussions in the present.
In the case of Argentina, this work looks into the social and political contexts in which women-led Human Rights Social
Movements surged, and their strategies to demand justice and information about the women’s relatives, in a context
marked by political violence, kidnappings, torture and the "disappearing" of people. The text also analyzes the struggle
to rebuild justice during the return to democracy, as well as the memory of State Terrorism and its effects in the
present.
The essay then examines the Spanish case, pointing out the reasons why the struggle for the reconstruction of justice
and the memory of Francosim's repression has specific characteristics, both during Franco's government and during
the transition to democracy.
In order to understand the political and legal responses and the reactions of social groups, the victim’s families and the
female gender across time, this essay explains how the oppressors practiced and inserted violence in the social fabric