Teses / dissertações sobre o tema "Lucha libre"

Memoria para optar al título de Diseñador Gráfico
Imagen Lucha Chilena, corresponde a un proyecto audiovisual experimental encasillado bajo el formato de serie documental y que sienta un precedente respecto al análisis de la historia de la lucha libre chilena y sus etapas, a partir del relato de sus propios gestores, planteando una narración cronológica que hace vista general de los aspectos gráficos plásticos y utilitarios que conforman el sistema comunicacional que la lucha libre chilena ha desarrollado. Mediante la recopilación de muestras representativas y como complemento del relato entregado por sus protagonistas, se hará desglose de las tres etapas más importantes en la evolución de la lucha libre nacional, dejando entrever la identidad visual que este deporte espectáculo proyecta a nivel local, en base a sus particularidades estéticas y prácticas. El producto de este proyecto, corresponde al primer capítulo (piloto) de un total de 4, que toman en consideración las temáticas en que se pueden subdividir los aspectos gráficos mencionados. En esta primera instancia, el eje central del capítulo piloto corresponde a los elementos de “promoción y marketing” de la lucha libre chilena, desde su época dorada y hasta la actualidad, empleando material capturado en un foro de discusión organizado específicamente en torno a este tema como también del acopio de material de archivo alusivo al relato en cuestión.

This PhD uses a queer reading strategy to explore the performative sites of lucha libre (wrestling in Mexico). My research inhabits the space behind the scene, the space between the ring and the audience, and the space of being part of the audience itself. My reading of the luchas takes place through the camera, the interview, printed works, theoretical investigation, and through the work of artists who draw on lucha libre – including myself. As lucha libre itself cannot be narrowed down to one specific medium, my subject matter allows me to utilize an interdisciplinary perspective to examine its various encounters, spaces, subjectivities and gestures. As well as attending live events in the arenas, watching lucha libre on television, exploring its circulation in artistic and filmic productions and its appropriation in advertisements and political discourse, I have carried out an intervention in a regular lucha libre programme by inventing a character, promoting, constructing and staging a match in an arena in the north of Mexico City. My methodology therefore makes use of a whole range of strategies including those borrowed from the discipline of anthropology and from practices of documentary making. Through my writing and my practice, I attempt to query and complicate these disciplinary conventions and my own use of them. I place particular emphasis in this PhD upon the possibility and use of a queer reading strategy in relation to lucha libre. Drawing on the works of Gloria Anzaldúa, Judith Butler, Judith ʻJackʼ Halberstam, José Javier Maristany, and José Esteban Muñoz, the thesis argues that a queer reading strategy has the potential to complicate ways of seeing gender and sexuality as well as race, ethnicity, class, time and space in this context. I identify the rich queer legacies within lucha libre, film and popular culture, and focus on the multiple and often conflicting readings made possible by adopting queer theory and reading practices. In doing so, the thesis interrogates the different ways in which popular cultures can go beyond accepted notions of what it means to be Mexican, a woman, macho, gay and so on. Throughout this work, I pay close attention to forms of audience participation, their verbal and gestural acts and how key these are in to the event of the lucha. These verbal and gestural acts, I argue, produce a unique complicity in the arena manifesting a transient trace of queer histories, and suggesting potential utopias.

La lucha libre profesional es un espectáculo liminal que se asienta y transita entre las fronteras del deporte y del arte escénico. Dada esta condición, ha sido regularmente deslegitimada y marginada, vista como algo falso y de poco contenido. En esta investigación analizaré, desde el campo de los estudios teatrales, cuáles son y cómo se usan las herramientas propias o asociadas al teatro, tales como dramaturgia, conflicto, construcción e interpretación de personajes y representación, para la composición y escenificación de un show de lucha libre a partir del caso de “Conquista 2018”, producido por la empresa peruana Generaxión Lucha Libre. La investigación pretende mostrar que, desde los estudios teatrales, se puede ofrecer un marco conceptual y estético que ayude a organizar y comprender el complejo proceso de composición y realización de un espectáculo de lucha libre. Asimismo, se propone plantear una primera aproximación hacia la construcción de una “poética” de este deporte de espectáculo que algunos autores reclaman como necesaria para lograr un entendimiento más profundo y menos sesgado sobre una forma de arte deportivo multifacético e internacional como este.
Tesis

Memoria para optar al título de Periodista
Más allá de los golpes, moretones y patadas se encuentra la pasión. Aquel deseo que siente un grupo de luchadores por pararse sobre el ring y entregar un espectáculo de calidad a su fiel público. Porque además de los huesos rotos o músculos adoloridos que pueda dejar como saldo una buena pelea, siempre estará al otro lado de la cortina, la tan esperada recompensa que constituye el aplauso del respetable público. Pero, ¿qué sucede cuando de un momento a otro el cuadrilátero y los aplausos desaparecen? ¿Cuándo abruptamente deja de existir la oportunidad de que el contrincante pueda llevarte a la gloria o quitártela con un solo movimiento y antes del último sonido de la campana? A Brazo Partido cuenta la historia de Revolución Lucha Libre, una agrupación de jóvenes que hacen de la lucha su primera pasión, pero que de un momento a otro deben enfrentarse a una serie de obstáculos, cuando una orden de desalojo los deje sorpresivamente en la calle, sin entrenamientos ni shows y amenace con alejarlos de la fama que cultivan semana a semana con cada evento.

Hablar de cultura popular mexicana es aludir a la cultura social por excelencia, a esa instancia que remite al hombre a un ámbito de pertenencia, a un entorno y a un grupo específico. Es referirse a una cultura que es popular en la medida en que se transmite una particular visión del mundo, resultado de una voluntad colectiva, una tradición dinámica, y en tanto cumple con una necesidad de recreación, de transfiguración de ese mundo, de una sensibilidad estética. Resulta importante destacar que las culturas populares son más que un simple espectáculo de entretenimiento o de expresión artística indígena, pues se trata de fuerzas creativas que pueden ayudar a crecer a un país que aun lucha por forjar su propia identidad.

Since the 1930s Lucha Libre Mexicana, Mexican wrestling, has evolved as a manifestation of popular culture combining spectacle, sport, theatre and ritual. Lucha Libre Mexicana, an event based performance using the mask, connects and reconnects to myth, stories, and ritual that societies, in this case the Mexican, need in order to find meaning within daily events and the contradictions and questions that confront every individual. This research analyses the cultural meanings of Lucha Libre Mexicana from the point of view of a diasporic artist and contextualizes knowledge to determine artistic practice. Identity and the construction of identity are explored throughout this thesis. The various aspects of Lucha Libre Mexicana such as the masks, the holds, the wrestlers themselves, and the performative nature of the spectacle, serve as referents to make connections to the artist’s own culture and the idea of constructed Mexicanness. This study includes a number of practice-based inquiries that are the result of the analysis and reflection on Lucha Libre and diasporic Mexicanness. The study reveals the manner by which creative processes including thinking in materials enable the artist scholar to acquire knowledge and thematic understanding. This thesis demonstrates how the traditional icons of the Mexican luchador and his mask acquire an even stronger iconic and symbolic value, emblematic of justice, outside the Lucha Libre ring. The study contributes to the field of cultural studies by adding to the understanding of the historical timeline of the development of Lucha Libre Mexicana. A large body of original work developed from the investigations and analyses of the subjects and issues discussed.

Memoria (licenciado en ciencias jurídicas y sociales)
No autorizada por el autor para ser publicada a texto completo
Este trabajo, tiene la pretensión de entregar una mirada crítica que buscar profundizar la discusión en torno a las diferentes temáticas del ilícito de colusión, así como dejar constancia del esfuerzo intelectual que otros trabajos han realizado, presentando de esta forma un enfoque que esperemos sirva para luchar de forma más efectiva en contra de la colusión. De esta forma, se plantearán los elementos centrales del debate en torno al Ilícito anticompetitivo de colusión, centrando el análisis en los principales problemas analíticos y prácticos, así como, una perspectiva que intentará ser crítica de la institucionalidad en la lucha en contra de los carteles. De éste modo, el cuerpo de este trabajo contará con siete capítulos, los cuales trataran en profundidad los diferentes aspectos del ilícito anticompetitivo de colusión, entregando una perspectiva de la evolución, doctrinal, jurisprudencial y legislativa del tratamiento de este ilícito en Chile y el mundo.

La presente tesis es un análisis descriptivo del fenómeno comunicacional que representa la transmisión televisiva de eventos deportivos. El deporte es un evento social que reúne a un gran número de espectadores mientras que la televisión es un medio de comunicación que funciona en base a audiencias. El primero tiene un elemento que lo hace atractivo para la televisión, el público, por esta razón es un contenido que puede televisarse. La televisión transmite eventos deportivos porque estos suponen elevar sus índices de audiencias. He ahí que las cadenas y productoras televisivas inviertan recursos en la cobertura de eventos deportivos, sacan un provecho de esto. El trabajo busca identificar los componentes del tratamiento televisivo que proponen una experiencia espectacularizada para este tipo de contenidos. El deporte con el cual trabajaremos será la lucha libre profesional por dos razones esenciales. La primera es que la lucha libre profesional es un evento deportivo creado con el fin de entretener al público, en este sentido coincide con los intereses de la televisión y lo convierten en el deporte adecuado para ser televisado. La segunda razón es porque el tema de mediatización del deporte normalmente abarca deportes como el futbol o las olimpiadas. Un trabajo sobre lucha libre profesional brinda un enfoque distinto sobre el mismo fenómeno. La espectacularización del deporte en los medios de comunicación se abordará desde el punto de vista de la producción del programa televisivo, mas no de la percepción que tiene el público. Esto se debe a que el objetivo de la investigación es determinar los componentes del tratamiento televisivo que proponen una experiencia espectacularizada de un evento de lucha libre. Por ello que tenemos que analizar eventos deportivos televisados y describir la lógica y estética bajo la cual funcionan
Tesis

This project examines the articulation of Mexican identities in digital narratives through a variety of genres, bringing into conversation various disciplines to present more comprehensive studies on the construction of representational paradigms, their consumption and social impact and their association with other cultural and literary texts. Deploying a multidisciplinary approach, this work articulates a theoretical framework that incorporates the fields of semiology, postcolonial theory, visual culture, urban studies, ludology, linguistic anthropology and border studies. This project analyzes the processes through which the identities of Mexican subjects and the depiction of Mexican spaces are articulated in new digital narratives in the form video games as mass culture objects, which are conceived from hegemonic loci of production, are globally consumed and have the potential to transmit deeply rooted social knowledge. Furthermore, the lack of spaces in which represented minorities may counter the stereotypical images projected forecloses dialogic processes. Through the agglomeration of different representational modules (visual units, narrative elements and linguistic portrayals) different genres impose predisposed rhetorical framework and found that the vast majority share a predetermined collection of elements that create a representational mosaic of how "Mexicanness" should be depicted and perceived. Furthermore, said digital subject representations enact cultural ideological frameworks that are imposed onto the audience, influencing meaning-formation processes. This work also analyzes the dynamics between the production, representation and consumption of videogames and traces tangents with the social and historical contexts of earlier visual media in Latin America.

For as long as I can remember, I have struggled with understanding who I am. What makes me is something I try to make sense of through art. When I started working on this my graduation show, the idea behind it was to make a portrait of the Mexico I know, but when the pandemic hit, I found myself locked down at home, completely alone in a new country for the first time. This led me to question my existence and the belief systems I espoused and prompted me to try to understand myself better in the context of a foreign culture. As a result, the concept behind the show evolved from being about the Mexico I know to exploring who I am and how my upbringing has shaped my art and trying to make sense of my existence.

Nel complesso panorama geopolitico dell’Europa moderna, Lucca rappresentò una realtà territoriale circoscritta e periferica, tendenzialmente pacifica e dedita ai commerci, che riuscì a conservare la propria indipendenza repubblicana fino al 1799. Le ricerche tentano di fornire un quadro ampio sul mondo del libro e la circolazione dei saperi nella città-Stato toscana tra XV e XVI secolo, riservando particolare attenzione alla produzione tipografica locale, di cui si ripercorrono le vicende storiche a partire dal duplice tentativo di introdurre la stampa da parte di Clemente da Padova (1472 e 1477), fra i primi stampatori di origine italiana, fino all’ascesa di Vincenzo Busdraghi (1548-1549), da più parti considerato il “principe degli stampatori lucchesi”. Di ciascuna edizione lucchese viene fornita una descrizione secondo i più recenti modelli di catalogazione bibliografica, sempre condotta su esemplari esaminati presso biblioteche e archivi, sia italiani che stranieri. La seconda sezione focalizza l’attenzione su alcuni episodi particolarmente significativi riguardanti la circolazione e il commercio librario, che interessò dapprima i codici manoscritti e poi i volumi a stampa, mettendo in evidenza i nomi di numerosi librai e cartolai attivi a Lucca e nelle zone limitrofe, emersi da inedite fonti notarili. Inoltre, viene proposta l’edizione dell’inventario post mortem della bottega pisana appartenuta al libraio Vincenzo Berretta, ma si considera anche la dispersione libraria attraverso l’analisi di maculature e frammenti, oltre alla circolazione di diversi prodotti editoriali, quali pronostici e messali, destinati a differenti categorie di lettori. Legata a doppio filo con le indagini sulle edizioni popolari di larga circolazione, la terza sezione offre un approfondimento sul Volto Santo, la taumaturgica reliquia conservata a Lucca nella Cattedrale di San Martino, di cui si analizza una serie di pubblicazioni quattro-cinquecentesche che riportano il racconto in prosa o in versi del leggendario arrivo in città. In ultimo, si propone una panoramica delle principali raccolte librarie presenti entro le mura lucchesi tra la seconda metà del Quattrocento e gli anni ’70 del secolo successivo, di cui è sopravvissuta una testimonianza coeva sotto forma di catalogo, inventario o lista di libri. Per l’eccezionale importanza nella storia delle biblioteche ecclesiastiche, viene fornito un elenco delle pubblicazioni a stampa appartenute al vescovo Felino Sandei, la cui raccolta si è conservata pressoché intatta dalla sua donazione al Capitolo della Cattedrale di Lucca nel 1503 fino ai nostri giorni.
In the complex geopolitical landscape of Early Modern Europe, Lucca was a limited and peripheral reality, inclined to be peaceful and dedicated to trade, which succeeded in preserving its republican independence until 1799. The research attempts to provide a broad picture of the world of books and the circulation of knowledge in the Tuscan city-state between the XV and XVI centuries, focusing particular attention on local printing production, whose historical events are traced from the double attempt to introduce the printing press by Clemens Patavinus (1472 and 1477), among the first printers of Italian origin, to the rise of Vincenzo Busdraghi (1548-1549), widely considered “the prince of Lucca printers”. Each Lucchese edition is presented according to the latest models of bibliographic description, always conducted on specimens examined in Italian and foreign libraries and archives. The second section focuses the attention on some particularly significant episodes concerning the circulation and book trade, which first involved manuscripts and then printed volumes, highlighting the names of many booksellers and stationers active in Lucca and neighboring areas, which have emerged from unpublished notarial sources. In addition, the transcription of the posthumous inventory of the Pisan workshop belonging to the bookseller Vincenzo Berretta is proposed, but book dispersion is also considered through the analysis of some fragments and binding waste, as well as the circulation of different publishing products, such as forecasts and missals, intended for different categories of readers. Closely linked to the popular printing production, the third section offers an indepth look at the Holy Face of Lucca, the thaumaturgical relic preserved in Lucca in the Cathedral of San Martino, of which is analyzed a series of XVth and XVIth century editions which tell the story of its legendary arrival in the city in prose or verse. Finally, an overview of the main book collections present within the walls of Lucca between the second half of the fifteenth century and the 1570s is presented, of which a coeval record has survived in the form of a catalog, inventory or list of books. Because of its exceptional importance in the history of ecclesiastical libraries, is provided a list of the printed publications belonging to Bishop Felino Sandei, whose collection has been preserved almost complete since its donation to the Chapter of the Cathedral in 1503 to the present day.

Las elecciones generales de 1956 constituyen un importante hito en la historia de la democracia en el Perú; pusieron fin al autoritario régimen del general Manuel Odría (1948- 1956) y dieron inicio al mayor periodo democrático hasta ese entonces (1956-1968). Nuestra investigación es la primera en examinar la coyuntura electoral 1955-1956 de manera comprensiva y a partir de un uso intensivo de fuentes primarias; permitiéndonos plantear una interpretación consistente y articulada sobre cómo ocurrió este trascendental proceso de apertura política.
Tesis

Notre travail interroge les différentes pratiques de création de Ghérasim Luca (livres-objets, albums, portfolios, plaquettes, poèmes-tracts et poèmes-affiches, récitals scéniques et télévisuels, cubomanies, dessins au point) à l’aune des expériences sémiotiques qu’elles engagent. Dire des signes qu’ils sont mis en jeu, c’est insister sur la dimension matérielle et éminemment sensible des mouvements de production et de réception. La question du sens est indissociable de celle du médium, dès lors que les signes se donnent à éprouver comme corps (corps sonores, corps graphiques ou typographiques) par des corps. La notion de surgissement permet de rendre compte de cette spatialité, qui a partie liée avec des phénomènes théâtraux, ceux d’apparition et de disparition : la page blanche, la bande sonore, l’écran, le panneau de bois peint, sont autant de lieux où peut s’inventer et se déployer une pensée incarnée. Quant à la notion d’opacification, employée en linguistique pour décrire certains phénomènes métadiscursifs, elle mérite d’être réévaluée et déplacée : nous nous efforçons de passer du domaine strictement verbal à un champ plus largement sémiotique.Notre parcours s’organise en quatre étapes solidaires, qui manifestent l’intrication des approches historiques, sémiotiques, linguistiques, médiologiques, stylistiques, mais aussi scientifiques et philosophiques. La première partie consiste en une exploration des créations plastiques, graphiques, sonores, qui intègre les diverses collaborations auxquelles Ghérasim Luca a pris part en Roumanie puis en France. La deuxième partie dégage un imaginaire linguistique, nourri de diverses traditions (l’atomisme de Lucrèce, l’alchimie, la Kabbale), qui fait du vide un principe structurant, et de l’écriture un travail d’agencement. Cet imaginaire, qui relève d’une pensée de la langue dans la langue, est lui-même volontiers mis à distance : il ne s’agit pas d’adhérer à ce qui serait une théorie, mais de circuler librement entre des conceptions apparemment inconciliables. La troisième partie décrit les jeux de perturbation du sens à partir du statut tout à fait singulier accordé aux autonymes, aux néologismes et aux noms propres dans les recueils de la période française : les divers types de trouble sémiotique et l’invention d’un hors-lexique participent d’un mouvement de déstabilisation. La quatrième et dernière partie est consacrée au geste de reprise, qui se décline sous de multiples formes, parmi lesquelles on compte le collage et le détournement
This work questions the different practices of Ghérasim Luca (book-objects, albums, portfolios, booklets, pamphlet-poems, poster-poems, scenic and audiovisual recitals, cubomanies, drawings) in light of the semiotic experiences they initiate. Asserting that signs are at stake means insisting on the material and highly perceptible dimension of both production and reception. From the moment that signs are perceived as bodies (audible bodies, graphic and typographic bodies) by other bodies, the question of meaning is linked to the question of medium. With the notion of emergence, we can analyse spatial phenomena, linked to theatrical ones, such as appearance and disappearance : the white page, the audiotape, the screen, the wooden panels are places where an embodied thinking can arise and expand. The notion of opacification, which is used by linguists to describe metadiscursive phenomena, can be reconsidered and redefined : we try to exceed the verbal domain and to adopt a global semiotic perspective, which includes non-verbal matters.This study is composed of four interdependent parts, which show the interpenetration of historical, semiotic, linguistic, mediologic, stylistic but also scientific and philosophical approaches. The first part explores the plastic, graphic and audio creations of Ghérasim Luca, including collaborations with several artists in Romania and France. The second part identifies what we could call a linguistic imaginary, fuelled by three different traditions (Lucretius’ atomism, alchemy, Kabbalah), which considers void as a founding principle, and writing as a layout. This imaginary, which inquires the possibility of thinking about language within the language, is playfully held at a distance by Ghérasim Luca : the point is not to adopt a theory, but to circulate freely between apparently incompatible approaches. The third part describes various phenomena of meaning disruption and focuses on the specific status given to autonyms, neologisms and proper nouns in his French period : the different kinds of semiotic troubles and the invention of a lexicon beyond the lexicon take part in the destabilisation process. The fourth part is about the activity of re-creation, which takes several forms, including collage and ‘détournement’

Cette thèse étudie le processus de variation continue comme une trame de fond de l’oeuvre complète de Gherasim Luca, afin de mettre en valeur ses aspects plastiques et phoniques, leur articulation ainsi que la façon dont la pictopoésie et l’ontophonie participent à l’autogénération textuelle. Considérant l’oeuvre à la croisée des arts, l’analyse souligne la structure des espaces textuel et iconique. Elle s’intéresse en outre aux figures (personae) émergeant d’une esthétique protéiforme et à l’espace figural du langage, mettant aussi à l’épreuve la théorie deleuzienne de la variation continue pour en montrer les ressorts et les dépassements. Enfin, la mise en oeuvre organique, phonique et linguistique del’ontophonie interroge les voix/voies nouvelles établies par la poésie orale et la médiopoétique, ménageant un accès vers l’analyse de la répétition et de la reformulation en tant que genèse infinie
The aim of this PHD is to study the process of the continuous variation, as the guiding principle for the complete works of Gherasim Luca. The purpose is to highlight both its plastic and its phonic aspects, how they work together, and also the way pictopoésie and ontophonie help create a perpetual selfgenerated text. Since the works stand at the crossroads of several arts, this analysis underlines the structure of the iconic and textual spaces. One of the axis of research, that focuses on the persona, as it emerges from a protean aesthetics, and on the figurative space proper to language, calls thus intoquestion Deleuze’s theory of “continuous variation”, while showing its internal mechanism and its exceedance. Finally, the phonic, the linguistic and the physical performance, in staging the ontophonie, brings into question the voices and the media as a means, established by the oral poetry and the mediopoetics, granting access to an analysis based on endless repetition and reformulation