Kamchatka : revista de análisis cultural. 2020. No 16

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    La memoria de/en los objetos. Artesanía, dibujos y bordados clandestinos de los presos políticos en la cárcel de Córdoba (Argentina, 1976-1979)
    (2020) Reati (en.), Fernando
    Between 1976 and 1979, hundreds of political prisoners at the Cordoba Penitentiary were subject to total isolation and inactivity. Letters, family visits, newspapers, magazines, manual work, exercise and sports were strictly prohibited in order to crush them physically and psychologically. In order to alleviate boredom prisoners made clandestine handicrafts, drawings and embroideries using forbidden tools such as bones, nails, towel string and jean fabric. Some of these objects were preserved at great risk and most were smuggled out of jail. They entail the memory of a collective experience of resistance inside a legal prison where prisoners remained totally incommunicado for three years, the only such case under the Argentine dictatorship.  
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    Quinquis, yonquis y pandilleros. Imaginar, representar, contar la marginalidad urbana
    (2020) García del Río, Antonio
    Presentación del monográfico
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    De vagos y maleantes, bandidos y censores. La contraimagen del quinqui durante el franquismo en obras de Rodríguez Méndez
    (2020) García del Río, Antonio
    Este artículo propone una lectura de la obra de teatro Los quinquis de Madriz (1967) y del relato ?Vida de quinqui? (1961), ambos del autor José María Rodríguez Méndez (1925-2009) a partir de la construcción que en ellos tiene lugar de una imagen de la figura del ?quinqui? alternativa a la propuesta por el Estado durante el franquismo. Se analiza, asimismo, cómo dichas obras ponen de manifiesto el modo en que el régimen franquista trataba de crear un relato y un modelo de sociedad funcional a sus intereses políticos. En las obras analizadas se evidencian algunos de los mecanismos que empleó el estado con ese fin, como, por ejemplo, la construcción de un marco legal para criminalizar a los grupos sociales marginales y que, al mismo tiempo, afectó a la creación artística a través de la censura, prohibiendo aquellas manifestaciones que atentaran contra el modelo social y cultural que el franquismo pretendía construir. 
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    Percibir y resistir los estigmas. Un estudio sobre la cotidianeidad de personas en situación de calle
    (2020) Bufarini, Mariel
    El siguiente artículo trata sobre la configuración de estereotipos y estigmas en torno a las personas que viven en las calles y otros espacios públicos de las ciudades. Se deriva de una investigación que ha focalizado en el estudio de la vida cotidiana de dichos sujetos sociales en la ciudad de Rosario (Santa Fe, Argentina). La presencia de figuras que por su andar permanente y su aparente ociosidad parecieran escapar de las normas socialmente establecidas puede rastrearse en diversos contextos socio-históricos. Si bien cada uno de ellos presenta particularidades, consideramos que los prejuicios sobre las actuales personas en situación de calle se han construido históricamente. Asimismo, la irrupción contemporánea en las áreas centrales de las ciudades no solo da cuenta de las profundas desigualdades sociales, sino que pone en cuestión quiénes son los usuarios legítimos de las mismas. Recuperar los sentidos que adquiere para los propios sujetos el ser observado por encontrarse en esta situación, permite dar cuenta de los modos en los cuales se percibe y, también, se resiste el estigma.
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    Cuaderno de voces para Tony
    (2020) Colectiva, Autoría
    Cuaderno de voces. Reúne textos de amigxs, familiares y colegas de Tony García del Río. 
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    Cara y cuerpo del horror : representaciones de Ingrid Olderock
    (2020) Llanos, Bernardita
    In the Chilean imaginary Ingrid Olderock is constructed as a monster associated with the power of the institution of Carabineros and later with the agencies of repression in the Pinochet dictatorship. Olderock represents an emblematic extreme where different discourses on violence and insanity overlap and that the butch figure condenses as an abject character. Horror is linked not only to gender but to the non-normative sexuality of the cruel torturer. Olderock appears in the play La mujer de los perros (2017) by Eduardo Vega which underscores her  insanity, lack of femininity, and a desire to dominate and inflict pain are her signature. The abject female body is here significantly associated with a heartless brutality and the absence of justice. On the other hand, the play Irán 3730 (2019) by Patricia Artés, Olderock is not seen even though she was in charge of the torture house La Venda Sexy in the property where the dramatic action  unfolds in the present. These two takes towards the past and Olderock  sustain themselves in different visions of the legacy of the dictatorship. Artés has a gender perspective that allows for a broader understanding of history and the  role of women activists in the past. Their impact in the present displaces the torturer and highlights feminist activism and the political struggle of former militants for their recognition and for justice.
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    'La Desaparición de los Rituales. Una topología del presente', de Byul-Chung Han
    (2020) Gonzalez Arocha, Jorge
    Reseña de 'La Desaparición de los Rituales. Una topología del presente', de Byul-Chung Han
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    'Diccionario histórico de la dictadura cívico-militar en Chile : Período 1973-1990 y sus prolongaciones hasta hoy', de José del Pozo Artigas
    (2020) Sagredo Mazuela, Omar
    Reseña de 'Diccionario histórico de la dictadura cívico-militar en Chile: Período 1973-1990 y sus prolongaciones hasta hoy', de José del Pozo Artigas
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    'El infierno de los perpetradores. Imágenes, relatos y conceptos', de Anacleto Ferrer y Vicente Sánchez-Biosca (eds.)
    (2020) Morant Giner, Maria
    Reseña de 'El infierno de los perpetradores. Imágenes, relatos y conceptos', de Anacleto Ferrer y Vicente Sánchez-Biosca (eds.)
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    'Galdós en su siglo XX. Una novela para el consenso social', de Carolina Fernández Cordero
    (2020) Somolinos Molina, Cristina
    Reseña de 'Galdós en su siglo XX. Una novela para el consenso social', de Carolina Fernández Cordero
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    Reajustes de la violencia en una novela, su adaptación al cine y un remake : 'El secreto de sus ojos'
    (2020) Malpartida Tirado, Rafael
    This paper deals with an aspect rarely explored in Transtextuality Studies: the relationship between a literary text and its film adaptation (El secreto de sus ojos) with a remake (Secret of Their Eyes). This analysis considers the categories of readaptation, simple remake and compound or mixed adaptation. For this purpose, it focuses on (1) the representation of violence, in accordance with the distinction proposed by Steven Pinker (according to Hobbes) on the causes of human conflict, (2) on the construction of the characters, and (3) on how images are shown. In this way, the necessary readjustments that are carried out in two very different historical contexts are analyzed: the situation prior to the Argentine Military Dictatorship of 1976 (where Sacheri?s novel and Campanella?s film are set) and the anti-terrorist hypervigilance after the attacks of September 11th (in Billy Ray?s version of 2015).
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    Los Coloquios Latinoamericanos de Fotografía : hacia una definición de la fotografía hecha en Latinoamérica
    (2020) Rigat, Leticia
    En el presente artículo nos proponemos reflexionar sobre los Coloquios Latinoamericanos de Fotografía que tuvieron lugar entre los años 1978 y 1996, en los que se buscó definir y categorizar a la fotografía latinoamericana. Dichos Coloquios se propusieron situar a la fotografía latinoamericana en el contexto de las actividades de la fotografía internacional, y propiciar una reflexión crítica sobre la identidad visual de las prácticas fotográficas de la región. En este sentido, buscamos indagar los documentos y actas de los coloquios a fin de proporcionar una lectura sobre el pensamiento sobre la fotografía latinoamericana en aquel contexto, partiendo del Primer Coloquio Latinoamericano de Fotografía realizado en México en 1978 y su evolución entre los encuentros posteriores: Segundo Coloquio Latinoamericano de Fotografía (México, 1981); Tercer Coloquio Latinoamericano de Fotografía (Cuba, 1984); Encuentro de Fotografía Latinoamericana (Venezuela, 1993); y Quinto coloquio Latinoamericano de Fotografía (México, 1996), intentando identificar los conceptos teóricos y visuales centrales. 
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    'La memoria de los otros. Relatos y resignificaciones de la transición española en la novela actual', de Violeta Ros Ferrer'
    (2020) Mira Alepuz, Eva
    Reseña de 'La memoria de los otros. Relatos y resignificaciones de la transición española en la novela actual', de Violeta Ros Ferrer'
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    'Señales mutuas. Estudios transatlánticos de literatura española y mexicana hoy', de Erika Martínez (eda.)
    (2020) Bounia, Kawtar
    Reseña de 'Señales mutuas. Estudios transatlánticos de literatura española y mexicana hoy', de Erika Martínez (eda.)
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    El vicio de criticar : teoría, crítica y polémica según Alberto Cardín
    (2020) López Martínez, Rodrigo
    In face of a democratic transition characterized by the mutually dependent normalization of the cultural and political fields, Alberto Cardín emerges as an uncomfortable, marginal and relatively forgotten personality. Revisiting his polemical interventions in magazines like Revista de Literatura and Diwan allows us to integrally address his intellectual stakes, as well as to find still productive discussions with which to brush the transition against the grain. As a pioneer introducer of Lacanian psychoanalysis in Spain, the dialogue between Cardín and the Argentinean Oscar Masotta delineates a distinctively theoretical perspective in regards to the redefinition of the intellectual subject in the renewed post-Franco scene. While denouncing the transition?s rearrangement of the most celebrated Spanish intellectuals, Cardín puts forward an alternative critical stake in its own textual immanency. He invokes diatribes and polemics not only as confrontational tools in the cultural field, but he adopts them as properly formal means: with them, Cardín redefines and vindicates the discursive specificity of criticism as the radical assumption of irreducible conflicts and differences, opposed to any summon to consensus.
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    ?y no se ha de ver más que la luz : Rodolfo Walsh y Cuba en los orígenes compartidos del testimonio latinoamericano y el Tercer Cine
    (2020) Pedregal, Alejandro
    This article explores, through a comparative analysis of cultural practices and discourses, part of the literary and militant activities of Rodolfo Walsh, in relation to some of the most significant aspects in the shared emergence between Latin American testimonio and Third Cinema. For that purpose, the text investigates the role played by Cuban revolutionary institutions and publications (Casa de las Américas and ICAIC; and magazines Casa de las Américas, Cine Cubano and Tricontinental) in legitimizing and disseminating these proposals in literature and cinema. This cultural policy was part of a very particular type of confluence between culture and politics, which was inscribed within a Latin American and Third World revolutionary project. The Cuban position problematized the question of the revolutionary potential of the arts among writers, intellectuals and artists, something that would reach a critical moment with the perception of the exhaustion of certain forms of expression and the tragic death of Che Guevara in 1967. Ultimately, this context led to strong controversies and radical proposals that would give rise to the appearance of testimonio and Third Cinema. Walsh, in different degrees, went through this experience, materializing both in his work and in his militancy, the particularities of an entire cultural era ?a time of such significance for Latin America and the Third World that it would end up impacting the First World as well.
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    Miradas oblicuas : infancias, paisajes y comunidades interrumpidas en el cine de Dominga Sotomayor
    (2020) Veliz, Mariano; Alonso, Mercedes; Staude, Mariela
    In De jueves a domingo (2012), Mar (2014) and Tarde para morir joven (2018), Dominga Sotomayor explores the intimacy of a family, a couple and a community. In these approaches, intimacy establishes varying degrees of tension with the outside and the public. These oscillations highlight one of the most frequent and repeatedly studied characteristics of contemporary Chilean cinema: the transformation of intimacy into the locus where the conflicts of the past and the present are indirectly projected. This article considers the way in which Sotomayor's cinema is inscribed in the current panorama of Chilean cinema and, through it, in its socio-political scenario. It aims at doing so analyzing three interrelated problems: the narrative and sensitive forms of representation, their articulation from the narrative, spatial and sensorial positions of the young and the construction of landscape through the interaction between natural environments and subjects that occupy and move through them.
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    La identidad en juego : un acercamiento autoficcional a 'La casa en Mango Street'
    (2020) Montes Romera, Laura
    This article explains the autofictional construction of The House on Mango Street, literary work of the Chicana Sandra Cisneros. It is based on the theoretical basis that considers autofiction as a genre not subordinated to others, following the position of Vera Toro. It elaborates a study of the key elements of the poetic work, as well as the sociohistorical conditions in which it got written. It also analyzes how space is the fundamental narrative element that allows us to establish a relationship between literary creation, the creation of the identity of the Chicano people and the female narrator from the piece. In this study we are also taking into account the text?s strong critical character: on one side, we observe the Chicana identity at a community level, meeting this dynamic and hybrid or interstitial space, as Homi Bhabha conceptualizes it. On the other side, we see this identity enunciated from a feminine subject / alterity point of view or even from let?s say feminine alterities, bringing into dialogue this intermediary place with the paradoxical wild zone that entails Esperanza Cordero?s narration.
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    'El sofista negro. Muhammad Ali, orador y púgil', de Marco Mazzeo
    (2020) Jossa, Emanuela
    Reseña de Mazzeo, Marco (2020). El sofista negro. Muhammad Ali, orador y púgil, Barcelona, Tercero Incluido Italian Radical Thought, Muhammad Ali, Marco Mazzeo
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    Historia conceptual del quinqui. Pluriempleo, policía, prensa y mito
    (2020) Pérez Rodríguez, Paula
    How do you go from the quinquillero to the quinqui? What cultural transit is marked in the shortening of this word? Are quinquis the children of those who worked with quincalla? What do quinqui(llero)s tell us about the turning of a rural and agrarian economy to the Spanish technocratic developmentalism, its consequent unemployment and the UVAs? The quinqui reappears again and again in social discourses in Spain to signal the subjective and labor forms that dissent from mainstream collectivity. This paper investigates the conceptual history of the quinqui before the 1980s, proposing as its main hypothesis that it is in these historical quinquis that we find the discursive and material roots of the young and suburban quinqui. Following press files of the 19th and early 20th centuries, and also sensationalist articles of the sixties and seventies, as well as some investigative textual works, this article seeks to present the archeology of the disciplinary biopolitical operation of exclusion that is configured around the significant ?quinqui? and its variants, taking into account its rural, ethnic and labor dimensions within public discourse.