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Browsing by Subject "Argentina"

Now showing 1 - 7 of 7
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    Argentina - Sustainable horticulture crop production
    (2010-02-02) Schell, Alyssa
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    Humor y dictadura. Espacios de expresión y opresión creados por el humor en relación con la dictadura militar argentina (1976-1983)
    (2021-08) Defiel, Natalia
    En este estudio me propongo analizar las diferentes funciones del humor en un periodo conflictivo de la historia argentina, la última dictadura que va desde 1976 a 1983. A su vez, indago en cómo el humor ha servido de herramienta para apoyar una reconstrucción de los hechos dolorosos del pasado facilitando la articulación y la divulgación de lo sucedido. Al referirme al periodo mismo de la dictadura, observo el humor como una herramienta enunciativa que promueve la crítica y la comunicación, utilizando en este caso la labor de la revista Humo®. A su vez, me detengo a analizar cómo el humor es utilizado durante la misma época por el poder para lograr los fines opuestos de coartar y reprimir, en este caso mediante el cine.Más adelante exploro la función del humor para reconstruir los hechos y contribuir a la formación de la memoria colectiva desde los trabajos gráficos de artistas como Rep, Carlos Trillo y Lucas Varela. Finalmente, me detengo a indagar en cómo las víctimas más directas como fueron Mario Paoletti (preso político) y Alicia Partnoy (detenida en un CCD), reconstruyen su experiencia utilizando estrategias humorísticas que amortiguan el mensaje y ayudan a articularlo. El humor como herramienta de expresión durante periodos conflictivos de la historia cumple una función esencial para lograr transmitir mensajes y críticas de otra manera censurados. A su vez, puede ser utilizado con los fines contrarios y promover ideologías represivas y limitantes. Finalmente, esta herramienta demuestra ser ventajosa en la reconstrucción del pasado conflictivo.
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    Literatura policial: gender, genre, and appropriation in Argentine and Brazilian hard-boiled crime fiction.
    (2011-06) Ostrom, Katherine Ann
    This dissertation examines how adaptations of the hard-boiled crime genre have become tools for literary innovation and social criticism in the work of four contemporary authors. Since the 1970s, influential writers such as Rubem Fonseca in Brazil and Ricardo Piglia in Argentina have established new national variants of literatura policial as nuanced forms of protest against cultures of impunity and state terrorism. More recently, Brazilian Patrícia Melo and Argentine Claudia Piñeiro have enriched these national traditions with their own interpretations of urban violence and created new ways for women to speak in a genre that has been heavily dominated by men. As a popular genre associated with a conservative, Anglo-centric worldview, crime fiction was long ignored by critics of Latin American literature; even now that its importance is increasingly recognized, most studies have dwelt on its relationship with government and capitalism, neglecting its metafictional qualities and its critique of gender relations. By focusing both on representations of male and female characters and on various modes of discourse in the work of Fonseca, Piglia, Melo, and Piñeiro, this dissertation brings a new perspective to an undervalued body of literature.
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    The Media of Memories: Argentine and Brazilian Transitional Justice as Seen on TV
    (2019-03) Hill Cosimini, Amy
    Grounded in my own observation of the recent string of Latin American shows, such as Montecristo (Argentina, 2008) and Amor e revolução (Brazil, 2011), which directly confront traumatic national pasts, this project investigates what representative 21st century Argentine and Brazilian fictional and testimonial televisual accounts (telenovelas, miniseries and testimonial interviews) communicate about the role of television in the construction and mediation of the officially sanctioned memory narratives promoted by normative transitional justice mechanisms. In this vein, this project—The Media of Memories: Argentine and Transitional Justice as Seen on TV—poses a series of interrelated questions:1) How can transitional justice processes take place on the small screen? 2) How can understanding these televisual practices advance existing theories on transitional justice as it relates to the right to memory, and the protection of memory’s productive problematics—such as the respect for silence, gaps and hauntings inherent in remembering mass atrocities? And finally, 3) What alternative spaces for advocacy, if any, are opened up by these television programs? In the end, my project contends that television programs, in the Argentine and Brazilian cases, have the potential to operate as malleable discursive spaces that question hegemonic memory regimes and complicate normative truths put in place by the State. Furthermore, the telenovelas, miniseries, and testimonial interviews analyzed throughout this project function, to varying degrees, as dynamic memory mediums that simultaneously promote memory as memory entrepreneurs, profit from memory, frame what truths should be remembered, and digitally transmit memory. Thus, I maintain that moving televised images have the potential to operate as a widely accessible form of transitional justice that not only translates judicial arguments to the mass populace, but also provides alternative spaces for the re-definition of justice and the performance of multilayered activism. Through its visual depiction and fictionalization of the limit experiences of collective traumas, television stages those realities that resist verbal narration and operates as a form of symbolic reparations that restores dignity to victims, develops a more inclusive narrative of the past, and protects the right to memory.
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    The More Influential, the More Controversial: How Eleanor Roosevelt and Eva Perón Broke Gender Norms and Redefined the Role of First Lady
    (2018-05) Kahlenbeck, Josie
    This thesis is a cross-cultural examination of how Eleanor Roosevelt and Eva Perón broke gender norms and redefined the role of first lady in the United States and Argentina. I examine the expectations for women in the early and mid-20th century and analyze how Roosevelt and Perón's actions were within and beyond these expectations. I find that Roosevelt's language was less forceful and groundbreaking than that of Perón, who was able to mix her strong visual presence with forceful language to create a Peronist image, and broke gender norms more than Roosevelt.
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    Redefining social movement: Utopianism and popular education in Buenos Aires
    (2014-06) Krausch, Meghan
    This dissertation is a case study of a bachillerato popular (people's high school) in Buenos Aires, Argentina. Founded in the wake of Argentina's 2001 crisis, the school is a secondary school completion project for adults operating under the umbrella of the "National Assembly," a large social movement that is structured non-hierarchically and uses consensus-based decision-making. Based on a year of feminist ethnographic fieldwork and supplemental in-depth interviews, the study analyzes daily life at the school to develop a better understanding of social movements more broadly. This dissertation contributes to the existing sociological literature on social movements in three important ways. First, I develop the concept of utopian social movements, a lens for analysis of movements that incorporates meaning-making and claims-making into a single framework (in strong contrast to the popular theoretical paradigm of contentious politics). The school struggles to improve the material conditions of participant activists, a majority of whom are marginalized across multiple axes of difference (i.e., race/nationality, class, and gender). At the same time it seeks to establish the conditions for what is here termed dialogic freedom, the idea of liberation as a condition of being that is dialogic, reflexive, dialectic, and processual. Dialogic freedom is practiced through critical pedagogy as well as a more broadly intellectual vision of politics, and the way it is intertwined at the people's high school with a daily and long-term struggle to achieve better housing, food, and living conditions is a hallmark of utopian social movements. Second, I show how the school accomplishes its goals by producing a collective subject, which is (re)produced through a combination of structural and affective elements in practice at the people's high school: non-hierarchy, consensus, mística, and everyday collective effervescence. The case of the people's high school highlights the centrality of affective practices to liberatory politics, including those movements which take material deprivation as their starting point. Finally, this research makes an important empirical contribution to existing knowledge about social movements by describing in rich ethnographic detail how the school's ambitious utopian project is carried out by the subaltern and under what conditions.
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    Stories of Memory / Memory in Stories: Remembrance and Identity in Contemporary Jewish Argentine Cultural Production
    (2015-12) Goldfine, Daniela
    This dissertation examines contemporary cultural production (mainly literature, film, and visual arts) by self-identified Jewish Argentine artists. In my research, I seek to analyze the different and varied ways memory and identity are formed and reflected in works of art produced in the twentieth and twenty-first centuries within this community and how these contested categories differ in art produced in previous cultural production. I pay special interest to the events that marked Argentina during the last dictatorship (1976-1983) and how those events are depicted in the art of those who lived through it, utilizing either their own memory or second-generation postmemory. I also delve into the role of transmission from generation from generation and how multiple identities evolve and transform in the Jewish community as time goes by in Argentina. One more aspect I consider is the gender variable and how it is reflected in the aforementioned multi-layered identity, as well as how the role of transmission of memory is regarded. I contend that analyzing the ways identity and memory are utilized and reflected in contemporary art allow for a deeper revision of recent history and memory that, ultimately, demand an evocative compromise with the human sense of worth, as well as the human conciliation with what lies behind and ahead. Employing memory as an accepted fallible substance that connects past, present, and future, works as a demand of the conservation of certain sensibility without providing illusory neutrality and without abandoning the attempt to confront established interpretations and narratives.